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1770935371
| 9781770935372
| 1770935371
| 3.61
| 23
| Feb 01, 2013
| Feb 01, 2013
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it was ok
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I'm not sure yet whether the kids like this book because it's colourful, because it's still new, or because they generally like everything about it. I
I'm not sure yet whether the kids like this book because it's colourful, because it's still new, or because they generally like everything about it. It's not one I particularly like reading because the rhymes are a bit clunky and it has an in-your-face moralising message at the end. Each double-page spread focuses on a different coloured sheep: black, red, orange, yellow, green, blue, purple and "rainbow" (which is all the sheep together) and starts with the clunky rhyme, Baa, Baa, [Red] Sheep, And the next four-line verse reads, for example, like this: One can make a lobster. The worst is the rainbow page, where the second verse reads: And it makes all kinds of things. The moral at the end is a fine message, but rather patronising and groan-worthy: But don't just use my wool. See what I mean? But it's good for teaching nouns etc. and it's colourful, and the kids seem to like it, so that's good enough for me. (Note: Hugh received this as a gift from a friend.) ...more |
Notes are private!
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1
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not set
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Jan 03, 2013
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Dec 27, 2012
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Board Book
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1742536573
| 9781742536576
| B00AFLJAYQ
| 4.05
| 115
| Dec 10, 2012
| Dec 10, 2012
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it was amazing
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Cora has had enough of being alone. Now that her father is dead, she has no family left, no boyfriend, and no one to spend Christmas with, and she's n
Cora has had enough of being alone. Now that her father is dead, she has no family left, no boyfriend, and no one to spend Christmas with, and she's never felt so lonely. It's September now, and she comes to a decision: she will take matters into her own hands, meet a man, and have someone to spend Christmas with. And, hopefully, the rest of her life, too. The night she stays up doing "research" - poring over romance books and movies - her loud music brings her downstairs neighbour, Matt, up to complain. They've never met before, but soon Matt is hearing all about "the man plan" - a safe person to talk to, since Cora quickly learns he doesn't commit and has no interest in finding a woman to love and stay with. Their friendship takes off from there. Cora finds it easy to talk to Matt and share her ideas for meeting men, and doesn't mind when he laughs at her - like when she pretends she can't change a tyre while wearing skimpy shorts, waiting for a man to offer assistance. And Matt enjoys spending time with Cora, hanging out on the weekends, making her dinner - she's a low maintenance friend, a woman who's not trying to get into his pants. Their feelings for each other creep up unnoticed, and, they each think, unreciprocated. Worse, they both think there's no point. Cora understands that Matt could never offer her what she wants, what she needs. And Matt, an only child, still suffers from the emotional and verbal abuse of his parents, who hate each other and drag their son into their conflicts. With role models like that, he doesn't even think he's capable of having a real relationship. It will take a leap of faith from both of them to not let this chance go, to take a risk and leap together. Quite simply, I LOVED this book. It had everything I liked and plenty I didn't even know I liked. Maybe I don't read enough contemporary romance, but it was fresh and, while staying true to the genre, deviated from many typical cliches. Matt was no billionaire, for a start. He's a hard-working middle class man, a project manager for a construction company. His parents are middle class too, though they way they speak to each other, and to him, makes them sound incredibly vulgar and lower class. Cora, likewise, is middle class, working as an editor at a publishing house. This puts them on equal footing from the beginning. Money isn't an obstacle or a sticking point. An abundance of it doesn't give Matt a position of authority over Cora. No, they're just two adults who live in a low-rise apartment building in Port Melbourne, the kind of people that Melbourne is full of (especially in the suburbs around the bay), and this is the fun and lively story of two of them meeting. One of the things I loved about this book was its tone. Ackers writes with a light, friendly, bantering kind of tone, setting an atmosphere that is so welcoming, warm and, why not: cuddly. The kind of story you can snuggle with, a real comfort read. It connects with your emotions without being at all melodramatic or manipulative, and is realistic and familiar in setting, plot and characters which makes it easy to simply enjoy it for its own sake. It's well grounded in the familiar, with popular culture references and a running Superman joke. There's also humour here, with light banter between Matt and Cora, and some of the characters are funny in the way they're described. Matt continuously makes fun of Cora, calling her crazy because of her man plan, and in true Aussie style, she goes along with it, giving as good as she gets. She watched him, too surprised to comment. He dumped the pan int he sink, ran the water for a moment then helped himself to the cutlery drawer. Seconds later, he was pressing the bowl into her hands, a fork poking out of the top. She gazed down at the spaghetti bolognese. It was so much fun, watching their friendship grow, seeing Matt become increasingly jealous of the men Cora does meet, yet in such good-natured denial about his own feelings. He doesn't agonise over it, his turmoil isn't belaboured, there's just enough self-reflection to flesh him out and get the reader on the same page, without boring you. Certainly there are men out there who are like Matt without having any kind of reason for it, it's just their lifestyle of choice and I don't know, maybe they're just inherently selfish. While there are other romance books where the male lead is reluctant to commit because of his parents' example (like Jennifer Probst's , as a recent example), but the fact that Matt's parents are just so ordinary in every other way, and whose horribleness is so believable without the artificial gloss of wealth - everyday people are much more relatable, rather than alienating, and this was, overall, one of the things I loved the most about this book. It didn't hurt that I loved Cora and Matt. Cora is grieving over the loss of her father, but turns her loneliness into a positive plan for action, rather than wallowing. She's frank and open about it, and her motivations are believable, understandable, and make her very human. "... I want someone for me. Just for me. Who gives a damn if they don't hear from me during the day, who calls me with their news. I want to be someone's top priority." She pressed her thumb and forefinger to her closed eyes and sighed. "I know it sounds like a lot to ask, but it's really not. I just want to be the one for someone. I want to be a part of something bigger than me." And that is, of course, the point of romance fiction, why it's the biggest selling genre of all genres: the fantasy - if it even is a fantasy - lives strongly within us. Because very few people actually like being alone. Matt thinks he does, he likes his life, but after spending so much time with Cora - on outings and hanging out that, to anyone but those two, looks clearly like they're a couple - his life starts to feel increasingly empty without her. There was good solid chemistry between them, a slow-burning sexual tension, one that isn't satisfied until the very end - and no graphic content (if you like romance but don't like the sex scenes, you might be interested to hear that). And finally, I loved the conversation between Will and Cora at the end, that made her take that risk, to take a chance on Matt. "Tell me this: do you think he is incapable of love?" Yep. I completely adored this book. My thanks to the publisher for a copy of this book via Netgalley. ...more |
Notes are private!
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1
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not set
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Jan 16, 2013
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Dec 17, 2012
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Kindle Edition
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1908313293
| 9781908313294
| 1908313293
| 3.74
| 4,829
| Aug 26, 2010
| Sep 01, 2012
|
really liked it
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After the death of her mother, Camille Werner is going through the condolence letters when she comes across a letter that is rather strange. First of
After the death of her mother, Camille Werner is going through the condolence letters when she comes across a letter that is rather strange. First of all, it's not addressed to her - the envelope is, but the contents aren't. There's no return address. And it doesn't read like a letter, but embarks on a story. The writer, Louis, tells of meeting and befriending Annie as a child in the village of N. in 1933. He was twelve, Annie was ten, and the world was changing. Camille thinks at first that the letters have been addressed to her by mistake, that there must be someone else in Paris with the same name as her - but she can't find one. The letters keep arriving, the story keeps unfolding. Louis moves forward in time, to meeting Annie again in 1943, when she tells him what really happened with Madame and Monsieur M, a young bourgeois couple who move into a big house in the middle of the town. Annie becomes a frequent visitor to Madame M, who encourages her passion for painting. But when Annie is fifteen she leaves for Paris with the couple; Madame's husband, Paul, a journalist, later joins the war effort and is sent to the front. Louis tells Annie's side of the story, and as it unfolds Camille becomes more invested in discovering who Louis is, and what it all has to do with her. Louis reveals one truth, and then another, the words of Madame M, but it is Camille herself who comes to understand the last, shattering, heart-breaking piece. There is a lot to recommend French author Grémillon's debut novel, which is on the surface of things a simple, even predictable story of a family secret and the lives it affected. Touching on themes of motherhood, social pressure and identity, as well as the damage that lies, secrets and betrayals can inflict, this is a realistic, deeply human story taking place against the backdrop of Germany's invasion and occupation of France. Divided into two parallel time frames, 1975 and the 30s and 40s, the focus is on the past, with the "present" scenes of Camille's life sketched out with telling details that flesh out her character and her life - she's fallen pregnant by a man who doesn't want children, and decides to keep it; she's lost both her parents and has only her brother, Pierre, left; and she works as an editor at a publishing house. Grémillon employs a "less is more" tactic with Camille's side of the story, ensuring that Louis' story takes centre stage and doesn't get overshadowed by anything from the "present"; in fact, I sometimes forgot all about Camille, which actually made it easy to switch between the two. The book also used the visual device of drastically different fonts - Camille's first-person sections were set in something like Arial, while Louis' letters were in your standard bookish font (much easier on the eyes, too). The parallels between what Camille's going through in her own life, and the events that unfold in Louis' story, allow Camille - and the reader - to empathise with both Annie and Madame M (you won't be able to sympathise with Madame M until you hear her side of the story, but it will come). The theme of motherhood and the pressures not just of society but from our own selves, is a strong one throughout. As Camille says, I used to think abortion was a good thing: progress, a woman's free will... Now I find myself struggling in a trap which, like every trap, once smelled sweetly, in this case of freedom. Progress for women, my arse! If I keep the child, I'm guilty vis-à-vis Nicolas, who doesn't want it. If I get rid of it, I am guilty vis-à-vis the baby. Abortion may claim to rescue women from the slavery of motherhood, but it imposes another form of slavery: guilt. More than ever, it is on our own that we handle or mishandle motherhood. [p.89] Through this lens we watch Annie, at fifteen years old, offer to be a surrogate for the baby Madame M has spent years trying to have, having put herself through treatments both bizarre and extreme. For much of the book, I didn't find the outcome necessarily predictable, because it seemed, for quite some time, that the truth could go either way. Still, if you go into this expecting a clever mystery you will probably be disappointed - this isn't so much a puzzle to solve, even though that's the structure of it, as it is a tragic story of two women in isolation, wanting the same thing, ready to do something extreme to get it. It is this human story that really reaches deep and holds you fast to the book; in fact, it's a quick and riveting read, one you can easily read in a day if you have the time. Where the novel suffered a bit was in the writing; for a debut novel, it's good, and yet it's also a bit of a mess at times. I got the feeling the translator made an effort to stick to a literal translation as much as possible, rather than doing the extra twist of interpretation to make things work better in English. Take this paragraph, for instance, telling us the story of what happened to Annie's father while she was in Paris with Madame M: On 3 June 1940, the guards had thrown them into the prison courtyard. The government didn't want them to fall into German hands. The Germans would have released them for sure. Ever since the Treaty of Non-Aggression between Germany and the Soviet Union, the Communists had been in the Boches' good books. They were being moved to another prison, they had to walk quickly, the guards were hitting them, shouting at them. It was late morning, they were on their way through Paris, when a guard suddenly pushed him out of the group and told him to get the hell out of there and fast, opportunity never knocks twice at anyone's door. They had let him go, and he still could not fathom why, but he was free, that was all that mattered. [pp.102-3] This made absolutely no sense to me when I was reading the book, and when Annie says to Louis in the retelling, "His story made no sense to me at all" I was relieved - only, she meant that she couldn't believe her parents had become separated; that was her sticking point. Even later, after finally understanding that he had been locked up because he'd once been a member of the Communist Party, the passage doesn't really make sense. It skips over his arrest, which is key to understanding the passage, since the last we saw of him he was living in his own home with his wife. It also skips over the fact that it was the French who'd arrested him, and why it was a crime. For the sake of context, these are small details that could easily have been included to prevent me from getting a headache. Aside from some odd phrasing, and the kind of writing mistakes that are pretty basic but hard to say whom they belong to, author or translator, the prose was very readable and skips along at a merry pace. Sometimes things don't make sense at the time, because certain details have been left out which are revealed later on for a "A-HA!" moment, but when the narration is following a continuous, chronological story-telling pattern, it's smooth and riveting. It was quite refreshing to have the war in the background rather than the foreground - it wasn't about the war at all, there just happened to be a war at the time these characters were living their lives. Yet it's not an incidental war: it impacts the characters, and adds a level of tension and atmosphere that gives events an extra layer of fear and uncertainty. The ending was what really got to me, when reading this book. After reading the last few lines, I actually sat up straight, looked up and said something like "Oh wow." I'd become so caught up in the story of Annie and Madame M, that I hadn't been thinking of the present day, or the possibility that Louis was wrong about what happened to Annie. I love that feeling, when something comes out of nowhere and hits you on the head (not literally - I don't enjoy being hit on the head by anything!), giving you one of those "ahhhhh" moments of satisfaction at a story well ended. Even before that, though, I enjoyed the murky greyness of Annie and Madame M's stories. Neither is a bad or a good woman. They are human, and they are mothers, and the moral murkiness of it all is both thought-provoking and entertaining (not in the sense that I enjoyed it at their expense, but in the sense that I enjoy having my conscience engaged as much as my intellect). I'd love to go into details, but I didn't want to give away any more of the plot than my edition's blurb did, lest I spoil the reading experience for anyone else. For all its sometimes-confusing narration, The Confidant was a haunting and emotional - but not at all melodramatic - exploration into the hearts of women who yearn for a child, and the lengths they'll go to to have that child, love it and protect it, all told against the backdrop of a war that took the lives of millions of people, and the French government's public announcements that the people have a duty to have more children. ...more |
Notes are private!
