You ask me to start at the beginning, Marin, my dear, but you do not know what you ask.
Yoohoo, traditional fantasy alert! Although.. our unlikely heroes this time are very unlikely and not all that heroic. Not yet anyway, but of course this is the first book in a series.
The Ninth Rain plays out in a pretty much post-apocalyptic world. There’s the memory of darkness and despair, but some are living through it more than others. There’s an ancient race that should have been the heroes but fell, there’s humans that – like humans do – just toil on. And then there’s a threat of things that might just come again.
Yes, there’s the burly male, the scared little young woman with more power than she can control and the eccentric bringing them all together, but they don’t fit their clichés exactly. Combine that with a luscious world building and it matters very little that this plot has been done before. You get that comforting ‘Down the fantastic rabbit hole’-feeling in return.
The Ninth Rain, Jen Williams, Headline 2017
13 x 60 min.
It’s no secret that I enjoy family epics, be they written or on screen. It’s a way in which writers (and actors) can show how much they now about character-creation, and if done well, can shove plot and world-building to the background. In the case of Queen Sugar, that isn’t done exactly – the cinematography of this show alone is making it worthwhile to watch.
In the beginning everything is clear. Three siblings come together because of a family emergency and disagree with each other on everything. Something happens, and they’re stuck together longer than desired. It’s the acting of everyone involved – down to the young boy – that makes you actively root for them to find each other again, and get what they desire.
Queen Sugar plays out in and around Louisiana, shown in such luscious colours that the few times in and around Los Angeles feel flat and fake. It’s clear that this state is another world, and some siblings fit in better than others.
It’s of little importance if they siblings learn that they work best when together and if they get what they want in the end (although I’ve learned that there’s four seasons, so who knows what will still happen?). Solely the looking and listening might be enough for you to enough this first season – which does fine on its own.
Queen Sugar, OWN 2016
Our relationship was over before it began.
I’ve read another memoir. Maybe it reads easier when you don’t know the person writing it, or the recent ones just were written entertainingly and well. I’m guessing the truth is somewhere in the middle.
Michael Ausiello is an entertainment writer, and this story is about how his partner dies. With a title like this there’s little surprise to the ending of his story, but Ausiello manages to write it in such a way that you start to doubt that title – the man knows what works to keep your reader compelled, after all. So there’s chapters about the highs and lows of their relationship, the beginnings and (almost) break ups. He writes himself down while his partner is plucked from the heavens, even when he’s being quite terrible.
It’s a story very close to someone; and to recognise that these people are(/were) really alive makes it sometimes terribly uncomfortable. Should the reader be around of another round of bad news or self-doubt? Is it not too close, to follow someone’s mourning on this level?
Because Spoiler Alert is about love and loss and other four letter words, but also very much about Michael Ausiello.
Spoiler Alert: the Hero Dies; a memoir of love, loss and other four letter words, Michael Ausiello, Atria Books 2017
I am thirty years old and that is nothing.
This library haul had a 75 percent success rate, with The Far Field being the concluding chapter (heh) of that rate.
And – as it sometimes is with good stories – with this one it’s hard to put into words what exactly is good about it. It’s not like the naive, spoiled protagonist is easy to love, nor are the other characters particularly likeable. The plot could well be called Eat Pray Love with poverty tourism, so honestly, Madhuri Vijay had the stacks against her.
But there’s so much humanity in these characters and their stories. The randomness of things, people and situations brought together and bringing the worst or the best out in each other. You could say that the protagonist leaves a trail of destruction behind, but does she even have that kind of power? What is there to destruct in a war zone?
This book is coming of age, a rapport of ordinary life in contested country, a confrontation with bias. It’s written in such an appealing way that sometimes the plot arrives second because you’re just enjoying the words.
The Far Field, Madhuri Vijay, Grove Press 2019
Er is helemaal niks met de hapsnap-films die je vermaken zolang ze duren en je vervolgens bent vergeten voor de aftiteling voorbij is. There’s a time and a place, enzo. Maar soms is een film die je een paar uur later nog laat fronzen of giechelen ook wel heel fijn.
Het mooie van deze film is dat elke paar minuten iets onthuld wordt waardoor je (zenuwachtig) moet lachen, maar het stopt zodra je het gaat verwachten. Wat is er hier dan wel aan de hand, en waarom weigert de film het makkelijk uit te leggen?
Emma Blank is een naar mens dat stervende is, en in haar huis door haar personeel wordt bediend (soort van). Het zijn de regelmatige onthullingen waardoor de film geen family epic blijkt maar meer een ..absurde samenscholing van clichés die in zo’n verhaal voorkomen? Misschien?
De karakters maken het er ook niet makkelijker op, afwisselend in irritant en meelijwekkend. Ook dat draagt bij aan het gevoel van vervreemding, hoor je bij een verhaal niet op z’n minst één iemand willen steunen?
En zo zit ik alweer te glimlachen door deze verzameling vreemde, nare vogels.
De laatste dagen van Emma Blank, Graniet Film 2009
It wasn’t until my second year of university that I started to think about black British history.