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1
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not set
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Jan 09, 2013
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Dec 14, 2012
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Paperback
| |||||||||||||||
0670064718
| 9780670064717
| 0670064718
| 3.62
| 12,773
| 2012
| Mar 27, 2012
|
really liked it
|
In present day Alberta, a car plummets over the edge of a ravine, killing the elderly driver. There are two sets of tyre marks on the road above, and
In present day Alberta, a car plummets over the edge of a ravine, killing the elderly driver. There are two sets of tyre marks on the road above, and at first the police suspect the dead man was being chased. But the marks belong to the same car: it had taken him two tries to get the angle right to miss the guard rails in order to drive off the road. His family never suspected a thing. Never realised how troubled the retired high school teacher was, never realised he had sent all his and his wife's money to someone in Nigeria, even taking out a second mortgage against the house already long paid for, and is well over a hundred thousand dollars in debt. Never realised that he felt like he was being watched, that he was being threatened, that he had increased his life insurance policy before killing himself, putting his daughter Laura down as the sole beneficiary. But the police discover it all, and ask the family: Do you know anyone from Nigeria? Have you ever heard of 419? Laura takes her father's death particularly hard. A reclusive copy editor who works from home, she is distracted by all the grammatical and spelling errors in the emails her father received, until she notices that there is a pattern - like the authors she edits, the writers of the emails have a style, and it might be possible to find the person behind her father's death through the way they write. It's not about the money, she tells herself: it's about losing her father, a man who had been trying to reach out to her but to whom she had not given her time. A man she misses deeply. In Nigeria, a lone woman walks through the desert with a jerry can of water balanced on her head. Pregnant, she has long ago traded her jewellery for food and is reduced to scavenging at campsites and chewing on nuts. Finally reaching the city of Zaria, the furthest she's ever been in her life. But even here, there are people who recognise the ritual tribal scars on her face that can tell a person exactly which village she is from; even Zaria is not far enough away. And she she keeps walking, heading to the next city. And in the west, in the Niger Delta, European oil companies strike deals with the government to drill for oil, destroying the mangrove swamps, poisoning the water, killing the fish that are the livelihood of the Igbo people who live there. Nnamdi is a boy when the Dutch first come and a teenager when they give him, and many other boys, jobs in an attempt to pacify the tribe and give them a vested interest in protecting the pipelines that snake through their land. What Nnamdi learns on the refinery island will save his life several times, and take him far from home. All three - Laura, the unnamed woman, and Nnamdi - are on a trajectory that will bring them together in unexpected ways. This is an epic story and demonstrates Ferguson's ability to weave seemingly disparate plot lines and characters together. It also shows the impressive depth of his research, which I had noticed from reading his earlier novel, . In the latter book - about three con artists during the Depression in the United States - you could tell that Ferguson's research and fascination with the cons was stronger than his storytelling, and his characters suffered for it. With 419, though, there was a much better balance between the scope of his research - which is truly extensive - and the storytelling. As a story, I really enjoyed this. As insight into life in Nigeria and the situation between the locals and the oil companies, it's enlightening and terrifying and disheartening. Where it falters a bit is with Laura and her side of the story, especially towards the end. I would say that Ferguson wrote the Nigerian side of the story, and the Nigerian characters, more believable, honest and human than he did Laura. Which is curious, when you think about it. It begins in an unnamed city in Canada which I figure is either Calgary or some more northern city - the Rockies are mentioned, and Laura absently tracks the ups and downs of the oil industry by watching the cranes move on the horizon: when they're still, it's a bad day. (Alberta is home to the infamous Tar Sands.) I'm always curious about why authors decide to leave a city unnamed like that. The bulk of the novel is set in Nigeria and covers pretty much the entire country - it was easy enough to picture the individual settings and get an idea of how close they are, as well as the very diverse landscape, based on how things are described, but I would still have loved a map. I love maps, and I find them useful in creating a more three-dimensional picture in my imagination. If you're unfamiliar with what "419" is, it is an email scam that nets millions of dollars for Nigeria and is one of their biggest industries, after oil. It begins with an email, and it's a fair bet that by now, anyone who has at least one email address would have received at least one of these messages. I hadn't had one in a really long time - well I get spam mail on gmail (never Hotmail) but I never open them; most of those are about winning lots of pounds from Britain for something-or-other (or messages from Canadian banks telling me there's a problem with my account - right, and I don't even have accounts with those banks!). Incidentally, we also get one via phone here, someone Indian asking us about the Microsoft bug reported on our computer - a-ha, yeah, nice try. You ask yourself, how can these possibly work? They're so blatantly obvious, so incredibly stupid. But they do. Not with you or me, but with other people. In the case of Ferguson's novel, the 419 scam that lured in Laura's dad - a lovely, kind-hearted man whose two children didn't have much time to give him anymore - it was a plea for his help in aiding a young woman. And of course, the sender had done their research, having found out lots of information about him via the woodworking forum he frequented, which enabled the sender to make his message personal, intimate even - clearly, they had the right person. Ironically, the day I wrote this review I received a private message through 카지노싸이트 - the user was deleted before I could report it so they're very quick on catching them, but just goes to show that they really do find people everywhere, on forums etc. I thought, before I deleted it, I'd include it here as a sample message, very typical of 419: Hello , I honestly couldn't have made that up (to say the least, I'm incapable of writing something with that many errors!), but it's interesting to note it's talking about Ghana - 419 seems to have spread. The messages are always like that: help us liquidate someone's money before the government seizes it, all you have to do is hold it in your account, and you'll get a commission. But there is no money, and that's not how it works. In Nigeria, it's a huge underground business, employing thousands. As one of the RCMP officers explains to Laura and her family, it's named after "the section in the Nigerian Criminal Code that deals with obtaining money or goods under false pretenses." [p.111] I did notice, though, that this one wasn't half as well-targeted as the one that nets Laura's dad. It doesn't even use my name! In the story, Laura's blustering older brother Warren is the character created as a foil, the person added to the story to show just how easily people can fall for things. In fact, the whole conversation with the RCMP when they're shown the emails, the forged documents, and had it all explained to them, is pure exposition. "Your father signed a document granting power of attorney to the law office of Bello & Usman in Lagos." Learning about 419 and its effect on the victims - whom the Nigerians see as merely greedy and so not people to feel sorry for - was naturally fascinating. As was learning about the state of Nigeria's oil industry, which is plain frightening. I read this book for a book club and one of the other readers brought along a slideshow of images from the Niger Delta, of the water slick with spilled oil, the natural gas flares, burning off the gas that would normally be collected. As Ferguson describes in the novel, these fires create acid rain and the people's skin burns. Their food source is gone, and they have resorted to sabotage and guerilla warfare: opening up the pipes to siphon off the oil to sell on the black market; kidnapping foreign (white) workers and holding them to ransom; terrorising their own people on the rivers and in villages. When their own people aren't attacking them, the government sends in soldiers to kill them, burn their villages, take anything left. It's amazing the Igbo have survived at all. One of the boys was wavering on his feet. His eyes were milky and unfocused. It reminded Nnamdi of the glassy gaze of the Egbesu boys, but without the bravado or the gin. Nnamdi's people, the Ijaw, was the tribe who used to capture people from other tribes, take them to the coast and sell them to the white slavers. So in Nigeria, they're not particularly well-loved, and the government views their protests against the oil industry as a kind of anti-Nigerian act of terrorism. Reading Nnamdi's story, it pretty much breaks your heart, watching along with him as the precious mangrove swamps - mangroves being one of those instrumental vegetation needed to filter CO2 from the air - are annihilated, the water poisoned, the fish and animals obliterated. So much waste - it's unbelievable. Anywhere else, the industry is fairly well regulated, but in Nigeria, either no one cares or it's simply too dangerous - the locals have made sure that any attempts to repair pipelines, for instance, are a death mission. That's another aspect touched upon in 419: colonialism and inter-tribal conflict. There are running jokes about the different tribes, of which there are many, who, like everywhere in Africa, now find themselves lumped together in one country thanks to the borders drawn by European colonists. What was Nigeria? The unnamed woman from the Sahel, who calls herself Amina, is decidedly foreign, alien, yet sympathetic - especially woman-to-woman. We never learn the real reason why she's fleeing her tribal land, her village, her people - the way she talks about them gives me the idea she still has pride in who she is and where she's from, but something happened to drive her out, most likely linked to her pregnancy. I found that not knowing increased the mystery of her, and kept you wary, but also made you proud of her too. In the end, it didn't matter that we don't learn the truth, it becomes irrelevant. Nnamdi is a hugely likeable character. Unlike many others that fill the background of the story, he is loyal, trustworthy, respectful, intelligent and full of life and even laughter. He is only about eighteen years old, and the fact that he was the most sympathetic character of all of them makes his story the hardest to read about. The weak link is Laura, though part of this is deliberate on Ferguson's part and the rest is a let-down in what was strong storytelling up to the end. Laura comes from a different world, and when she arrives in Nigeria she represents the quintessential white colonist, caught up in her own objective, her own wishes, with zero empathy or any wish to understand the people she encounters. She blunders in in typical white-foreigner fashion, making things so much worse, and effectively kills one character. While I could see her side of it and understand her actions, because I had got to know the other characters and their world a bit, I found her abhorrent and unsympathetic. It just goes to show what knowledge and education can do to your perspective, in opening your mind. The question then becomes, Just who is the real victim? There are many ways to be a victim, and it's never black-and-white like you wish it was, like Laura makes it out to be. The trouble is that Laura's not a very convincing character. Interestingly enough, Ferguson did a much better job at capturing the Nigerians, than he did his own countrywoman. It's hard to really understand her, because she's so withdrawn and lives like a hermit. I would have respected her but that, after making her point, she then demands the money - when all this time she's claimed it wasn't about the money. I don't know whether to think that in the heat of the moment, she lashed out to hurt more deeply, or whether, deep down, it really is about the money, always. Food for thought. The novel is full of parallels, between the oil pumping like hot blood through the Niger Delta contrasted with the wealth of industry and progress in Laura's city, to the parallel between the description of a man having a tyre put around his chest and arms, doused in petrol and set alight, to the detective investigating a scene near Laura's apartment building in which a homeless man has been set alight: these juxtapositions show both the interconnectedness of the world (the fact that what's happening in one country - that we all like to frown upon - often benefits our own - like China's emissions, largely created by the demand for cheap products consumed by us), as well as showing that the cruelty seen in one country, like Nigeria, is not confined to it - that we can be cruel and violent and heartless, too. A lot of the time, these parallels were a bit obvious, a bit heavy-handed, but I still appreciated their presence. As a story, 419 is an impressive work, richly layered, complex, nuances and empathetic, fleshing out a country that's easy to demonise and isolate as its own downfall. As the winner of Canada's most prestigious literary award, I'm not so sure. This is solid fiction, but not what I would expect of the Giller Prize. It has some absolutely lovely prose, some beautiful - if harrowing - descriptions, and speaks to the condition of humanity and the human heart with touching honesty and wry humour. It is a story I definitely recommend, one that shows great sensitivity towards another culture and people and tells their story with much respect. It was a better story, overall, than Spanish Fly. But I don't think I would have picked it for a Giller winner. ...more |
Notes are private!
|
1
|
not set
|
Feb 2013
|
Dec 12, 2012
|
Hardcover
| |||||||||||||||
0676975313
| 9780676975314
| 0676975313
| 3.45
| 103
| Aug 28, 2001
| Jan 01, 2002
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it was amazing
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Brilliantly bringing together two stories of travel, adventure and family secrets that bring our heroine and her ancestor to the South Pacific Islands
Brilliantly bringing together two stories of travel, adventure and family secrets that bring our heroine and her ancestor to the South Pacific Islands, Ronald Wright delivers a truly believable tale told in two distinct voices that will hold your interest right to the end. Olivia's world has narrowed to the inside of the Arue Women's Prison on the South Pacific island of Tahiti. It is 1990, and her search for her father, a pilot who went missing in action during the Korean War, has brought her here, to a place she believes he travelled to after deserting, but her voyage led to the discovery of a drowned girl in the ocean and now she and the three people who were on the yacht with her are being held under suspicion of murder. Olivia spends her time working on a long letter to her daughter and only child, a woman she's never met as she gave her up for adoption when she had her as a teenager. This unknown daughter has finally reached out to Olivia, who replies by telling her everything: about her childhood and how she came to have a baby so young, about the girl's father, about her father's disappearance and her mother's certainty that he would return. And she includes transcribed pages from the secret diary of a long-gone relative, Frank Henderson. Henderson was not a direct ancestor - his only child died during the second world war - but he was an uncle of sorts and Olivia's family lived in his house, which still displays random objects from the previous century and Henderson's travels. Above the fireplace mantel was a ceremonial spear, the length of two men, made from a single piece of polished wood. Olivia and her sister Lottie grew up being told by their mother that Frank Henderson had acquired it in Africa, during a disastrous military mission that lost him an eye. But when, after their mother's death, Olivia uncovers Henderson's papers, she learns the true story of the spear, and what happened when Henderson was a young lieutenant on a royal naval ship along with two grandsons of Queen Victoria, sailing through the South Pacific. Henderson's account and Olivia's own story converge to an enlightening truth that will link them together in a new and surprising way. I'd never read anything by before and I didn't quite know what to expect, but even had I known what a great writer he was I still would have been deeply impressed by this book. The character of Frank Henderson was actually modelled on Wright's own ancestor, a cousin, of the same name, especially his account of being captured by the Sofas in 1897, but the rest is all fiction. [Edit: Actually I have read one of his books before, how could I have forgotten? It was and it was AWESOME!] The chapters that Henderson wrote in the late 1890s, as a kind of security against his suspicion that someone might seek to make him "disappear" for what he knows about the queen's grandson and heir, were told in Henderson's distinct voice, noticeably different from Olivia's and with the inflections and phrasing familiar to the period in which he lived, and yet they never jarred with Olivia's. Somehow Wright achieved that most sought-after skill: creating two clear, strong voices, one female the other male, speaking from two different time periods, which manage to complement and work together rather than butting heads or alienating the reader. It was one of the elements of the novel that most impressed me. Olivia is not a woman I have much in common with, and yet I found her sympathetic, interesting, and I cared about her greatly. She grew up in England, always aware of how drastically different to her beautiful older sister, Lottie, she looked, and suffering from a bit of a complex because of it. Which may go part way to explaining how she was seduced by an older man. Later she moved to Canada and worked in Montreal's film industry, then relocated to Vancouver where she now lives and directs documentaries. This is how she meets a professor from the university, a married older man whom she has an affair with. She tells all this to her daughter, whom she's never met. Her need to find out what happened to her father was entirely believable and understandable, and the mystery - never overplayed - becomes more and more interesting the farther you get into the story. Olivia and Henderson are two very different people, and their stories are not told in chronological order, but you won't have any difficulty in keeping track. Henderson recounts first his more recent mission to Africa, in which he was captured by the Sofas and was only saved from being killed by them in front of their leader by falling asleep; and then he goes back farther in time to the HMS Bacchante, which sailed with the royal navy from 1879 to 1882 with the two princes on board. The ships tour the eastern coastline of South America and South Africa, then eventually make their way to the South Pacific Islands, where the heart of the matter lies. All three stories - Henderson's, Olivia's father's, and Olivia's own - converge there, and connect. The islands of Tahiti and its neighbours are brought vividly to life in these pages, and you learn a lot about the tribes that in habit them as well. The contrast between Olivia's more contemporary trip (1990 is not that long ago!) and Henderson's 19th century one is clearly apparent. Tahiti does not come across as an island paradise in Olivia's account; instead it seems an unfriendly place where everyone bemoans how much it's changed in the last twenty years - something they say every year. Olivia's troubles with the authorities there rob the islands of their appearance of relaxation and peacefulness, of well-off white people indulging themselves at the expense of the locals. This is not that place. But even in Henderson's account, these islands are dangerous territories (this is complemented by another book I read after this one, John Boyne's Mutiny on the Bounty). Politics and an on-going colonialism play a big part, and both Henderson and Olivia shed light, in different ways, on conditions there - Henderson recounts something that a Mr Thurston, a kind of translator for the king of Fiji, says to them: "Justice for the Fijians is of greater consequence than cotton growing. Or even empire building." He shot a fraught look at [princes] Eddy and George. "I hope Mother England will remember that. God help us if she doesn't. The Fijian is the finest friend you can ever make - and the fiercest, most tenacious foe. You don't want another New Zealand on your hands. Ten million pounds wasted in campaigns, hundreds of settlers slaughtered, half the Maori race destroyed, and no hope of lasting peace except by destroying the rest. Or, at the eleventh hour, admitting them to government. Which is what they should have done from the start." [p.250] Seeing the passage of time wrought on the islands brings them into stark relief; as Olivia observes: This high wilderness had been a no man's land in ancient times, avoided by the Marquesan tribes except when they swarmed up here to make war in clearings strewn with bones and broken weapons. Again it struck me how Balkanized these islands had become, as if the history of whole continents had had to be repeated here in miniature. The people might know themselves to be descended from a single fleet, yet still they divided and fought - as in human enmity must always fill the space allowed it, whether an island or a world. [pp.318-9] The Bacchante also travels to the colony of Australia, first, to Melbourne and Hobart. I loved reading the small part about hunting Tasmanian Tigers in Tasmania [pages 198-201] - so close upon the heels of reading by Louis Nowra, too - because it's where I'm from and really brought the story "home" so to speak. The other thing I'll note, for myself more than anything, is how Olivia's discussions with her professor, whom she refers to as "Bob", about the classic novel Moby Dick, makes me want to read that book for the first time in my life. I've never felt any interest in reading Melville's epic tome before, but Bob has made it sound so interesting! Wright's story is cleverly structured, thoughtfully and skilfully told, and quite beautiful to read. It did not feel like I was reading a novel; rather, Olivia could have been someone I learned about in a well-made Canadian documentary (and seriously, Canada excels at documentary film-making), Henderson a person who comes to life within the pages of a true memoir. Yet none of this realism takes away from the tension and thrill of discovery as the pieces come together. Weaving together the secrets of both family and state, this story of love, loss, and the mistakes we make - and their consequences - is highly readable, beautifully told and deeply moving. ...more |
Notes are private!
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1
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not set
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Apr 27, 2013
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Dec 12, 2012
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Paperback
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0263892077
| 9780263892079
| 0263892077
| 4.23
| 13
| Nov 01, 2012
| Nov 02, 2012
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it was ok
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In
Dr Chandler's Sleeping Beauty
, Dr Katherine "Kitty" Cargill has come to Sydney for a three month appointment in the emergency department to giv
In
Dr Chandler's Sleeping Beauty
, Dr Katherine "Kitty" Cargill has come to Sydney for a three month appointment in the emergency department to give herself time to recover from her fiance's betrayal with her best friend and the end of a relationship that dates back to childhood. Her first meeting with Dr Jack Chandler, the head of the department, doesn't go well and the two seem to instantly dislike each other. But they're also drawn to each other, attracted by looks and the thrill of going at each other - and they're neighbours, living in the same townhouse complex near Bondi Beach, and keep running into each other outside of work too. But Jack's never hidden the fact that he's not interested in a relationship, preferring one-night-stands and short flings, and Kitty's still bitter and resentful about her best friend Sophie sleeping with her boyfriend, Charles - and to top it off, Sophie's asked her to be her maid of honour at their wedding. They both have personal obstacles to overcome; can they take open their eyes to see what's right in front of them before it's too late? In Her Christmas Eve Diamond , Cassidy Rae returns to her post as the formidable dragon lady in charge of the nurses in her ward at a hospital in Glasgow after seeing her gran settled into a care home, to find three new doctors in the ward - and one of them, registrar Brad Donovan, takes it upon himself to charm the nurse into friendship. As Christmas - Cassidy's favourite time of year - nears, her relationship with Brad only strengthens, until he tells her about his little girl, a daughter he had with another doctor back in Sydney who he's been trying to find ever since the mother disappeared with her, possibly to America. Knowing that Brad isn't going to stick around once he finds his daughter, Cassidy despairs - after all, she has no intention of leaving Scotland, no interest in living anywhere else. Can they find a middle ground, a way to stay together without compromising the things they love most in the world? I've never read a Medical Romance before, and it not something I ever saw myself reading either. I don't remember where I came across this, possibly on an e-newsletter late last year, and at the time it appealed. I thought both stories were going to be set in Australia, which was one reason why I wanted to read it, another being a possible Christmas theme (I got this in December last year). The first story is an Australian one, while the second, even though it has an Australian character, is British. I didn't mind the medical setting, even though some of the details - people's job titles for example - were over my head; I'm pretty well practiced at simply ignoring details I don't understand. As Mills & Boon stories, I was surprised at how little graphic content they contained - they were almost (but not quite) PG rather than MA. The sex was disappointing mostly in how it was described rather than quantity - it was quite dull. The only thing that actually stood out to me is how, in the first story, he puts on a condom before she gives him fellatio. Now, the first thing that makes me think is how disgusting that would be, as the woman, and secondly: Jesus, just how many STDs does he have that he needs a condom for a blowjob?! Let me discuss these stories separately now, as they're quite different. Dr Chandler's Sleeping Beauty has nothing to do with the fairy tale, just in case you were wondering. If Kitty is a sleeping beauty, it metaphorical only: she needs to be woken up, to see things differently. But so too does Jake Chandler. He's your classic Mills & Boon hero: a womaniser - a slut, if you will, though I don't like to give that word any credit - and arrogant to boot. He's a doctor, not a millionaire, but he has the attitude of one. I didn't find him to be an attractive character which was part of my problem in connecting to this story - the other being Kitty herself, who didn't strike me as very bright and I couldn't see what the attraction was except for her cleavage. How am I supposed to believe people like Jack and Kitty fall in love with each other in just a few months when, rather than give me any reason to believe in it, you've gone out of your way to make them quite unloveable? I wasn't able to buy into it, it was just too forced and contrived. Her Christmas Eve Diamond was more interesting and a bit different, and I liked Cassidy a lot more than I liked Kitty. More importantly, Brad was very likeable, very honourable, a real dear in fact. Only problem was that, funnily enough, he lost his sex appeal along the way. The two are not mutually exclusive, but there wasn't enough focus on the romance/sex side of the story, the relationship/family drama/character side took precedence instead. I normally wouldn't mind, but for as strong as Cassidy and Brad's friendship was, they lacked chemistry. I mostly just empathised with Brad losing his daughter like that - that would be so horrible, his ex sounds like a right cow, it's not like he was abusive or anything but she acts like he's a bad man. Though he's a bit of an idiot for not setting up formal custody rights at the very beginning. The romance is a bit of a side issue, the focus being more on Brad finding his daughter and Cassidy learning not to be afraid of living in other places. Of the two, Her Christmas Eve Diamond was the one I liked more, it had atmosphere and a good sense of setting - it's winter and the hospital is freezing, and most of their patients are old people who can't afford to turn the heater on and nearly die of hypothermia - and focused on developing the characters. But neither of the stories offered the kind of emotional intensity or sexual chemistry - let alone tension - that I appreciate in romance fiction, and that made this a disappointing read. ...more |
Notes are private!
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1
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not set
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Mar 10, 2013
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Dec 07, 2012
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Paperback
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009192507X
| 9780091925079
| 009192507X
| 3.75
| 108
| Mar 01, 2009
| Jan 01, 2009
|
liked it
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Annabel Karmel is a bit of a big deal in the baby-toddler industry over in Britain; I heard of her through a friend of mine who's from London. Karmel
Annabel Karmel is a bit of a big deal in the baby-toddler industry over in Britain; I heard of her through a friend of mine who's from London. Karmel is famous for her Meal Planners, which frankly don't appeal to me at all, but my friend had this book and there were several meals I wanted to try so I do what I usually do - not ask to borrow the book, but get my own copy. (Just as well, there's already quite a bit of food stains on it!) The book is broken down into Breakfast Bites, Versatile Veg, Fun Fish, Finger-Licking Chicken, Meaty Mouthfuls, Simply Snacks and Sweet Treats. There is a very short introduction that touches on finger foods - what's ideal etc.; choking and teething. There really isn't any information here about nutrition, or guidance on giving your baby/toddler things like salt and sugar. And I wouldn't say this is because it's a British book - the other two baby-toddler cookbooks I've yet to review are the same and they're American - but there's an awful lot of salt in these recipes. Not in terms of individual quantities - a pinch or "to taste" isn't a lot of salt - but the truth is, kids this young really don't need any, or much, salt at all, and if you've already added cheese to a dish, why on earth would you add salt on top of that? So this is one of those books that you need to bring your own sense of judgement and nutritional knowledge to bear, as well as your own skill as a cook. I've tried several recipes from this book, with mixed results. There's a great chicken skewer marinade that I make almost as often as my foolproof honey-soy-ginger one: it's honey, dijon mustard and lemon juice with a tablespoon of oil and a crushed garlic clove, plus I add a bit of water too. The recipe for carrot cupcakes is very good, very light and moist and, yes, better than the one I've been using. Some recipes are no different from the ones I already use - like for quiche - and others aren't suitable for kids as young as my son (19 months) and the other two I look after, so I haven't tried them yet. I was bemused to see a recipe for chicken rissoles in here - rissoles being one of those things that I associate with 1980s dag-erama, a cheesy lower-middle-class suburban dish (it has tomato ketchup in it) that I've never actually come across in person before - so of course I had to try it, and it's pretty terrible. Some of the recipes are for taking ordinary things and sprucing them up, or a way of serving them that appeals to toddlers. Mostly this is an ideas book, and in that sense it's a good one. I know I struggle to come up with meals sometimes - my memory will just go blank - so a book like this one serves as a good inspirer. But you'll find yourself adapting and modifying the recipes quite a bit I think. Recipes come with info on how long they take to prepare, how much food they make, whether they're suitable for freezing, and whether they're suitable for under-1-year-olds, as well as cooking tips. So far, my favourite recipe in this book - and the reason why I'm glad I got it, because I tell ya, it ain't no ! - is the recipe for chicken nuggets. I just , because they are so scrumptious I'm convinced your child will never want to eat those fake-chicken things Macdonald's sells after trying these. [click the link for the recipe] ...more |
Notes are private!
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1
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not set
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Feb 2013
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Nov 19, 2012
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Hardcover
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0812992806
| 9780812992809
| 0812992806
| 3.87
| 1,440
| Feb 19, 2013
| Feb 19, 2013
|
it was amazing
|
An editor and journalist with a law background, Emily Bazelon's intense examination of what bullying is today began with a series on cyberbullying in
An editor and journalist with a law background, Emily Bazelon's intense examination of what bullying is today began with a series on cyberbullying in the online magazine,
, and culminated in a highly contentious article called - much of which is explored again in this book. Bazelon has taken a refreshing, level-headed approach to a subject that in recent years, thanks to the internet and social media in particular, has become sensationalised to the point where we're throwing the word "bully" around with abandon, but without really understanding what it is anymore. The playing field, so to speak, has broadened and become more complex, and there's a definite need to reassess the terms and conditions if we're to understand what kids are enduring, or inflicting on each other, today. Thanks to the media and its ability to bring stories of bullied kids "on our computer screens and phones for all to see" [p.8], we're all taking a keener interest in what's going on, especially because of the cases of teen suicide where the deceased had been a victim of harassment or bullying. However Bazelon isn't interested in sensationalising the stories of bullying or teen suicide; the opposite, in fact, is true. In order to be clear about what constitutes actual bullying, it must be defined, and its definition must be adhered to, because the effort to reduce bullying has sometimes negatively impacted kids, in terms of reducing the space they need to develop, mature and learn how to cope with conflict, adversity, clashing personalities and so on. Doing this right ... means recognizing that there is truth in the old sticks-and-stones chant: most kids do bounce back from cruelty at the hands of other kids. They'll remember being bullied or being a bully; they'll also learn something useful, if painful. "Children need to encounter some adversity while growing up," says Elizabeth Englander, a psychologist who is the guru of bullying prevention in Massachusetts. "Even though it's normal for adults to want to protect them from all meanness, or to rush to their defense, there's a reason why Mother Nature has promoted the existence of run-of-the-mill social cruelty between children. It's how children get the practice they need to copy successfully with the world as adults." [p.11] It was hard to read that so many of the negative experiences I had as a child in primary school and high school weren't actual bullying, but just "run-of-the-mill social cruelty" - it somehow diminishes, if not dismisses, the impact this had on me. I was very much like Monique McClain, the first of three case studies Bazelon presents as context for discussing the topic of bullying in its many facets: sensitive, not aggressive, not very assertive or confident, and also insecure, shy, easily intimidated and hugely hesitant. When I put it like that, it's a wonder I wasn't bullied more (I may have been all of the above, but I was also a nice kid, friendly with a sunny disposition, and many other positive adjectives - the only real bullying I received in primary school, under the definition presented in this book, concerned my weight, for which kids occasionally teased me from Kindergarten right through to grade 6, but for which my only real suffering was the suffering I inflicted on myself - hence the insecurity and lack of confidence which I spent years working on eradicating). It's not an easy task for Bazelon to have taken on: no one who has been on the receiving end of unwanted "drama", as kids call it these days, or who has watched their kids endure it, wants to hear that it's not "real" bullying and that they need to find ways of coping and handling it that are more constructive and confidence-building. As the case of Monique showed, it didn't matter that the kids at her school just thought they were involving Monique in their drama; Monique felt she was being bullied and soon it became a fight between her mother and grandmother, and the school principle and school council, being waged at meetings and in local newspapers. None of that really helped Monique, even though that was the aim. The old problem was that adults were too prone to look the other way when powerful kids turned on weaker ones. This, of course, still happens, but we also have a new trap to watch out for: being too quick to slap the label of bully onto some kids and the label of victim onto others. It's a kind of crying wolf, and it does damage. For one thing, calling every mean comment or hallway clash bullying breeds cynicism and sucks precious resources from the kids who need our help. For another, it turns a manageable problem into an overwhelming one. [p.298] What Bazelon aims to do is, partly, to show that our (the adults) reactions to what our kids experience at school and online, can sometimes make things worse. She also aims to show that it's important to distinguish between "drama" and bullying because one is "run-of-the-mill social cruelty" and the other can have serious impacts on the health, safety and mental well-being of the victim of bullying. Yet she also argues that bullying alone doesn't lead to teen suicide, that it can play a part but that there are other factors at play, especially mental illness - namely, depression. This is what has earned Bazelon her strongest detractors, because it has been interpreted as "blaming the victim". Yet the way Bazelon explains it, using the case study of Phoebe Prince and "the South Hadley Six" who were charged with causing her death-by-suicide, it does seem clear that it's a much bigger issue than bullying alone can account for, and that the media's sensationalism of "bullycide" (bullying someone until they're driven to suicide) not only misrepresents the issue but may have serious negative effects on our ability to tackle the problem. The third case study is that of Jacob Lasher, a boy who figured out he was gay when he was eleven, and later decided to come out in a flamboyant way - at a school in the town of Mohawk, New York, "a place that feels more Midwest than East Coast, and a little slow-moving", where nearly all the students are white and the "climate was less forgiving" of anything not "normal" [pp.58-9]. Jacob first experienced "low-level harassment" and ended up being bullied repeatedly, often violently. Many, including the parents of his most persistent bully, Aaron, saw Jacob as the guilty one, the one who provokes others and harasses them to the point where they fight back. The school principal was unsympathetic, and Jacob eventually approached a legal aid group who encouraged him to take the school to court. Using the three case studies of Monique, Jacob and Phoebe, Bazelon provides not only three very different scenarios for context, but also avenues through which to discuss the broader issues. She delves into studies that have been conducted around the world, current research and statistics, interviews psychologists as well as the victims of bullying and bullies, and explores why people bully others, as well as some of the effective solutions that schools are having success with today. As a child, I figured out for myself that some kids bully for power, and others out of insecurity and a need for power. It's a simplistic picture but it gave me not only some comfort, but also an explanation that defused the impact of their words and behaviour on my own psyche: words and actions affected me less because I saw them not as real critiques on my character or appearance etc., but as reflections of their own insecurities and an attempt to look strong to hide those insecurities from others. Understanding this made a big difference, and I think openly discussing this aspect of bullying with young children definitely helps. It helps not only the weaker sort, but also those who may become bullies of one kind or another; it helps build empathy, and also self-awareness. And those are the ideas I'd like to leave you with: character and empathy. Most of the time, the old adage that adversity makes us stronger does hold true. We have to watch out for the kids whose internal makeup means they are the exceptions, but we also have to give the majority of teenagers the space to prove the rule. We have to be there for them, ad we have to stand aside. We have to know when to swoop in and save them, and when they have to learn to save themselves. And we have to make tricky decisions about the gray area in between those two poles. With an entire chapter on the inner workings of Facebook - a secretive realm where Bazelon was granted unprecedented access - we can learn a lot about how social media works, and how kids are using it. For it's true: bullying is an old problem in a new world. The stakes seem so much higher because of the connection the media has loudly made between bullying and suicide, but perhaps we should instead say that the stakes seem so much higher simply because the audience is so much larger: a humiliating, mean message is posted to Facebook and potentially thousands of people can read it, as opposed to the one or two eye-witnesses of an attack on school property. It has also changed the scope because now, so much bullying - or an extension of it - happens online, outside school property and the ability of schools to do anything about it. Still, as Bazelon shows, the onus is placed on schools to "fix" the problem (and then not provided any funding to do it). This book has a clear American focus, and she's talking about American schools, but still the problem is a broader one. I appreciated that Bazelon takes the time to point to parents too, as people who should be responsible for the behaviour of their kids. Several years ago I read Rosalind Wiseman's , which also talked about girls learning gossipy, judgemental behaviour from listening to how their parents talk. It's a simple, straight-forward truism for the majority of us. Watching my own two-year-old grow and develop, it's blatantly apparent how much he learns from me and his father. If we want him to be polite and friendly and cooperative etc., we have to show him what that looks like. There's not much use in telling your kid: "Be polite!" but never demonstrate politeness (or to demonstrate the opposite). Just yesterday, in the playground, my husband witnessed a case in point: a little boy, perhaps four years old, made a rude declaration about our toddler while standing behind him on the slide. The mother was embarrassed and apologetic to my husband, saying her boy was going through a bit of a phase. She then took him in hand and proceeded to shout at him, yelling things like "You will NOT do that again, do you hear me?" and so on. Now, obviously I don't know these people or what they're going through in their own lives, but bullying your kid to not be a bully is never an affective method of teaching your child anything. It's right up there with using violence to "teach them a lesson" and be good, obedient (read: scared shitless) kids ( make me so unbelievably angry I can't even begin to express it). With Sticks and Stones, Emily Bazelon has rather bravely taken on a very complex issue, one that I had always assumed was fairly black-and-white. I learned a lot from this book, which raises just as many questions for an ongoing dialogue as it answers - because there isn't a simple easy fix. This book is not the beginning and end of an understanding of the subject, but one instalment in an ongoing body of research - one that deftly and comprehensively brings together and makes accessible a vast body of research and opinion. Bazelon has an incredibly effortless writing style that is highly readable, and the way she has structured the book as a whole works exceedingly well in making it readable. The depth of research and the complexity of it all - Bazelon juggles it smoothly and manages to cover so much without tripping over herself, never losing the reader or overwhelming them with too much at once. Not only is the writing clear and clean and easy to read, but it has the added layer of emotional depth. Much of this book will have you tied up in knots, intellectually and emotionally. There was a part that made me cry, and many others that made me weep inside. There were times when I felt such furious rage, and such a strong protective surge, that it made me feel like I was right there, experiencing what these kids experienced. That's empathy, and compassion, and the fact that I've had some experience with being on the receiving end and it did make me stronger, and build character, aids in that understanding which I brought to my reading of this book. I can see why some find Bazelon's arguments contentious, or controversial. It stems from that same uncertainty and self-doubt that resides in us when we are new parents and many, not all, seek out some kind of guidebook that clearly lays out the rules, the steps, the formula, the method for looking after a baby, that same distrust not just in our own instincts but in others' ability to understand the needs of our child (and yet trust a book!). Bazelon, as the quote above shows, has trust in us adults and parents to be able to distinguish between real bullying and schoolground drama, to know when to step in and when to be quietly supportive, when to take it to the next level and when to give kids the space to work it out for themselves. And that scares the crap out of people. Not only do parents and teachers etc. feel doubt in their own abilities to do this, but we have a general lack of trust in the abilities of others to do so too - something we learn from experience, and the many examples of being let down. It reminds me of the first time I took a First Aid/CPR course, and the instructor talked about how many times people don't go to the aid of someone having a heart attack etc., because they're terrified they'll do something wrong and make it worse, because they're not 100% sure of what to do, on an intellectual level. The existence of religions and religious texts like the Bible show us that, as a species, we humans yearn or feel a need for a guidebook to life in general, to be told in simple steps how to live, what to do, how to punish others. Bazelon's book is certainly no guide, not in that sense. But it is educational, and it is a guide in a broader sense (and in a practical one: the chapter on solutions offers real world examples of schools that have produced positive results in their methods of tackling bullying); one that expects you the reader to meet it halfway, bringing with you your own experiences, education, intellect, ability to think and reason and of course your empathy. It is a book that not only educates you on the topic through excellent investigative journalism, but expands your own thinking on it, your own understanding and opinions. You might not agree with everything Bazelon says, or the perspective she takes, but it is always worth hearing other sides to a story - because every story has two sides, even if we don't like one of them. As a parent and an educator, Sticks and Stones provided me with much food for thought, a great deal of insight and a wealth of fine detail into a very complex issue that is perhaps more relevant today than it's ever been before. ...more |
Notes are private!