I guess August was for non-fiction, or that This Lovely City just put me in the mindset to learn more about black British history. Because of course, of course – in some way you know that the islands aren’t an utopia for black and brown people, but how much of black history is focused on the USA (effectively making it possible for Europeans to dodge any responsibility?)? Turns out – when it comes to my knowledge – a lot.
Don’t write this title off as a history book now (why would you write off any book because it has history, you don’t love history?), because as anything involving people; history is just one part of it. As Eddo-Lodge explains it probably better than I do: intersectionality is a thing, and you can’t discuss a human issue without looking at the place where it intersects.
So, this book is about history, about feminism, about the media and white privilege. It’s about health and education, and every other part of human life. In clearly cut chapters, in clear language, Eddo-Lodge doesn’t only answer the title’s question, but also explains to you why you should take responsibility regarding it.
And just like that, I’ve got my first book for my students to read (from).
Why I’m No Longer Talking To White People About Race, Reni Eddo-Lodge, Bloomsbury 2017
The basement club spat Lawrie out into the dirty maze of Soho, a freezing mist settling over him like a damp jacket.
The pretty cover will definitely throw you off: this isn’t a light, bubbly story about a fabulous time in black music history. This is a novel about black British history, and there’s little prettiness about that.
Jamaicans are ‘invited’ to come to the motherland, but England isn’t a loving mother. Black people are denied on every level of daily living, and when a baby is found, police and white citizens take it as an excuse to go full out racist.
Louise Hare shows the endless fear and frustration as well, making you move from ‘Why not just go back?’ to ‘Why don’t you stand up for yourself?’ and ‘Why is everybody such a wanker?’. Lawrie doesn’t want much in life, but because he’s black there’s a lot of people out there that actively sabotage him.
The Empire Windrush and their people aren’t fiction, nor was their treatment of them. So even though this is an interesting look at London after the Second World War, there’s no fun and bubbles to be found here.
This Lovely City, Louise Hare, House of Anansi Press 2020
Lake Geneva, 1816
Reality is water-soluble.
Now, what to think and say about this one? Unlike The Body in Question, I’m struggling because I’m thinking too much about this story. It’s bewildering, it’s scary, it’s also kind of soothing with showing you how humans and their ideas about identity, life and death have always been around and probably forever will be (in whatever shape).
This isn’t a retelling of Frankenstein, or maybe partly, or maybe only inspired by it. Mary Shelley gets a plot, so does Ry and Victor Stein. There’s layers and century-deep connections, but never in a Gotcha!-way.
Winterson surprised me with a memoir I liked (which doesn’t happen often, as recently mentioned), but I didn’t know what to expect with a novel of hers. After Frankissstein, I still don’t. I find it hard to believe that she could write something like this again, if it’s even a ‘this’.
I’d recommend this novel to everyone who allows themselves to be taken along for a ride. I’d also recommend it because I still don’t know how to place this story and would love to pick other people’s brains. While still in their heads, of course.
Frankissstein, Jeanette Winterson, Jonathan Cape London 2019
“When that door opens, sign out.
Sometimes I feel like I subconsciously read in trends. Recently I seem to be on the “Oh, the ending is already here?”-kick. Definitely not a conscious decision: I don’t like those kind of stories.
This novel is pretty two-dimensional, anyway. Not necessary because of the characters or the plot, just the feel of it. Nothing touched me, it’s just there. Maybe that’s the right fit for the protagonist, maybe that’s why it has such an ending as well, but instead I felt like even the small investment I had was a waste of it.
Should I have gotten insights on the American law system? On how women can feel rudderless and make bad decisions? Or is the story just there to make the reader slightly uncomfortable and feeling defeated?
The body in question is probably not the one in the probable murder case the protagonist is in a jury for. Maybe it’s hers, maybe it’s her husband’s, maybe it’s her body of work? I don’t care enough to ponder it.
The Body in Question, Jill Ciment, Pantheon Books by Penguin Random House LLC 2019
About seven and a half hours
I think I’m getting the hang of this audio book thing. It even made me thoroughly enjoy a memoir!
This is the first time I’ve heard of this man; this novel is part of the Black Lives Matter-category in one of my libraries. That’s one reason I decided on borrowing it, the other is his function: he’s a chef.
And he makes the dishes sound so good, the passion for food and cooking so clear that his career couldn’t have been otherwise. There’s struggle on his road to it (and that’s putting it nicely), but Onwuachi has such strength that it turns into a rags to riches to rags to riches to rags Hollywood-approved story instead of self-pitying lamenting. And the author shares how and why he continuously had the strength to do so.
The good thing about reading an unknown’s (to you) memoir is that you won’t be confronted with things you already know; the bad thing is that it can make you wonder why you’re spending your time on a stranger’s story. In this case, it felt like I was listening to a Black Western playing out in streets and kitchens, brought so enticingly that I regularly cycled a bit further to just keep listening.
Notes from a Young Black Chef, Kwame Onwuachi, Penguin Random House Group 2019