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1
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not set
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Aug 17, 2013
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Nov 15, 2012
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Hardcover
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0062021737
| 9780062021731
| 0062021737
| 3.66
| 15,120
| Jan 01, 2012
| Aug 28, 2012
|
liked it
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When James Ryburn, heir to the Duchy of Ashbrook, is ordered to marry Theodora Saxby by his father, the Duke, he naturally recoils - but not because T
When James Ryburn, heir to the Duchy of Ashbrook, is ordered to marry Theodora Saxby by his father, the Duke, he naturally recoils - but not because Theo isn't beautiful or because women of the ton whisper that she looks like a man. It's because his father is heavily in debt due to unwise investments and, even worse, as Theo's guardian, he has embezzled some of her impressive inheritance in trying to make his money back. Theo and her mother have lived with the duke's family since her father died when she was little. A wealthy man and the duke's best friend, Theo's father made the Duke of Ashbrook his daughter's guardian, and Theo and James have grown up together like brother and sister. Theo knows she's rather ugly, a state not helped by her mother's insistence she wear pale pink with lots of frills. Now seventeen, she yearns to marry so that she can be free to be the woman of fashion she wants to be, setting her own unique style - including cutting off her hair. When the beautiful twenty-one year old earl suddenly woos Theo and gives her a kiss that changes everything - a kiss in a public place where a number of people, including the Prince Regent himself, catch them at it - Theo couldn't be happier. The first two days of her marriage to James are full of passion, and Theo couldn't be happier. All that is destroyed when she learns that James married her for her money - married her at the behest of her father, that he tricked her. With both men, James and the Duke, at her mercy - or the mercy of her money - Theo lays down some ground rules. She banishes them from her sight, takes over the running of the estates, and lives life as an independent woman. James takes to the seas and, when his ship is overtaken by a pirate, joins piracy rather than see his men drown and his ship sink. The duke, after a couple of lonely years in the country, dies wishing he could see his son one last time. As the years go by and there's no word of James' whereabouts, Theo is faced with the decision of having him declared dead so that his cousin, Lord Cecil Pinkler-Ryburn, can take over the duchy, something he really doesn't want to do. But some life-altering moments in James' life force him to reconsider the things he values most, and whether returning to win Theo, the woman he loves more than anything, back is a greater cause than obeying her command to go. For as James learns, there's more to Theo's reaction to her discovery than he would have guessed, and it will take some cunning on his part to convince her that she shouldn't be ashamed of her passion. My second Eloisa James novel didn't have the wit and charm of the first one of hers I read, , but it did have other things to merit it. James takes her characters on intense journeys and really makes them work hard at coming together, and I was never sure where she was going to take the plot. This made for some pleasant surprises along the way and a fairly strong novel for the most part, only to be let down by the ending. Theo and James' youthful characters are established well at the beginning, and I liked both of them. James does have honour and integrity, and puts up a good fight against his father, but is left with little choice. On the one hand, he does genuinely care for Theo - whom he calls Daisy - and he thinks she's beautiful and comes to love her (or admit his love for her, after years of staring at her bosom across the dining table), but he knows that when she finds out (as she surely will) the reasons behind his sudden interest in marrying her, she'll flip. And she does. Theo has no delusions about her looks, but knows she has the wit and intellect to make up for her lack of beauty. At first she has her sights set on another man, someone James went to school with (and who apparently likes to cross-dress, according to James, not that Theo believes him), but James' kiss obliterates any thought of anyone else. Her reaction to hearing the truth of her marriage was set up well and entirely believable; more than that, it was very empowering. James had made Theo his partner not just in marriage but in handling their money and the Ashbrook estate, something he insisted his father hand over to him upon his marriage lest he ruin it any further. And since the money is all hers, she had the power to made demands. As tragic a scene as it is, it's also hugely satisfying. I didn't see the pirate part coming, and couldn't help thinking that it was all a bit unnecessary, though it was certainly more fun this way and more exciting (and dangerous) too. James changes so much while he's away, and is barely recognisable when he returns. But he's matured, and while he still feels for Theo the passion he always felt, he's learnt more than some new lovemaking techniques: he's learnt how to rein it in and be patient. Theo was spooked by the passionate demands the young James placed on her, but mostly she was deeply humiliated by the compromising position the Duke found them in, just before she learned the truth. As the lonely years have gone by, she's isolated herself even further by convincing herself she's not a passionate person, she has no interest in sex, and they should just get a divorce - something she's sure the Prince Regent will grant in the circumstances. James knows otherwise, of course, and goes about planning how to convince Theo that he's exactly the man she wants, not some cold, asexual bore who's only interested in polite conversation and nothing else. Awakening Theo's passion is a task he takes seriously, but he's determined to fix his marriage and have her love him again. While I love a romance where part of the focus is on the woman ceasing to be ashamed of her own desires, it was this ending that somehow, I'm not entirely sure how, missed its mark with me. I think I was just disappointed that so much of their marriage, in the book, was spent apart, that when you add up the before and after parts there wasn't a whole lot to it. Lots of character development and plenty of chemistry, to be sure, but I wished for more scenes, more time with them together, as a couple, either in love or otherwise. I felt a bit cheated at the end, that it was over so quickly. It worked for the story, just didn't quite work for my own sense of satisfaction, if that makes any sense. As a coming-of-age story, for both Theo and James, this is a great read. Entertaining, passionate and resonating with genuine human emotion, The Ugly Duchess is worth reading, despite my final feeling of deflation. ...more |
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Apr 05, 2013
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Nov 08, 2012
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Mass Market Paperback
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031619008X
| 9780316190084
| 031619008X
| 3.83
| 51,294
| Feb 05, 2013
| Feb 05, 2013
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really liked it
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Only fourteen years old, Sophronia Temminnick is well established as the troublesome child in her family. She likes to take the mechanicals apart to s
Only fourteen years old, Sophronia Temminnick is well established as the troublesome child in her family. She likes to take the mechanicals apart to see how they work, and her adventurous spirit and complete lack of interest in the latest fashions or appearances in general are a trial for her mother in particular. Desperate to get her daughter on the right track and "cure" her of her failings, her mother enrols Sophronia in Mademoiselle Geraldine's Finishing Academy for Young Ladies of Quality. It all happens rather fast, and within an hour of learning about the school and her mother's plans, Sophronia finds herself in a carriage with Mademoiselle and two other children: Dimity Plumleigh-Teignmott and her brother, Pillover. Their parents have great hopes of them being evil; Pillover is going to Bunson and Lacroix's Boys' Polytechnique, the sibling school, to learn how to be bad, but looking at Dimity's pretty face and fancy clothes, as well as her friendly, rather naive manner, it's hard to think of her as at all bad. Sophronia is starting to wonder just who these people were and what was going on, when their carriage is accosted by flywaymen and Mademoiselle Geraldine is revealed to be an older student in disguise, sent on a mission not only to collect the three new students but also a prototype, in order to graduate. The prototype is not in the carriage and the girl masquerading as their headmistress, Monique, refuses to tell anyone where it is. She also takes the credit for their escape from the flywaymen. Once at the school - three huge, connected dirigibles perpetually floating through the mist - Sophronia quickly comes to realise that this is no simple school of etiquette: the girls here are being trained to spy and kill. She just as quickly comes to love it. With the help of a nine year old inventor called Genevieve, a boy from the boiler room called Soap, and her friend Dimity, Sophronia is determined to figure out where Monique hid the prototype - something that the Picklemen are after and have already attacked the ship for - and who she's planning to sell it to. Little does she realise just how close to home the answers really are. Set in 1851, approximately twenty or so years earlier than the Parasol Protectorate series, Carriger has set her new YA series in the same world as Alexia Tarabotti's. Werewolves and vampires are a part of society, as are mechanicals - coal-fired servant bots and handy gadgets. The link between the two series is Genevieve, the inventor, who is a youngish woman in the Parasol Protectorate. The key difference, though, is in the writing: while I struggle a bit with the slightly forced, "upper crust" style of speaking and describing used in the earlier series, this book is written for Young Adults, and is very smooth and fast-paced in comparison. Carriger has all her much-loved trademarks out: a predilection for tea, good manners and parasols; a wry, often ironic sense of humour; and a flamboyant imagination. I'm not supposed to quote from an ARC but I just have to include this snippet (and I can't see it being changed or scrapped for any reason!): "I'm sorry you're going to miss the theatricals." The plot is simple enough but the story keeps itself busy by introducing Sophronia to a whole new world - and the readers along with her. It's not necessary to have read the Parasol Protectorate in order to understand the world here, though if you have you'll pick up on little inter-connecting characters and details and understand what's going on a lot more than Sophronia does. Carriger keeps the tone light and even slightly frivolous throughout the story, lending it a cartoon-like quality that serves it well. This isn't a serious story, though it does touch on class snobbery and hints to the darker side of supernatural-human politics. Mostly I enjoyed the concept of the espionage school disguised as a finishing school, a fact that the real Mademoiselle Geraldine is completely ignorant of. Sophronia is intelligent, adventurous, strong and courageous and makes for a great heroine and a solid role model. There's no real romance going on here - she is only fourteen after all - though there is the start of something with her friendship with Soap, a black boy whose real name is Phineas. I'm still curious about this whole other side to Victorian England that Carriger has created, the idea that there are people - upper class gentry, no less - who are part of a secret evil society and want their children to follow in their evil footsteps. Not sure where that's going or what that looks like; Dimity certainly didn't have an evil bone in her body, and it makes me wonder what her parents are like - and what they actually do. This is such a fun read, though I struggled with the first couple of chapters which had some awkward turns-of-phrase that had me confused for a bit, but when in the mood for a light-hearted, silly and imaginative adventure story you can't go wrong with Etiquette & Espionage. My thanks to the publisher for a copy of this book via the Ontario Blog Squad. ...more |
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Feb 03, 2013
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Nov 04, 2012
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Hardcover
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0307359719
| 9780307359711
| 0307359719
| 3.82
| 24,473
| Oct 2009
| Sep 06, 2012
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it was ok
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Based on the author's childhood experiences of fleeing Vietnam during the war and arriving in Canada as a refugee, Ru is a scattering of memories, sho
Based on the author's childhood experiences of fleeing Vietnam during the war and arriving in Canada as a refugee, Ru is a scattering of memories, short vignettes told by Nguyễn An Tịnh (An Tịnh being her first name, which is one punctuation mark different from her mother's). The word "ru" means "small stream" in French; in Vietnamese is means "lullaby" - both meanings capture both the meandering nature of the story, such as it is, as well as the soothing voice of a woman to her past self, the child of her memories, as well as her own children. The word, according to the blurb on the book, also signifies a flow - of tears, blood, money. This too resonates with the passage An Tịnh finds herself on with her once-affluent family, from luxury estate to destitute boat people to new immigrants in Canada, struggling to balance their cultural heritage with the world they find themselves in. When I started reading this, I was struck by the beauty of the language. The very first page, the first vignette, reads like a spoken word poem and gave me a good feeling: this was going to be a book I would love. Alas, it was not to be. But let me share that first page with you, so you can see what I mean: I came into the world during the Tet Offensive, in the early days of the Year of the Monkey, when the long chains of firecrackers draped in front of houses exploded polyphonically along with the sound of machine guns. It sets the scene well, introducing us to our narrator - now a mother of two boys living in Montreal in the present day - as well as to what life was like around the time of her birth. Fleeing as a refugee feels imminent, and in a way, it is: the vignettes aren't told - or shared - in chronological order; they jump around in time and location, and many are like snapshots, a scene, a memory, frozen in time and set on a loop, the only things left of a life, a world, long gone. I read this for a book club and one of the other people there mentioned that she had heard or read that Thúy jotted these down in her car while waiting at red lights, which helped her read it because that is the way our memories come to us, in bits, randomly, suddenly, a flash across the mind. But for me, it only added to the sense that this memoir disguised as a novel lacked structure and focus, and without some of both, I held in my hands just that: random scribblings, put together in a sloppy, lazy way, where the moments of poetry cannot make up for the unreliable narrator and the lack of cohesion. It's not that I wanted this to conform to the standard structure of a novel, not at all. I'm all for the experimental novel, even the ones I'm not interested in reading like the Irvine Welsh book where the guy's tapeworm talks in the margins and, as it grows fatter, takes over from the man's narration altogether (I do, after all, find that I get the most enjoyment and meaning out of stories that use a more sturdy, reliable framework rather than some pretentious narrative structure that just distracts from the content - and perhaps tries to hide the vacuousness of the story itself). But sometimes you read a book where it feels like the author really didn't exercise enough control over their artistic, creative impulses. The art comes first, you could say, and then a good writer must shape it, give it form, and breathe life into it. With Ru, I felt like some random person had come across a draft, sketches, notes of a potential novel or pages from someone's diary, all torn up and scattered on the ground, and had picked them up and tried to sort them then given up, and published them just like that. That wasn't actually my problem with reading this. Chiefly, I never managed to connect or relate to the narrator, An Tịnh - a fictionalised version of Thúy. Part of the problem was the simple fact that I just don't know enough about the Vietnam war or what Canada was like in the 70s to be able to fill in the gaps in context, because there's no historical or political context provided, no background details. I have only a vague understanding of the Vietnam war based on a few classic American movies (and some not-so-classic) and the fact - little known in North America - that Australia fought for the U.S. in that war. Even though I grew up with kids whose dads had been there and had various side-effects, no one talked about that war, no one taught it or studied it. We did have a draft but nothing like the American one, and the men had a choice: go or be in the Reserves. When my dad's birthday was called, he chose the Reserves and has many hilarious stories to tell of what he and these other young men got up to on those weekends. As to the politics behind the war, my understanding is as thinly sketched out as this novel. There are some details about the Vietnam War, but they only served to confuse me most of the time. I couldn't follow the narrative all the time. Even though I read this almost in one sitting, it seemed like one minute the narrator said one thing and the next she contradicted herself. Lines like this: "The police were ordered to allow all boats carrying Vietnamese of Chinese background to leave 'in secret'. The Chinese were capitalists, hence anti-Communist, because of their ethnic background and their accent." [p.44] just left me feeling bewildered. Often within a scene you couldn't tell who she was talking about, as the use of pronouns would follow a proper noun and yet she'd be talking about someone else. It's the kind of book you would need to read at least three times to get to the point of following it better. After some time - a year? - in a refugee camp in Malaysia, An Tịnh and her family - once so affluent with wealth and a large estate - arrive in Canada as destitute boat people and, as part of a government policy at the time, are settled into the small rural town of Granby, Quebec. An Tịnh is still a child and one whose life has been uprooted; she latches onto new friends and small kindnesses in a pitiful way, a lost child in a new place, struggling to make a home. Again, my lack of contextual knowledge of Canada at the time made these memories, these scenes, decidedly lacking in a deeper meaning so that they read as superficial - a kind of wishful thinking rather than reality (many people in my book club had personal immigrant experiences to share, that this book made them think of. I'm an immigrant to Canada as well, but as a white English-speaking, Anglo-ethnic woman migrating from Australia to Canada, I don't feel like I had a "true" immigrant experience). Everyone in Quebec was so kind and welcoming and helpful to these refugees, these aliens in their midst. In the 1970s. To one who wasn't here to witness it (I wasn't even alive at the time), who didn't have knowledge of this policy or what people were like back then, it was disconcerting and unreal. And you still don't get a sense for An Tịnh anymore than you do in the scenes of her as a mother in the present, even though small details about her life are so vivid. Speaking of motherhood reminds me to mention that there are some recurring themes and elements in the book, some of them better executed than others. In the beginning she talks about the ties between her and her own mother, something culturally Other and hard to grasp in a way I could even picture; I had expected some more meaningful parallel between this relationship and the one she has with her own two boys (another confusing detail is her relationship status - at one point I was sure she mentioned a husband or father to her children, while later she talks about all her flings, her seeking of pleasure which implies she's a single mother. Frankly I've no idea what the truth is). One parallel that worked well (it wasn't subtle) was the one between north and south Vietnam, and English- and French-speaking Canada. Around that time, my employer, who was based in Quebec, clipped an article from a Montreal paper reiterating that the "Quebecois nation" was Caucasian, that my slanting eyes automatically placed me in a separate category, even though Quebec had given me my American dream, even though it had cradled me for thirty years. Whom to like, then? No one or everyone? I chose to like the gentleman from Saint-Felicien who asked me in English to grant him a dance. "Follow the guy," he told me. I also like the rickshaw driver in Da Nang who asked me how much I was paid as an escort for my "white" husband. And I often think about the woman who sold cakes of tofu for five cents each, sitting on the ground in a hidden corner of the market in Hanoi, who told her neighbours that I was from Japan, that I was making good progress with my Vietnamese. Other recurring themes include walls or barriers, especially between people - or peoples - sharing a space, and about being unable to speak. There were several references to shadows which I barely noticed at the time so I have no opinion on that. The novel is very tactile, very engaging of the senses - one of things I did like. In small details sights, smells, tastes, textures are described which does give the narrative a richness, in the way that memories can sometimes be accompanied by a single overriding sense, making the two inseparable. And there were moments of humour, like the young soldiers auditing the contents of their mansion who find their grandmother's dresser drawer full of bras - which they'd never seen before so they decide they're coffee filters (the new puzzle: why are there two of them joined together? After some thought they decide it's because you don't drink coffee alone), alongside moments of tragedy, like her aunt who's mentally handicapped in some way (undiagnosed, this being in Vietnam in the 60s) who used to escape the house and run wild through the alleys until one time she comes home pregnant. The little glimpses of life during the war are poignant and precious. Most of those children of GIs became orphans, homeless, ostracized not only because of their mothers' profession but also because of their fathers'. They were the hidden side of the war. Thirty years after the last GI had left, the United States went back to Vietnam in place of their soldiers to rehabilitate those damaged children. The government granted them a whole new identity to erase the one that had been tarnished. A number of those children now had, for the first time, an address, a residence, a full life. Some, though, were unable to adapt to such wealth. In a way, reading individual vignettes like that is more satisfying and engaging than reading the whole as a novel. I got much more out of that particular vignette, for instance, as I read it again just now than I did as I was reading it for the first time, when I had trouble following it even. It makes so much more sense the second time, and I'm sure the book as a whole would too if I were to re-read it. It would also make more sense to those who have the knowledge, the context, the history to understand what's really going on here. Lacking that, it wouldn't matter how many times I read it, there are parts that just won't make sense to me without the necessary context - some of it cultural and unlearnable. And no matter how many times I could read this, I don't think I would ever find the narrator to be anything other than a vague voice on a page, not a living, breathing woman with a rich and varied past. It's not that Thúy didn't accomplish what she set out to do: tracing a young girl's journey from her war-torn homeland, across the ocean in perilous circumstances to a new home where everything is so vastly different and having to find her place in it. It's that I didn't find she was fully successful in her control of her own writing. Writing takes a lot of work and practice, and authors take a long time - and a lot of drafts and scrapped stories - developing their own style. I am torn in two by Ru: there were elements to it that I greatly admire and even loved, and there is a lyrical, almost magical quality to it that appeals to me no less than the story of a refugee trying to reconcile her past with her new life. But if I can't relate to the narrator, if I can't even follow what's going on half the time, then I just feel alienated rather than engaged, frustrated rather than empathetic. It doesn't matter that this was the point, that, as others have pointed out, her story is fragmented and confused as a true reflection of her life. By the time I got to the end I was just glad it was so short and I didn't have to fight my headache anymore. For a book so beautifully written and with such potential (and trust me, I can see why so many people loved this), it was deeply disappointing for me and the only thing that makes it stand out at all (or makes it memorable at all) is the way it is written, which is not altogether successful. ...more |
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not set
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Mar 06, 2013
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Nov 01, 2012
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Paperback
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0679312978
| 9780679312970
| 0679312978
| 3.49
| 232
| Aug 10, 2004
| Jun 14, 2005
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it was ok
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Eleven years ago Dana Hillman's husband caught fire and then disappeared. Dana, a photographer who joins the Israeli pro-Palestine activists at demons
Eleven years ago Dana Hillman's husband caught fire and then disappeared. Dana, a photographer who joins the Israeli pro-Palestine activists at demonstrations in the occupied territories and writes trashy romance novels in secret to pay her bills, has never given up hope of seeing him again. Every year she pays for a full-page ad in the paper, a message to Daniel, saying she'll wait for him. She gives interviews about it, hoping he'll hear and know that she's waiting and that she doesn't care what he looks like. But finding him is another matter entirely. He was in the Reserves when it happened, folding laundry - an architect, Daniel was a terrible soldier. The army send him disability cheques to a Tel Aviv address, a flat where he's never lived. Dana has that address, but it's a dead end. No one in the army will give her his real address, but when she meets a man on the beach called Aaron who works for the army in a "special unit" and declares that he can find out Daniel's address. Yet whatever he found out, he suddenly doesn't want to tell her. As Dana goes through her life, attending demonstrations against Israeli occupation of Palestinian territory, taking photos, writing formulaic romance, she meets Rafi, a young man married to neurotic pianist with wealthy parents - a woman who can't even touch their child, Naomi. Despite Dana's committed and loyal love for Daniel, even after all these years, at thirty-six she finds herself falling for Rafi again. Rafi, despite the competition, has already fallen for Dana. She's something of a legend in the area, and he's seen her with her camera at many rallies and in interviews. Everyone knows the story of her husband. Finding someone who can help her locate him is far from easy. This is Israel, where security, secrets and paranoia run high. All she wants is to find her husband and get him back, but finding him is only the start. Her assumption that everything can go back to the way it was when she does find him shows how short-sighted and naively hopeful her love for Daniel has become. The first book in Ravel's Tel Aviv trilogy - stand-alone books that are set in Israel and handle the ultra-sensitive theme of Israel's occupation of Palestinian territory (showing both a fierce love of Israel and also a pro-Palestinian stance) - was , which I read several years ago and it is still one of my favourite books of all time. It was intense, powerful, moving, thought-provoking and written in a way that suited the characters perfectly. This second instalment in the trilogy is written in much the same way, but sadly the story didn't connect with me as much as I'd hoped. Part of the problem was Dana herself, a character whom I liked but found rather too stubborn, naive and stiff. That's also connected to Ravel's style, which for me stunted Dana's character too much and made her sadly two-dimensional. I also found the plot itself at first slightly confusing, then hugely anti-climactic. Let me begin with the plot. At first, the way I read it, I thought Daniel was dead. Then I realised that he wasn't dead, he was missing - that he caught fire, was in hospital with serious burns to his upper body and head, and then vanished. Later we learn that he snuck out and disappeared, when I had thought the implication was that the Army had "disappeared" him (in South American-dictator fashion) - not that I could see a reason for it. The way Dana doles out little bits of information about Daniel's accident and disappearance kept leading me to think in one direction, then have to reverse and rethink it and form a new picture in my head. But what really disappointed me was how built-up it was, with Army people offering to help her then, when they see the answer on their computer, clamming up. Why? It made a big mystery out of the whole thing but why would those people care whether Dana found out, even if Daniel himself didn't want her to know? How would they know that and what difference would it make to them? People like Aaron, at first enthusiastic and boastful about being able to find the information she wants (Daniel's real address), suddenly tell her to move on and forget about him, and that it's not worth their job to tell her what they found out. It didn't make sense to me, especially when we do find out the truth (I even reached the point where I wanted her to shut up about him all the time - not a good sign). Dana herself narrates the story, often going back in time to tell the story of how she met Daniel and their early years of marriage together - a very ordinary marriage, with Daniel showing signs of not being as committed as Dana is. I found it hard to really understand and connect with Dana. She is both open and simple and also oddly mysterious - in the sense that I couldn't always understand her actions or choices. She seemed sketched-in, rather than fleshed-out. The story covers from Saturday through the week to the following Monday, and we follow Dana in her daily life as she interacts with her neighbours - an ex-prostitute turned fortune teller who lives upstairs with her mother; a legless young man who was once the life of the party and is now deeply bitter and determined to make everyone around him feel bad; and an ageing rocker who can barely look after himself anymore. She fends off proposals from Benni, a friend who convinces himself he's in love with her, and every Wednesday she has dinner with a middle-aged doctor, which everyone teases her about. Dana works part-time at an insurance company, writing letters in English, and continues to live in the apartment she and Daniel first moved into when they got married when she was just nineteen. In a way - and I rather hate this kind of off-the-cuff, simplistic analysis - you could read Dana's relationship and search for her husband as a kind of metaphor for Israeli-Palestinian relations. In a way, when I look at it sideways. Daniel is disfigured and in hiding, and his disappearance is based on a false reality - something he thought he overheard while in hospital but which didn't actually happen. His treatment of Dana, while in a very vulnerable, wounded state, still makes me angry. What a dick! She has every right to be furious at him - I would be, in her place. All based on a misunderstanding, a miscommunication - or an utter lack of communication and understanding, neither side giving the other a chance to be heard or believed. And Dana, with her stubborn refusal to give up, is understandable - I don't think I could live with my husband's abrupt and mysterious disappearance or move on easily. I'm not saying they're an analogy for Palestine and Israel, just that their relationship is sort of symbolic. The real star of the story is, of course, the land itself. You won't get a history lesson or a deep political analysis; Look For Me presents various everyday, ordinary people - the people who don't make the news or the UN conferences - and their viewpoints. I hadn't realised that there are Israelis who organise to travel into Palestine to join the Palestinian protestors, to offer their bodies, as it were, as protection against the Israeli army - which thinks twice before firing in case they hit their own people. The stories woven into this novel open a window onto what it's like to live in Palestine - and Israel - and what regular Israeli's think about the occupation. It doesn't deal with suicide bombers or those kinds of attacks, but it presents a richly sympathetic view of the plight of everyday, ordinary Palestinians. It offered more insight into Palestine than Israel, in that sense. The perspective you get of Israel is one of a country - and a people - preoccupied with death. "...I sometimes think there's a reason for all these freak accidents. Some message. A message from above." The dialogue, which often runs on for several pages without much narration in-between, read a bit simplistic to me at times. This contributed to my struggle to connect with Dana, but it wasn't just her: most of the characters spoke in a way that rang weirdly in my inner ear. Sometimes they spoke like simplistic philosophers, sometimes like children - they didn't speak in vernacular, or colloquialisms, or with that kind of lazy fluidity that people generally speak with, cutting corners, contracting, um-ming and ah-hing. It just didn't read terribly naturally. I remember that quality from Ten Thousand Lovers but it worked in that book, it fitted. Here it was an obstacle, upsetting the flow and getting in the way of me understanding and empathising with the characters. I have the third book in the Tel Aviv Trilogy, A Wall of Light, as well as several other books by Ravel still to read - and I haven't lost my enthusiasm for reading more of her work. This book worked well with other readers; it really comes down to stylistic devices and we all have our own personal preferences. There were elements to this book that I enjoyed, especially the insight into living in Israel and being supportive of Palestinian efforts to end the occupation. Overall, though, it was disappointing and I was unable to come to care about Dana or her search for Daniel. ...more |
Notes are private!
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1
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not set
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Jul 06, 2013
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Oct 14, 2012
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Paperback
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0143121014
| 9780143121015
| 0143121014
| 3.25
| 202
| Jun 26, 2012
| Jun 26, 2012
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really liked it
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Dawit is eighteen and an illegal immigrant trying to find work or scraps of food on the streets of Paris in 1978. Having fled persecution in Ethiopia
Dawit is eighteen and an illegal immigrant trying to find work or scraps of food on the streets of Paris in 1978. Having fled persecution in Ethiopia where he was the child of aristocratic parents (his father was a royal diplomat and his mother a princess, both killed in the uprising), he has nothing to go back to - he would, in fact, be immediately imprisoned again. He was tortured both physically and mentally, until he escaped the jail and the country and made his way to France by selling his dead mother's jewellery. Staying with a sympathetic Ethiopian man, Asfa, and his large family, Dawit is behind on contributing to the rent and food and feels that Asfa's generosity can only last so long. By day he wanders the streets, kneels in churches to pray, or slips into cafes with coins enough to buy the cheapest thing on the menu. It is while he is one such cafe that he meets M, a world-famous author now in her sixties, elegant and beautiful, he thinks. A fan of her work, when she beckons him to her table Dawit tells her about his life in Ethiopia - knowing that she lived as a child in Somaliland and often writes about Africa. M invites him to live with her, though he doesn't truly understand the arrangement or what will be expected of him. With the money she gives him, he gets himself a new change of clothes, buys food for Asfa's family and gives Asfa more towards the rent. Then he goes to M's opulent apartment beside the Luxembourg Gardens, and their friendship begins. M is an alcoholic and a smoker, writing on a typewriter in her bed, a skinny, almost emaciated woman with white hair and a masculine, husky voice which Dawit can impersonate perfectly. He takes on the role of her assistant, forging her signature, answering her phone and sometimes pretending to be her. He responds to mail and edits her manuscript - a work which, as time goes by, he finds more and more to be terrible. In M's slim-fitting, elegant and expensive clothes, Dawit, with his smooth glowing skin and beautiful face, cuts quite the figure, and accompanies her to events and dinners. In the summer, they leave Paris for Cala di Volpe - the Bay of Foxes - in Italy, where Dawit meets an older married man from Rome, Enrico. It is when the two begin their affair, meeting in a hotel room at the country club after playing tennis, that the distance between M and Dawit grows. M's jealousy and bitterness turn against Dawit, and he soon finds himself in a place of no return, facing a choice that is no choice, and paying a price for his freedom that turns him sick with guilt. Dawit is alone in the world, with no one to look out for him but himself, but is the price he pays for his newfound freedom worth it? This excellent novel is brimming with atmosphere and the kind of characters who live larger than their descriptions on the page. It has been likened to The Talented Mr Ripley, which I haven't read yet (it's on my TBR mountain), but I have seen the film and I would say there are a few similarities. I also had to wonder whether Kohler was even poking fun at herself by possibly modelling part of M on herself - this impression isn't based on much beyond their hair and the fact that they both write short literary novels, often to much acclaim. So maybe not Kohler herself precisely, but her generation of women writers...? M doesn't come across well, so even if that was a starting point, she quickly became a character in her own right. Dawit's story is quite haunting and full of moral ambiguity, the kind of story that puts you in an uncomfortable place, where right and wrong become blurred due to the sympathy - and even empathy - you feel for him. True, he was one of the pampered upper class in Ethiopia, schooled in Europe, with skiing trips and the like, but he's just a boy when the Derg take over. His father is executed, his mother dies of untreated wounds, and Dawit is locked up and tortured on the flimsiest of precepts. His remembrances of this time in Ethiopia, what he endured and what he went through to escape, build a necessary foundation for his character and everything that comes after. It's not a story about Ethiopia, but it is about post-colonialism and its effects on the colonised. It's about an Ethiopian refugee trying to take control of his life in a foreign country, his attempt to make a new home for himself, and his desperation to cling to what he's gained. It's in his small blunders - and in the suspicious gaze of M's editor, Gustave - that the stakes are revealed and our sympathy for Dawit increases. After telling the story of his father's execution to M, Gustave and Gustave's wife, Simone, over a fancy lunch, he realises his mistake. He looks at them with smoldering rage, as though they were the ones responsible for all this carnage. He realizes he has said too much, with too much vehemence; he has shown them what he feels, and he hates them for their indiscreet, probing questions, their idle curiosity. He feels empty, as though he has lost something precious, his pride. The power play between Dawit and these affluent, cultured Parisians is never more stark as when Dawit finds himself in the position of "singing for his supper." Even though he is one of them, class-wise - or even higher up - he is still the poor African boy, homeless and destitute, his time in prison and his escape from Ethiopia forever severing any connection he had once had with these colonising Europeans - wiping the slate clean, reducing him to nothing. He owes everything to M, the clothes he wears, the food he eats, the bed he sleeps in, but interestingly enough Dawit is content enough with working as her assistant in return. The narrative has a fine, even ironic eye, and the descriptions of Dawit's working relationship with M are superb: Generally, he takes care of all the mundane details of her life, leaving her free to write, like so many literary couples before them. He considers himself naturally easygoing, pliable up to a point. He aims to please. He is used to trying to ingratiate himself, to question, to listen, and to give good advice. He was an only child who was often in the company of intelligent adults, courtiers in the various palaces of the Emperor or on trips abroad. He learned at an early age what to say to please his sophisticated father, who had loved him in a distracted, distant way, and how to calm his mother's constant anxiety. Only Solo, though older, followed him around the palace gardens and into the hills. Only Solo deferred to him completely, obeying his every wish. It is often how the relationship between servants and their employers is described too, though in that case the intimate knowledge the servants have is balanced - or cancelled out - by their dependency and inferior standing. The parallel between M and Dawit and the coloniser and the colonised is far more telling, and much more pertinent, with Dawit originating from Ethiopia. Dawit is, to M and her circle of acquaintances, something of a curiosity, a glittering souvenir, an attraction. He's beautiful, for one, and very well educated for another, but completely at their mercy. He has no passport, no visa, nothing of his own. It creates a very uneasy, perilous tension throughout the story. The contrast between the plot and the theme of colonisation continues in Rome, where Dawit sees buildings he recognises from his parents' postcards and recalls the history he learned as he gazes around at the city. Everywhere he looks, history was made, Italian history, with all its ambiguity. He thinks of the efforts the Italians made to colonize his country and his countrymen's brave resistance: his grandfather's stories of the Battle of Adwa, where the Italians expected an easy conquest and instead suffered a humiliating defeat. How proud his grandfather was of the soldiers he had led as a very young man into battle. How ironic that Dawit should be here now. [p.176] Italy failed to take over Ethiopia, and it fails to take Dawit, too. Because I was so caught up in the story as it played out, I didn't necessarily see what was coming. Part of me suspected as much, but I wasn't sure where the story was going - the blurb gives away little, and I like not guessing. That way, the outcome had greater impact for me, and I actually enjoy the psychological turmoil it put me in. I wanted things to work out for Dawit, I could actually understand why he did what he did, and I didn't want him to be caught. I thought it would play out differently than it did - more in line with Mr Ripley - but instead, the ambiguous ending leaves you wondering about Dawit's fate, not at all sure, and this uncertainty means you are kept off-balance even after the last page. Dawit writes a book he calls The Bay of Foxes, which he first says is about his life in Ethiopia, but why would he give it that title if it wasn't also a confession? Plagued by guilt as he is, I'm leaning towards thinking he's going to throw in his chance at living a free and successful life. I'm curious to hear what others think. Kohler's prose is both deceptively light, playing it fast and loose across the page even while delving into deeper issues and troubled psyches. Even simple sentences can speak volumes, about a character, about perception and illusion, about a broader context. It's gripping in the mystery and tension that's created, and also very interesting in the dynamic it explores, the situation Dawit finds himself in as well as the story of his past. M remains something of an elusive figure, and yet, through Dawit's perception of her which quickly loses its gloss and shine, we likewise lose interest in who she is and what makes her tick. This ensures she doesn't get much sympathy from the reader. I didn't manage to connect with Dawit, though, in the way that I like, that emotional and intellectual connection that keeps you glued to the page and telling everyone how amazing a book is. It didn't quite hit that mark. For all I got to know Dawit, his thoughts and desires and fears, I never quite clicked with him. He remained somewhat aloof, distant, estranged, alien. And at the same time, I too was cast in the role of white coloniser, listening to Dawit's story with the kind of fascination that can only come from someone who has never experienced such things and never will. Reading this novel was an interesting psychological experience, on many fronts, and adds to the vivid feel of the story, the tension and an underlying sense of menace, almost - usually coming from M herself. You can read it as a simple, engrossing story, or you can read through the layers to other stories, winding through and beneath the main one. It is one of those books that can be read in several ways, but I doubt it will fail to be thought-provoking no matter how you read it. Like Dawit's perfect impersonation of M, it will creep in under your skin in ways you don't expect. ...more |
Notes are private!
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1
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not set
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Jan 21, 2013
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Oct 10, 2012
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Paperback
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0385670907
| 9780385670906
| 0385670907
| 3.56
| 1,562
| Jan 01, 2012
| Aug 14, 2012
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liked it
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Richardson's second novel transports the reader to Paris in the early twentieth century, to the Boulangerie Notre-Dame, a bakery in the eighth arrondi
Richardson's second novel transports the reader to Paris in the early twentieth century, to the Boulangerie Notre-Dame, a bakery in the eighth arrondissement, in a flatiron building called the cake slice - ironic, perhaps, because this was a bakery, not a patisserie. Here, Emile Notre-Dame, the thinnest baker in Paris, brings his Italian wife, Immacolata in 1901. In 1908 they finally have a child, a son called Octavio, who inherits his father's dyslexia. Immacolata, after praying for years for a child, now finds herself in the grip of post-partum depression, the price, she feels, for asking for a child. When Octavio is still a child, his father enlists in the army after the great war (world war one) breaks out, and together he and his mother - with the help of the blind watchmaker, Grenelle, who lives upstairs - run the bakery. Years later, Emile is returned to them, a shadow of the man they used to know, who barely recognises his family and spends his time sitting in a chair in the cellar where the bread is baked. After a time, Octavio begins to take his father on walks through the city, a city he's barely ever ventured into in his life before. Over time, they gain confidence, and start going to the Louvre every Sunday. Unable to read, they continue the story-telling tradition that Emile used to do with Octavio when he was little, creating stories behind the photos on the front pages of newspapers. It is there, in the galleries, that Isabeau Normande first sees Octavio. Isabeau was born to merchant parents who were obsessed with appearances. When, as a little girl, Isabeau suffered an accident in the kitchen and was left with a scar on her face, her mother teaches her to always cover her head with a scarf, and to avoid being seen. She finds work in the basement of the Louvre, repairing old paintings from accumulated smoke and grime, and spends all her free time in the park, reading, losing herself in books. It is there that Octavio sees her for the first time, noticing her because he has a drawing of her hung up in the bakery - a sketch he bought from Henri who owns a bookstall along the river, from whom he's been buying books - he cannot read them, but he loves the colours, and the apartment above the bakery, the stairs as well, are overflowing with books. It is through a book, an anonymous gift from Octavio to Isabeau, that brings them together, on a fateful day when a fire guts Octavio's home, making the summer streets of Paris snow with paper. The story begins here, and ends here, but it is not a story about plot. I'm not sure you could sum-up just what it is about, except to say it is an artistic piece, a stylistic novel mirroring the art - paintings and literature especially - that are, in a way, its focus. This is echoed in the beautiful design of the book: a small hardcover (the size they used to be, a long time ago), in a lovely read stamped with genie shoes on the front (the one book Octavio owned from the time of his birth was an illustrated Arabian Nights that his father gave him, and it recurs throughout the book - in fact, it's how Isabeau finds Octavio the day his bakery burns). The soft, slightly thick pages are deckled (unevenly cut), and the old-fashioned endpapers perfectly complement the lovely, textured dustjacket: Everything about this book complements it, including - especially - the language, which is some ways is main focus of the novel, if not the story. It is written in a fable-like, omniscient style, like the dignified, elegant voice-over narrator to a quirky art-house period film. Words are chosen economically, precisely, sparsely, painting a picture in a few deft strokes - One might have missed the soggy handkerchief, the stained headband, the flushed cheeks; such was the rehearsed swing of Pascal's walking stick. Here was a gentleman, one could assume, overdressed for the weather but still at ease with himself and his world, wanting for nothing. For Pascal Normande was in the business of illusion. [p.29] I have to admire this kind of prose, which is so deft, so neat, so expressive and contained. But for as much as I admire it, and as much as it can conjure up colourful images in my head, it is still a style that renders me a passive reader, which is something I'm not so keen on. I could only work with what I was given, and outside of those images, the world of this story was a vague grey blank for the most part. The only thing I was actively engaged with, in reading this book, was in keeping track of events. It is told mostly chronologically, but the story of Octavio and Isabeau's childhoods are interrupted by scenes in the lives of Henri the bookseller and Jacob the impoverished, homeless artist (the one who does the drawing of Isabeau reading), as well as short scenes from a single day in the "present", the day on which the bakery burns, which consist mostly of Isabeau's hasty journey across Paris. Keeping track of the different time periods and the cast of characters' stories (made trickier by their habit of jumping forward in age), was a struggle at times, though it would be a breeze on a second reading. While the language is both simple and elegant, plain and sumptuous, it has a minimalist feel to it due to the absence of dialogue punctuation. I've read several books that employ this device - one I'm never exactly sure as to the authors' reasons for it - and this was definitely one of the most successful: it was always easy to tell when someone was speaking, and who was speaking, which isn't always the case. One of the things I appreciated the most were the descriptions of books, and the pleasure Emile and Octavio - who couldn't read - got from books. When Octavio begins his almost obsessive book-buying habit (something I could entirely relate to), he doesn't choose books based on their stories or titles, but on what colour they are, and the descriptions he imagines his deceased father giving them: Red, the thinnest baker might say. The colour of passion, my boy, of beating hearts and action. They're the bold ones, the reds, sure to be full of adventure. Or we could pick the blue ones, like the wide sea and those mermaids singing us home. Or perhaps the green of the trees in our Tuileries. It is this love for books, as much as the love for art, good food and companionship, that gives this book its heart. Everything is linked, connected - take that final description in the quote above, which is how Octavio's parents met, though this time he imagines it as a deliberate meeting, rather than a purely accidental one. The description of the books continues in a visual image that I found mesmerising: The reds gathered in the attic, two or three at a time. Soon stacks of books threatened to block the doorways, as though a bricklayer was using them to slowly close up the apartment. When the walls could hold no more, the floors took over. In turn they began to sag, creaking bitterly under the weight. The blues descended the spiral staircase, half a dozen books to a step. By the time they reached the bottom tread, Octavio had moved on to the greens. These filled the kitchen. Piled under the sink, wedged behind the taps, thrown on top of the cupboards, jammed into the drawers, displayed on the table, three deep along the windowsill. Books in shades of gold followed the slope from bathroom to bedroom. A platform of editions bound in grey cloth raised the bed enough that Octavio needed four thick volumes as a stool to reach the mattress. He removed the mirrored door of the armoire so the purple ones might fit inside. The drawer where he had slept as a baby now barely closed, filled as it was with books the colour of wine. There were ones that flapped in the rafters: Octavio tied lengths of rope from one beam to the next and hung them open, gently nesting the rope into the gutter of each volume. [pp.239-240] When I began reading The Emperor of Paris, I fell into the writing easily and found it light and graceful, like a dance or a landscape. I enjoy stories told like a fable, tracing the generations in leaps and bounds, lighting up a scene here and there that speaks the loudest, so that the pieces accumulate in your mind into something larger, more comprehensive, than the individual scenes. And I didn't mind the lack of focus - in fact, I enjoyed the slower, more gently telling of Octavio's family and his and Isabeau's childhoods and early adulthoods, than the actual plot, the "present day" snippets that show Octavio's bakery burning and Isabeau running through Paris with the book, Arabian Nights in her hand - these snippets are interspersed throughout without warning, in an effort to build and maintain momentum and tension, yet I found them the weakest part of the novel. They were like annoying interruptions, ones that jolted the rhythm of the rest of the story, and it always took me a moment to catch my bearings and figure out where I was now and who the story was talking about. I think I would have preferred it to just gradually build toward their meeting, in a more linear fashion, especially because, in terms of the "past", it took so long for the two to even learn of each others' existence. This left me with entirely mixed feelings about the book, by the end. In fact, after enjoying the first half so much, the story seemed to deflate like a soufflé at the end - all air and no substance (the cooking analogies are hard to resist, when so much of the story revolves around baking and uses many analogies of its own). I certainly enjoy books like this more in the moment, while reading, than afterwards, especially when it is so hard to grasp the disparate elements of such a stylistic novel, to say what it was that captivated you, and what left you unaffected. All I can say is that, with The Emperor of Paris, style won out over plot, and fable-like story-telling won out over the unexplored beginnings of romance between the two young adults, Octavio and Isabeau, and this left me ultimately less satisfied than I would otherwise have been. ...more |
Notes are private!
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1
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not set
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Jan 14, 2013
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Sep 14, 2012
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Hardcover
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4.15
| 431,430
| Jan 04, 2012
| Sep 18, 2012
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really liked it
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This review contains some spoilers. Six months after eighteen-year-old Layken's father passed away suddenly, she and her mother and brother, nine-year- This review contains some spoilers. Six months after eighteen-year-old Layken's father passed away suddenly, she and her mother and brother, nine-year-old Kel, are leaving their Texas home for a small rented house Ypsilanti, Michigan, where her mother's found a nursing job that pays better than her current one. Lake isn't happy to be moving, but she understands the need for it. Having driven a U-Haul across the country with her brother keeping her company, while their mother drives Lake's jeep (her own van is coming later with the rest of their stuff), the morning they arrive at the small new house in the quiet town, Lake meets their neighbour from across the street, Will Cooper, and his own nine-year-old brother, Caulder. Will is twenty-one and dresses for work, so Lake assumes he's finished uni and is employed - especially when she discovers that his parents are dead and he's supporting his brother on his own. During the week of settling in before Lake starts her last year of high school, she gets to know Will even more, and there's such strong chemistry between them, both of them feel it. She doesn't know a lot of everyday details about him, but she knows what kind of person he is, and she's quickly falling in love - especially when he takes her to Slam poetry night where he performs one of his poems. And the intense, passionate kiss they share speaks loudly for an amazing start to a promising relationship. That is, until Lake's first day of school where she discovers that Will is finishing his teaching degree by working at her school - teaching the poetry class she signed up for. Instantly, everything is ruined. They both know they can't see each other anymore. Will depends on his job to support his brother, not to mention a future career, and a relationship with a student would destroy that instantly. Lake understands this, but still the pain at the way Will now treats her - not to mention the fact that her feelings for him haven't really changed, only become somewhat tarnished with the sense of threat and gloom hanging over them - starts to consume her life. Between that and the new iffy suspicions she has about her mother and why they moved to Michigan, Lake's eighteenth year is turning out worse than she could ever have imagined. How can she continue this dance with Will when they are constantly struggling against their feelings, living in fear of discovery - even when there's nothing to discover? I made the decision to reveal the obstacle between Layken and Will's blooming romance because otherwise there isn't enough plot to talk about, though I have kept the truth about her mother out of it. I am struggling with it though, because I didn't know about Will's job when I started reading it - and hadn't guessed, why would you? I didn't even know there was going to be an obstacle, not like that. But I felt the need, so there it is. This was one of those classically over-the-top, intense, drama-fueled soap-like stories, the kind American authors are especially good at, and Hoover's no exception. She brings out all the guns and leaves you bleeding - or rather, crying - by the side of the road. And then you're up and coming back for more. How does that work, anyway? It does veer into self-indulgence territory quite a lot, but somehow I found myself enjoying it anyway. "Indulging" myself, definitely. There are times when you want to watch some really cheesy drama on TV, right? Well, I'm the same with books. Slammed is another in an ever-growing list of self-published books made popular by readers that are being picked up by the barrel-load by Simon & Schuster and its imprints (in this case, Atria); it makes good marketing sense, especially after the Fifty Shades trilogy, and with a fan base already established and more readers eager to find out what all the fuss is about, it makes for a thriving business. Slammed is pretty well written, in present tense though Hoover writes it pretty well, with maybe too much focus on small details that, while I'm not averse to details, could have been more smoothly integrated. I take the coffee out of his hands and pour the contents into my own, then toss the mug into the trash can. I walk to the refrigerator, grab a juice, and place it in front of him. [p.80] It is consistent though, at least. Wish they'd hired a copy editor though, to remove all the typos. The story is told from Layken's perspective, and she's a fleshed-out, angst-riddled teenager on the cusp of the cusp of adulthood - no, that's not a typo. She's not quite on the cusp of adulthood, but leaning up against it. It's in how she deals with her frustration and her anger, which makes her sound like a sixteen-year-old all over again; I sometimes lost patience with her, but she still had this nice dose of humour and I liked her for her love and loyalty towards her family. She didn't always make great decisions, but that's what adolescence is all about. And, apparently, your 20s. Have you noticed how much more teenager-like people in their 20s behave these days? God that makes me sound old. They write whole books and studies on it. My point for bringing it up is Will. For the most part, he's a charming, intelligent, respectful, reliable, supportive young man, and maybe Lake just brings out the youthfulness of him. He's a boy trapped in an older man's responsibilities, and he's doing an admirable job. But Lake strips all that away and suddenly he's a uni student again, sometimes less mature than he makes out - he does punch a guy over her, after all. His inner struggles garnered more sympathy from me than Lake's, in terms of their relationship, or lack thereof. Speaking of, it's interesting how it was resolved, especially considering the book I read before this, Laura Buzo's - there, it's an inappropriate romance because it's between a fifteen-year-old girl and a twenty-year-old uni student, and they both do the right thing - that is, wait. Here, the obstacles are simply removed so that they can have a happy ending. I far prefer stories with the moral ambiguity of Buzo's, and the maturity with which its dealt with, but I confess that this kind of romance is far more exciting. Cheesier, definitely, but satisfying. That's the difference between Fiction and Romance, though. There were some issues with the plausibility of the plot, such as the idea of Will being able to support his brother while being a uni student with no inheritance or life insurance to help, and along the way certain things just seemed awfully convenient. One of them is Lake's new best friend, a foster-care girl called Eddie. Now, I loved Eddie and I wish there were more girls with her sense of loyalty, discretion, reliability, priorities etc. But she was also a bit unrealistic. In general, a lot of the characters had that quality about them. Either they fulfilled some stereotype role, or they were a bit too pat. That kind of thing does go hand-in-hand with this kind of heavy-on-the-drama story, though, so you come to expect it and not dwell on it. I enjoyed this, I really did - I was in the right mood for it, it was a quick, engrossing read, it made me smile at times and it definitely made me cry. I loved Kel and Caulder's halloween costumes - which I can't describe or it gives away a plot point I made an effort not to reveal - and I enjoyed the slam poetry, as well as the snippets of lyrics from the band that Hoover includes at the beginning of each chapter - I'd never heard of them before but I'm curious enough to look them up and listen to their sound. And I loved the advice that her mum gives her, or rather the three questions "every woman should be able to answer yes to before she commits to a man." "Does he treat you with respect at all times? That's the first question. The second question is, if he is the exact same person twenty years from now that he is today, would you still want to marry him? And finally, does he inspire you to want to be a better person? You find someone you can answer yes about to all three, then you've found a good man." [p.37] These questions, this advice, is spot-on, and I've certainly learned the truth of it the hard way. The story has some beautiful moments like this throughout, that really lift it up from being just a run-of-the-mill drama, and highlight the humanism in the characters. You can quite easily make a personal and emotional connection to the characters and their lives, which is all I really look for in a good book. So my feelings may be a bit mixed, but I enjoyed this enough to go out and get the second book, Point of Retreat, even though I can't see where the story can go from here and I don't know if I can handle more angst from Lake when everything seemed to be going so well! Still, she's young and life isn't easy. There'll be a day when I'll be in the perfect mood to read more of her story, just you wait. ...more |
Notes are private!
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1
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not set
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Jan 25, 2013
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Sep 13, 2012
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Paperback
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B00951B4SC
| 3.84
| 47,956
| Oct 16, 2012
| Oct 16, 2012
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did not like it
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Harper was raised by her father, an officer in the Marine Corps who kept her under his cold and distant thumb. Having been brought up - and schooled,
Harper was raised by her father, an officer in the Marine Corps who kept her under his cold and distant thumb. Having been brought up - and schooled, in her father's office - on the base in North Carolina, her friends and pseudo-siblings are all "jarheads" who have taught her how to defend herself but not much else. Now she's eighteen and ready to start university, she's moving to San Diego in California to finally start a life of her own. Her roommate in the dorms is Breanna, a lively, fun-loving girl who, on Harper's first day, takes her to a party at the share-house her older brother Chase rents. Harper's first experience of a real student party with dirty dancing and booze doesn't impress her much, and neither does Chase, a womaniser who drinks too much and speaks aggressively to her. When the semester starts, she meets more of Bree and Chase's crowd of friends, including one who hadn't been at the party: Brandon Taylor. A tall, large, muscled guy, he's surprisingly sweet and tender and is instantly attracted to Harper. Unlike Chase and Bree, who are independently wealthy from an inheritance from their grandparents, Brandon earns money from the underground fights he continuously wins. As he and Harper start seeing each other, Harper is surprised by how antagonistic and strangely Chase is behaving. It doesn't help that for as much as she loves Brandon, she's still strongly attracted to Chase. Bree's parents, Claire and Robert, welcome her into their family as another daughter and Harper spends every Sunday with them, a family day. There she sees another side of Chase, a funny, relaxed, caring Chase, an artist who works at a tattoo parlour and designs a tattoo for Harper: orange lillies, her favourite flower. Seeing this side of Chase she starts to believe him when he tells her he quit drinking and sleeping around, but he also does her head in with his erratic behaviour, friendly one moment, aloof the next. It's at New Year's that Harper succumbs to her desires and makes one huge mistake - a mistake she can't entirely regret. But it changes everything, and no one could have predicted the events that follow, least of all Harper. I just have to say - in fact it's dying to come out, I can't stop it: WOW. Just. Wow. This isn't going to be pretty, and I've barely had time for it all to sink in so as I go my rating will probably decrease even further, but I just have to let my thoughts out. They need some fresh air after being trapped in this book for the last couple of days or so. This is - I don't even know what to say. Unbelievable? Only if I were being ironic. It's the kind of self-indulgent melodrama that I deplore, that not only doesn't appeal to me, it makes me feel pretty scornful. I mean, Wow, the Angst! The Drama! Four hundred and fifty-four pages of self-indulgent melodrama! In many ways this book reminded me of two other self-published novels that hit the Big Time and scored a publishing contract: Jamie McGuire's and by SC Stephens. If you've read those, you'll have an idea of what to expect from Taking Chances, story- and character-wise at least. Like the guy from Beautiful Disaster, Brandon fights in the underground fight scene. Both Brandon and Chase have lots of tattoos, and Harper, well, let's just say she gets married awfully young. As in Thoughtless, Harper is with one guy while lusting after the other. At least Harper came clean with her mistake after less time than it took Kiera, and with less self-flagellation about it too. But really, I felt like these were all the same book, more or less. While I do agree that there are some great authors out there who started out self-publishing, or at least, some great books that were self-published first, the one thing that Taking Chances desperately needed above all else, was a good, experienced editor. It wasn't painful to read, in that sense, but it really needed to be trimmed back, pruned to rid it of the endless descriptive fillers - I'll give you an example in a bit - and shortened, and it really needed someone to fix the grammar and punctuation. McAdams has the most bizarre and awkward habit of using run-on sentences: linking clauses, or two distinct sentences, with just a comma, so much so that it was sometimes hard to follow the direction of a sentence. What she should have done was use my friend the semicolon (;) or simply end the first sentence and start a new one, even if it was a short one. (Incidentally, she used a semicolon ONCE - yes, I do notice these things - and it was used incorrectly, which just makes me wince.) It makes it harder to read because the flow is shot to pieces, and I had to fix it in my head as I read it. Her dialogue punctuation was off too; McAdams has another habit of using a comma instead of a full-stop before dialogue. I can open this book at any page and find examples, so here you go: I floundered for a minute trying to remember everything that he and Derek had said, "Because you ... isn't that ... wasn't that why you wanted me to leave?" [p.138] That should have read: "I floundered for a minute trying to remember everything that he and Derek had said[FULL STOP!]" - and then start the dialogue. There are so many of these, it's like they kept breeding. Here're some random examples of run-on sentences: Right away Kale threw a punch, Brandon leaned back letting it pass an inch from his face, his smile never faltering. [p.88] I think you get the picture, but I could honestly find multiple examples for you on every page. There were other mistakes, of the typo variety, but at least McAdams used "led" instead of "lead" - that would have been one error too many for me! You can also get an idea from these snippets of how focused the narrative is on including all the little details, no matter how irrelevant (or rather, everything becomes relevant when really it's not). I've noticed the same thing in other self-published books, including (especially) Thoughtless. The other thing Taking Chances does a lot of is perpetuate stereotypes and clichés, and it's clearly written with the Bible Belt in mind. I don't want to include any spoilers in this review, but I'll just say that for all the premarital sex (and excessive drinking) going around, when consequences catch up with Harper, there's never any question about what course of action she's going to take. This speaks to a sad lack of character development with Harper - with all of them, really, but she's the narrator going through all these big changes and important decisions, and yet not only did I never feel like I understood her, she never really had to deal with the consequences of her actions. Certainly, there are consequences, but there happens to be one very convenient factor in Harper's life: EVERYONE LOVES HER. Seriously. Seriously?? Yes, seriously. She has two gorgeous (so we're told) young men desperate for her love, Bree's a loyal friend and her parents informally adopt her. Her best friend from the base, Jason Carter, is also in love with her, everyone likes her and everyone accepts her and everyone just conveniently embraces the directions her life takes. It's hard to elucidate on that last point without giving things away, but let's just say that her life is a tad unusual, the way it all turns out. It's all just highly unbelievable, because sad to say, people just don't agree all that much. We're all opinionated, have our own motives, our own experiences to draw upon, and so on. It's great that everyone was so supportive and understanding of her, but really, how likely is that? Possible, sure, but not very realistic. Brandon and Chase love Harper so much, but who is she, really? (And who are they?? We never really get any deeper than their surfaces.) What are her interests? (nothing) What does she want out of life? (um, nothing? except to be loved?) To me she came across as bland and uninteresting. I couldn't relate to her, especially the casual way she tossed aside her tertiary education like it was the least important thing in the world. After one year. Just like that. Oh she can afford it, but what would she do with an education? She's just a woman, after all. Only once does she think that she shouldn't jump into a relationship but should take the time to "find herself" and figure out what she wants, but she tosses that aside just as easily. It's not that, within the scope of her life, she isn't a strong person with solid morals and a loving temperament. It's that, and I hate to say this, it's that her world is small, narrow-minded and downright tacky. She's far too young - emotionally, mentally, age-wise - for the things she takes on, and for all that she's happy with the way her life has turned out, I couldn't get over the uncomplicated tawdry tackiness of it all. It wouldn't have been so tacky if it weren't so self-indulgent, but that's the quality that adds to the sense of Harper's narrow world view. Her story never goes beyond what's happening to her, that's all her world is. Everything revolves around Harper, and I got more than a bit sick of it. Actually, I got a bit tired of the whole story, to be honest. It just kept going on and on and after the sudden and dramatic (as always) events of chapter 13 (around the 272-page mark), it definitely lost steam and its "oomph" died with a whimper. After that, I just kept doggedly turning the pages because I'd made a commitment to read and review it - something I agreed to because I had actually bought this as an e-book last year, only I hate reading things electronically and I knew I'd never read it otherwise. (And this paperback is rather lovely to hold! About the best thing I can say about it.) Oh and it lost major points for the pregnancy/labour/child birth descriptions, which clearly showed that the author has little experience with any of it - and I'm sorry, but after all the emphasis on how huge the pregnancy belly was, and how big the baby was, you can't then tell us the baby weighed only six pounds at birth. That's pretty small for a boy these days. Mine was nearly 9 pounds when he was born (over 4kgs), and that's pretty average these days. 6 pounds for a boy baby?? Ha. None of that added up. It's at this point that I have to drop my rating from an initial 2 out of 5 (it was okay) to a measly one (it was crap). I always feel bad giving a book a "crap" rating but I have to be honest with you. There were moments when I was entertained by this story, almost against my will, and I definitely started reading it with that rosy blush of anticipation that you get when you start a new book, only to have it severely doused when it became clear this story wasn't going to improve. It's a story of second chances, on the surface anyway, but really it's a generic story of how much everyone loves Harper and how easily they forgive her for her stupid mistakes. It's clearly not my kind of story, even if it hadn't been so self-indulgent. It's like really cheesy reality TV, of the Kardashian/Jersey Shore variety, and reality TV is my least favourite thing. I suppose these days this book fits the "New Adult" label, but I refuse to use it so I'm calling this "lite adult romance" with some kind of grammatical dyslexia. My thanks to the publisher for a copy of this book via TLC Book Tours. ...more |
Notes are private!
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1
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not set
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May 21, 2013
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Sep 11, 2012
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Kindle Edition
| |||||||||||||||||
1405910631
| 9781405910637
| 1405910631
| 3.45
| 3,554
| 2012
| Aug 30, 2012
|
it was ok
|
English journalist Sophie Morgan recounts her journey into the world of BDSM (Bondage, Discipline, Sadism, Masochism), beginning with an American boyf
English journalist Sophie Morgan recounts her journey into the world of BDSM (Bondage, Discipline, Sadism, Masochism), beginning with an American boyfriend at university to her friend-with-benefits, Thomas, and later James, a more serious partner who in the end couldn't reconcile his tender side with her needs (more on that later). She describes her childhood, seeking to assure readers that she had a happy one, a very ordinary one even, as well as the gradual build-up of thoughts and desires that led her to explore the kind of relationship that she feels she needs. This work is marketed as a memoir, but having read it, I am unconvinced. From very early on in the book, I started reading it as pure fiction. Perhaps the author did base it on certain experiences she had, but she hasn't written it as a convincing memoir, certainly not as a "diary". In fact, due to the tone it's written in, her attitude, and the way the story plays out, it reads more like kinky chick-lit than erotica, and as such, it was extremely unsatisfying, very disappointing, and often annoying. I've had this on my shelf since it came out in 2012, and finally got around to reading it recently because I wanted a comparison in mind when I read another so-called erotic memoir, The Secret Life of a Submissive by Sarah K. Both are British, both are written in a breezy, sometimes humorous style that is so reminiscent of British chick-lit, but the latter was rather more believable in terms of realism, and a more satisfying story. But let's talk about The Diary of a Submissive. The first thing that I noticed that ruined the realism was the simple fact that one minutes Sophie has a brother, the next it's suddenly a sister (page 15 of my edition). Later, the sister reverts back to a brother and remains one for the rest of the book. This is a minor character - in fact, we never "meet" any members of her family - but it was a glaring error in the early sections when she's describing her family and her relationship to them. And no, she doesn't have a brother and a sister, just one sibling. If you were writing your memoir, would you have trouble remembering whether your sibling was male or female? No I didn't think so. (In other editions of this book the names of the men are different - Russell instead of Thomas, Josh instead of James, and of course it's to be expected that she would change people's names. But changing your brother to a sister and then deciding no, it worked better as a brother but forgetting to fix all the edits? That's not the same thing. That's just making it up and being sloppy.) The other elements that just made the whole thing rather laughable was a) the ease and convenience of Sophie's experiences (it all just seemed to fall into place for her, she had no real negative experiences); and b) her own disconnect with her preferences. Regarding the first point, I know I'm not alone in finding her introduction into BDSM a mix of lame cliché and neat coincidence. Sure those things happen in real life - again, it's not really the veracity of her account that I'm questioning but the way she's written it, which is entirely up for critique. It's her sex-only relationship with Thomas that gave me my first pause. It begins so conveniently: We'd been fuck buddies for a while by that point, so it was inevitable we would end up having a conversation about long-term unfulfilled fantasies. But as I knocked back a glass of red, told him a vague summation of what had happened with Ryan an my foray into internet smut before shyly admitting I fancied unleashing - or should that be leashing? - my submissive side properly with some experimentation into BDSM, I really didn't see him as the guy who would take me there. And I wasn't even expecting him to become that guy - as far as I was concerned we were having a bit of horny chat as a prelude to a perfect end-of-week pick-me-up fuck. I'd come to appreciate his intelligence and his deliciously dirty mind, but little did I know I had crossed paths with someone who it would turn out was ying to my submissive yang. [pp.63-4] Well that worked out neatly! So lovely that her first real Dom/sub relationship was with a man she already knew, trusted and was having sex with. Though you wouldn't have much of a story if she never met a man who was into playing Dominant. And speaking of Thomas, it was her relationship to him that really made me realise that I couldn't relate to Sophie. The friends-with-benefits thing, his irritating smugness, the way they don't even seem to click together - no chemistry, I don't even remember her expressing much sexual attraction to him - none of it appeals to me and she never gave me the insight I needed to understand her and what she was doing. Which is telling, because I don't think she knew either. Her relationship with James was even more weird, albeit in a different way. He seems a complete contradiction, coming across as an arse at first, then a lovely, sweet man who would be shocked by the thoughts in her head, then he turns into a demanding Dom who constantly drives her to higher and higher, um, heights, and then he very abruptly, with no warning whatsoever, has a crisis of conscience and decides that he likes her too much to hurt her. WTF? While this development did point out the often overlooked side of BDSM - the Dom who must be at ease with their needs as much as the sub does - it just wasn't written well. As a character, he was all over the place. It's not that Sophie was completely unobservant and missed the signs (though she doesn't strike me as someone who's very observant), it's that, according to the way she describes things, there weren't any. I just didn't find it believable, regardless of whether this is fiction or a real memoir. And then there is Sophie herself. No matter how many times she tells us that this is what she wants and needs and desires, she never actually comes to terms with it herself. She doesn't think very deeply about why this appeals to her, or what she gets out of it, and she doesn't own it. This is evidenced by the fact that she's constantly justifying it, or defending it - often weakly, without conviction - and despite the proud last lines, she failed to really show us that she embraces her nature and isn't ashamed of it. More than that, her behaviour while "playing" was at odds with her desires as she lists them. I couldn't count how many times she would glare at her Dom, all angry and reluctant and stubborn. She's one of those cliched characters from romance and chick-lit who is so stubborn she stunts relationships before they have a chance to go anywhere. In this incarnation, her self-proclaimed stubbornness makes her BDSM play a kind of joke, or something she does against her will. I couldn't understand her really. So many times the things that she was submitting to made her really angry, and for her, being submissive involved not acting on her anger. That's fine - but what is her real desire, the things being done to her or submitting to a man? I couldn't really tell, and I don't think she knows either. She doesn't like anything she's made to do or is done to her, but she loves it? Actually, that contradiction I can understand (though it's poorly expressed), it was more that the way she describes things, complete with her attitude, made it all seem so ... silly. As the writer of The Secret Life of a Submissive points out (or her Dom does), the rules of BDSM are only as affective as the players make them. The more you buy into it all and go along with it, at a deeper level, the more you'll experience and get out of it. Treat it like a joke and it all suddenly becomes ludicrous. It wasn't always like that, but Sophie generally managed to ruin the atmosphere of pretty much every "scene" she took part of. She was more reflective and insightful outside of a scene, and points out some key elements to the lifestyle, like the simple fact that "only submitting to the fun stuff isn't submission" at all, which is why she does things that she's ordered to do but which she really, really doesn't want to do. But she doesn't really delve deep into the psychology of it all, and she's so resistant that I kept wondering why she was into it at all, aside from the fact that she seems to be constantly horny. And I baulk at the idea that to be a strong woman, you have to be difficult and stubborn (and angry). That's bullshit. Sophie spent a lot of time asserting that she was no victim or doormat, but her inability to really submit showed that she wasn't fully comfortable in her own skin, that she doesn't really understand it all, and that while she may be a strong woman underneath the surface, she's actually inhibiting it, her true self, by behaving like a petulant child half the time. You just can't get close enough to her to really know her or get the sense that this is real. That and her lack of self-reflection made it a very light erotic read. She does reflect on the "lifestyle" at times, and offers some interesting personal insights, but it's the times when she's most vulnerable and open, in the throes of a scene, that she shies away from really thinking about, as well as trying to understand the other half of the equation, the Dom. In not really delving into her own nature, all of it just seemed vacuous and unrealistic. One of the things I find particularly interesting about the D/s dynamic is that it pushes you to do things that otherwise you might not do. Not because you don't want to do them - so often you really, really do want to - but because they're things that you think might be hot/fun/interesting/unusual but that a small part of your mind baulks at, for some reason - whether that's because you feel it's 'dirty', or it's too embarrassing, or you're worried your arse'll look like a small country or whatever. I love that I can be pushed past the small part of my mind that feels that to experience these amazing new things is wrong. And, no, that's not being pushed into doing something I don't want to do, coerced or whatever - my body simply reacts before my mind has a chance to catch up; my body betrays the fact that it's something I'm into even if my eyes or words might for a time not make that obvious, and even if I can't exactly explain why or how it's making me wet. It's more about someone knowing how far I'd like to go and helping me find the courage to go for it. [p.129] That is, quite neatly, the crux of submission in the sense of BDSM as I've come to understand it from all the other, better books I've read: The giving up of control (in a controlled environment) and handing yourself over to another person in every sense of the word, so you can stop thinking for once and simply feel and experience and to take you farther than you realised you can go. To free you. I rather think it takes a lot of courage to go there and do that. It also speaks, obliquely, to the importance of having a Dominant you can absolutely trust - and that's where it blurs into fantasy-land. Too often the men (or women) described in erotic fiction are just so super-duper at observing the submissive women (or men) in their care and they all have their heads screwed on right, that they know exactly what you need and what's okay and so on. I had hoped that a book touted as a memoir called The Diary of a Submissive would show the practical, day-to-day life of a submissive, which to me is the part that doesn't seem doable. The sexual demands are one thing, but what about the other side of it: having someone else decide what you wear (and what you don't, like knickers and bra), what you're going to eat at a restaurant and so on. Does the super-duper Dom realise you need to use the loo? What about when you have an upset tummy, or your period and you're crabby and hormonal? How does that dynamic play out? What is it like being with a Dom when you're not engaged in a scene but going about the ordinary things in life? To be fair, there is a sequel out now called that does, apparently, explore all these questions as Sophie moves in with her boyfriend/Dominant, Adam, but unfortunately hers is not a story that I feel much interest in continuing to read about. Everyone who enjoys this lifestyle (I'm using that word because that's how I've seen it described and I don't have a better one) enjoys it in their own personal way, and to different extents. But we don't learn about Sophie's personal life in the way you would expect. Just what are her aims in writing this? If it's to introduce new readers to the world of BDSM I would call it absolutely the wrong book to read first. If she was seeking to explain and justify and share BDSM ("real" BDSM) with people who were curious after reading EL James' Fifty Shades books, then I would say she's failed miserably. For me, after all the erotic-romance and erotica novels and short stories I've read over the last several years, this one just didn't add anything new to the genre. ...more |
Notes are private!
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1
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not set
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Mar 16, 2013
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Sep 06, 2012
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Paperback
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0395669537
| 9780395669532
| 0395669537
| 4.25
| 353
| Sep 01, 1990
| Sep 27, 1993
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really liked it
|
This isn't so much a story as a series of imaginative scenarios: children playing, creating worlds in their collective imaginations, turning bunk beds
This isn't so much a story as a series of imaginative scenarios: children playing, creating worlds in their collective imaginations, turning bunk beds into tents and fishbowls into the ocean. The corresponding text consists of a beautifully-worded, poetic ode to the scene they've created through play-acting, and then you turn the page and get a double-page spread of what they're seeing in their own heads. An elaborate panorama of an Amazonian jungle or African plains or Australian wilderness or a farm or deep in the ocean or among the dinosaurs. A mix of fact and fiction, with the children turned into mermaids, or swinging through the trees, while surrounded by real-life animals and other creatures that belong to that particular landscape. Around these panoramic illustrations are strings of nouns, all the names of the creatures that can be found in the pictures. It's a kind of treasure hunt, like Graeme Base's Animalia or even a bit Where's Wally?-ish. The vocabulary will push both kids and adults - there were plenty of nouns I didn't recognise, and animals etc. that I couldn't name. Helpfully, though, there's a kind of cheat sheet at the back of the book so that you can learn them. But there are easy, recognisable animals too, and even two-year-olds have fun spotting (and counting) the animals, or describing what everything is doing, or asking "What's that? What's that?"! I had meant to scan a couple of pages (and quote some text) to show you what this wonderful book looks like inside, but unfortunately I didn't get a chance - or I plum forgot - before all my books were packed up by the movers, and it'll be months before I have access to them again. So I guess we'll just have to use our imaginations! (Though you can see a few interior illustrations on Lester's .) This one is fun for adult readers, too, especially for anyone who remembers doing this kind of creative play: making tunnels out of couch cushions, or camps out of broken branches, forts out of straw bales and so on. Who hasn't made a mud pie or two? It triggers our sense of nostalgia, while encouraging children to enjoy and develop their imaginations, all while teaching everyone some great new vocabulary. ...more |
Notes are private!
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1
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not set
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Aug 28, 2013
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Aug 16, 2012
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Paperback
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1442432659
| 9781442432659
| 1442432659
| 3.67
| 6,619
| Jul 10, 2012
| Jul 10, 2012
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really liked it
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Not so far in the future, a global economic meltdown results in devastating and wide-ranging consequences. When sixteen-year-old Alenna Shawcross was
Not so far in the future, a global economic meltdown results in devastating and wide-ranging consequences. When sixteen-year-old Alenna Shawcross was only five years old, the three countries of North America - Canada, the USA and Mexico - merged to form the United Northern Alliance, led by self-appointed Prime Minister Roland Harka, a charismatic army general, and set about trying to subjugate the rest of the world with the might of its armies and technology, to secure food supplies among other things. Within the UNA, resistance to the new order is fierce, and anyone found guilty or even suspected of working against the UNA is arrested and disappeared. This is what happens to Alenna's parents when she's just ten years old. She's spent the last six years in a state-run orphanage, along with many other children whose parents have likewise vanished, presumed dead. Now that Alenna's in grade 11, she has to take the GPPT - Government Personality Profile Test - along with everyone else in her year. The test determines whether they are an "unanchored soul", someone who is predestined to becoming a criminal; the teenagers who fail the test are sent to Prison Island Alpha and left to fend for themselves. The age expectancy is only eighteen years old, and it's clear from the video footage that the teens on the island are at war with each other. Alenna isn't worried, though. She's quiet, bookish, completely unremarkable, and certainly not interested in going against the established order. So when she wakes up after the test to find herself stranded on the island, she's sure it must be a mistake. Rescued from being forcefully recruited by the "Drones", who wear black robes and face masks and often file their teeth into sharp points, Alenna is taken to one of the villages in the blue sector by an older girl called Gadya. There she learns that the island is called "the wheel" by the inhabitants, and it's divided into six sectors. The Monk - the leader of the drones - controls four, they have one, and the sixth, the grey zone, is out-of-bounds. Alenna is forced to adapt quickly to life on the wheel, where raids from the Monk's drones happen by day and night, and "feelers" - tentacles that come down from the sky, from something hidden behind the clouds, to snatch people up and take them away somewhere - mean that you can never let your guard down. Alenna also learns that nothing she was told in the UNA was true, and that there's some other reason for them being stranded on this island. When handsome hunter Liam returns from a scouting mission to the grey zone before the access tunnel collapsed, he tells them of the aircrafts he saw leaving from a hanger there. Veidman and his girlfriend, Meira, the unofficial leaders of the village, propose an expedition to the grey zone, an attempt to find a way off the island. Alenna volunteers, she's determined to get into the sector, after learning that her parents left a message for her, carved into a rock. The expedition is perilous, because it means passing through the Monk's territory, and the group of twenty won't all make it the barrier sealing off the grey zone. The journey offers more than death, though: it offers a chance to understand what it's all about, a shocking truth that will change everything Alenna thought she knew. Originally, I was going to read this last year after the author contacted me asking if I'd like a review copy - and seriously, how could I resist a premise like this one? But after some back-and-forth with the publisher who had to pass it on to the Canadian publisher, I was sent the wrong book (same title), so in the end I just bought my own copy and took my own time reading it. It turned out to be a quick read because it's gripping and well-written. The apocalyptic world is clearly described and well set-up, as well as being believable, especially because it feeds off our own current predicament. The authoritarian regime that is established in the UNA is familiar, being common to science fiction, but also because it's reminiscent of Nazi Germany and other authoritarian states. And the purpose of the island and all those stranded teenagers, which is revealed at the end, is chilling not least because it's so believable. Alenna herself is not a dominating character, especially at the start - she comes across as painfully ordinary, so her expectation of passing the personality test is understandable. Yet if there's one thing the island does, it is to create subversives, rebels, resistance fighters, out of people that wouldn't have turned into one otherwise. The irony is not lost on the inhabitants of the wheel. There, Alenna has to think quick and think smart to stay alive. She trains with Gadya in how to fight and shoot a bow-and-arrow, and pitches in to help from the get-go. She didn't waste time moaning over her fate or stubbornly refusing to acknowledge her situation, or any other annoying trait that other YA heroines have been guilty of. She's someone you come to respect and admire, for she grows and matures a great deal over the course of the novel. She's not a bland little "good girl", she keeps her own counsel and has to make a conscious effort to balance self-preservation and survival with helping others: in moments of danger, her character strengthens. The plot is nicely structured, with just enough time spent in the UNA to establish what Alenna's life was like there, and just enough time spent in the village in blue sector for her to learn as much as she can and meet certain key characters, before the expedition begins and the action escalates. Even before then, though, there's plenty of action. Even Alenna's testing is a scene of tension and sci-fi horror. In terms of structure, description and action, the writing is great. Where it faltered a bit for me was in the lack of chemistry between Alenna and Liam, and in a few little plot-holes - or world-building holes I should call them - that cropped up and stuck out for me, especially as I kept waiting for explanations. On the latter point, it was never explained where all their supplies came from; after all, they've been dumped there and abandoned. There's mention that the Drones' impressive fireworks come from a massive container left over from a previous purpose of the island, but that's the only thing that's explained. Where does Veidman get syringes from? Where do their pots and pans come from? They're not from raids on the old prison in the grey sector, because they've never been that far. These are little details, but oh so important in maintaining a firmly-rooted science fiction world. I tried to let it go, but it really did distract me, when an explanation could have been so easily slipped in. Likewise, a lot of Alenna's questions, which are really good questions, are fobbed off at the time with the promise of an explanation later, only to never be revisited. It was frustrating, especially because once Alenna's asks something, of course you start thinking about it. As for her relationship with Liam, it was very sweet and genuine and endearing, but it was rather sudden, and we never really got to know Liam, so that he was sadly under-developed. It makes it hard to believe in their feelings for each other, or to feel anything between them. While romance isn't the point of the story, if you're going to include it, at least make it solid and tangible. They hardly spent any time together, and while I liked how the connection between them was handled - a shared past thing that somewhat explained their instant connection - it didn't get enough time to breathe and grow. Those were the only two negatives I had with this book, though, and I don't want to over-inflate them. This is great science fiction, partly inspired, perhaps, by Lord of the Rings rather than The Hunger Games - a comparison that The Forsaken doesn't really deserve. For one thing, it's much better written. Yes, sure, THG was an exciting book and I did enjoy it, but Collins isn't a particularly strong writer and used present tense incorrectly. Stasse also uses present tense - a tense I have come to loathe over recent years because it's become so common and so poorly used - but she actually knows how to use it, for the most part. She doesn't write as you would write in past tense, just changing the verb tense. She stays in the moment as much as possible, and while I firmly believe that it would have been just as strong, if not stronger, were it written in past tense, it didn't ultimately detract from the novel. If I had one other minor dislike it would be Gadya. She starts out as a strong and potentially interesting character, but later turns out to be mostly volatile and completely lacking in impulse control. She spends her time shouting and getting angry, and I got rather tired of her theatrics. It made me like Alenna more in contrast, and when Gadya calmed down at the end I felt she'd grown up in the process. There is, in these situations, a lot of growing up to do. Rather than being character- or romance-driven, the focus here is on the world, the plot and the action, all of which are highly entertaining. The other book I was reminded of, was Iain Banks' Consider Phlebus, which I like to mention whenever I can because it was such a good sci-fi novel. I was reminded of it when learning about the Monk, a cult leader who's brainwashed his followers, whom the villagers think is also a cannibal, and is carried around on a stretcher by four drones. There's a section of Banks' novel featuring a morbidly obese cult leader who eats human flesh, while encouraging his emaciated followers to eat their own feces. Delightful image isn't it? He too was carried around on a stretcher, being unable to move - I won't say more because it becomes even more gross, though his end is nigh. Anyway, the Monk brought that to mind, though it is different and the truth behind the Monk is a revelation I wasn't expecting. I did somewhat guess as to the purpose of the feelers and the "abductions" on the wheel, though I didn't quite come up with the whole truth, and Stasse's version is much better than my half-hearted attempt to figure out what was going on. One of the strengths of the novel is the sense of atmosphere, and it became exceptionally chilly within the grey zone - if you've read it you'll recognise the pun (it's freakishly cold within the grey zone, while beyond the barrier in the rest of the wheel it's almost tropical). All in all the whole thing felt very real, with a palpable sense of danger, tension, fear and anticipation. The Forsaken is nicely rounded-out with a clean ending, to this stage of the story anyway: it is a nicely contained story that establishes a new and exciting world that digs into some pertinent issues, especially ethical and moral ones, without ever being over-bearing. I haven't gone into that side of things much, I know, but I have to say that this was a very mature novel, which shows a lot of respect for its intended audience while also appealing to adult readers. I'm looking forward to reading the next book, , watching Alenna continue to grow, and learning more about this fascinating and deadly world. ...more |
Notes are private!
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1
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not set
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Jan 12, 2013
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Aug 11, 2012
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Hardcover
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1907411054
| 9781907411052
| 1907411054
| 3.98
| 115,104
| Dec 01, 2011
| Feb 07, 2012
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really liked it
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Aria has always lived inside the utilitarian, uniform grey walls of Reverie, one of a group of domes called "Pods" constructed to save people a long t
Aria has always lived inside the utilitarian, uniform grey walls of Reverie, one of a group of domes called "Pods" constructed to save people a long time ago. Her mother, Lumina, is a geneticist working on a top-secret project, and left for another Pod called Bliss. Aria hasn't heard from her in five days and she's becomingly increasingly worried about what might have happened at Bliss to bring the communication channels down. Outside the Pods, the environment is a death zone to people like Aria: with its poisonous air she knows she wouldn't last hours - there's a reason why it's nicknamed the Death Shop - so the thought of Bliss attacked by one of the increasingly frequent Aether storms and even partially destroyed, is enough to make her feel panic. In an attempt to find out information, she and her friend Paisley agree to tag along with three boys, led by Soren, the son of Counsel Hess, one of their leaders, into a damaged service dome used for agriculture but now sealed off. Soren is a wild card, though, and discovering a fully-grown forest within the dome leads him to the decision to start a fire, something strictly forbidden inside the Pods for the risk of killing them all. The boys go crazy and attack the girls, and Aria is saved by a Savage - one of the uncivilised peoples who live outside the domes. But later, when Aria tries to tell the story of what really happened inside the service dome, she finds herself betrayed and cast outside Reverie. Alone and at the mercy of the elements, Aria is shocked to find that she hasn't died from breathing the noxious air, though an Aether storm nearly finishes her off. Instead, she has been rescued from certain death by the very same Savage who helped save her from Soren inside Reverie: Peregrine, or Perry for short. The younger brother of the leader of a tribe called the Tides, Perry is "Marked" and has two talents - super-powers derived from evolved genetic mutations. He can smell people's emotions, giving him an extra sense for what people are thinking or about to do, and he has nocturnal vision. When his nephew Talon is captured by the "Moles", or Pod dwellers, he makes a plan for getting him back and that plan involves Aria. Together these two very different people traverse a wild and inhospitable landscape to reach the one person Perry is sure can help them. Along the way they build trust where there was none, friendship where there was hostility, and come to value each other for more than their skills (of which Perry has lots but Aria, none but singing). Their quest to rescue Talon and find Aria's mother leads them to dual truths: the truth behind the disappearances of other people Perry knows, and the secret as to why Aria can survive outside the domes. I am a big fan of post-apocalyptic stories featuring domes - or any kind of story featuring domes, really, it doesn't have to post-apocalyptic like this one. My love affair started with Isobelle Carmody's , which at a guess was the first YA book featuring a dome to be published. As such, I have a habit of measuring similar stories against it - it can't really be helped. Under the Never Sky has plenty in common with Scatterlings and other stories featuring domes, but it forges its own path too. It takes the familiar tropes of dome vs. wilderness, people mutated by manmade toxins into a new kind of human, someone from the inside at the mercy of the elements on the outside, and a quest story - it takes these elements as the common threads but spins a new story with enough original elements to help it stand on its own feet. And there is plenty to like here. The biggest strength this novel has is the writing. The prose is controlled, confident and clear. The pacing is smooth and fairly fast, and even the parts where not much is happening read well and are interesting. I've read my fair share of poorly written YA and this is definitely not one of them, and I have a high appreciation for good storytelling and good prose. There are other parts to this too, like Aria. Aria started out as a fairly conventional heroine, with a distinctly familiar-sounding voice. She's spent her whole life not only confined to a sterile dome, but has spent most of that time actually living inside the Realms: computer programs that simulate everything from ancient Rome to a nightclub to the opera - places that don't even exist anymore. That's where everyone "lives", experiencing everything through simulation. They might touch each other or even have sex inside a Realm, but outside it, they do little more than eat and sleep and physical contact is strange. They don't even have children the "natural" way anymore, and people give their kids little genetic tweaks - like how Aria was given a stellar singing voice, or Soren was given a tan. "Upgrades", they're called. So her whole life is artificial and very tragic, and she's never learned anything useful. She would never have survived the world outside Reverie without Perry, and she knows it. But Aria is not one of those annoying, whiny, difficult heroines we've all read. She's smart, she learns from her mistakes, she listens and she's not narrow-minded. She's super ignorant and the mistakes she makes ring true for her character and upbringing, but they garnered more sympathy from me than annoyance. And she grows. She really does grow as a person, in a life-changing way. She "comes into her own", as they say. She finds her inner strength, a confidence and resilience she never would have discovered if she'd stayed within Reverie. But she doesn't change in a way that's unrealistic or too fast; she's still a nicely flawed - or we should say "imperfect" - character who has plenty to learn. Then there is Perry. He's a bit more typical, being a bit stubborn and taciturn, but at least it fits his character and he, too, grows up some. He's got a long way to go too though. His situation is interesting and a marked contrast to Aria's, and he moves fluidly within the landscape that shaped him. I found it hard to get a good mental image of him, as one of the rare times when the prose stumbled was in describing things like Perry running his hands through his long dark blonde hair, when we'd already been told he had dreadlocks - bit hard to run your hands through dreadlocks like that! I'm not a huge fan of the silent moody heroes anymore than I like the stubborn, mouthy heroines, but I did come to like Perry. I rather wish he went by the name "Peregrine" though, because I really like that name and I'm not so keen on "Perry", which makes me think of a rather nerdy suburban middle class kid who'd really like to be popular but has a daggy haircut. So where did my love for this story fall short? Everything was there, in place, all the elements for something truly outstanding. And I did enjoy reading this, don't get me wrong. But somehow, at the end of the day, it was all a bit ... safe. Slightly conventional. There was nothing specially new here, for me. It lacked that zing, that spark to make it really stand out. Everything was just a bit too ... neat - including Aria and Perry's slowly growing romance (though, yay, no "instalove"!). I don't know how else to describe it, and it's quite likely that had I read this at a different stage in my life that zing would have been there for me. That's the trouble with growing up and having life experiences, or with reading a lot of books: it gets harder to feel energised and surprised and zapped by books. Maybe I'd feel the same way if I read Scatterlings for the first time ever, now. How sad. Sigh. Anyway, this is a solid story with a fast-moving, exciting storyline and two strong, memorable characters who are taking the overall story in a new, untamed direction. I'll have to read on to find out what's at the other end (or I could just wait for the film). ...more |
Notes are private!
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1
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not set
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Jun 10, 2013
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Jul 25, 2012
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Paperback
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my rating |
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3.61
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it was ok
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Jan 03, 2013
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Dec 27, 2012
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4.05
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it was amazing
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Jan 16, 2013
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Dec 17, 2012
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3.74
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really liked it
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Jan 09, 2013
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Dec 14, 2012
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3.62
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really liked it
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Feb 2013
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Dec 12, 2012
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3.45
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it was amazing
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Apr 27, 2013
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Dec 12, 2012
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4.23
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it was ok
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Mar 10, 2013
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Dec 07, 2012
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3.75
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liked it
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Feb 2013
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Nov 19, 2012
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||||||
3.87
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it was amazing
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Aug 17, 2013
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Nov 15, 2012
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3.66
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liked it
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Apr 05, 2013
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Nov 08, 2012
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||||||
3.83
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really liked it
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Feb 03, 2013
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Nov 04, 2012
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3.82
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it was ok
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Mar 06, 2013
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Nov 01, 2012
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3.49
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it was ok
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Jul 06, 2013
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Oct 14, 2012
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3.25
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really liked it
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Jan 21, 2013
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Oct 10, 2012
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3.56
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liked it
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Jan 14, 2013
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Sep 14, 2012
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4.15
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really liked it
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Jan 25, 2013
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Sep 13, 2012
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3.84
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did not like it
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May 21, 2013
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Sep 11, 2012
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3.45
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it was ok
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Mar 16, 2013
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Sep 06, 2012
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4.25
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really liked it
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Aug 28, 2013
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Aug 16, 2012
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3.67
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really liked it
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Jan 12, 2013
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Aug 11, 2012
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3.98
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really liked it
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Jun 10, 2013
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Jul 25, 2012
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