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
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
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
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
Kate Battista was gardening out back when she heard the telephone ring in the kitchen.
What a gross disappointment, ew. Sometimes a book just doesn’t fit you right from the start. In this retelling of Shakespeare’s The Taming of the Shrew it starts with the introduction of characters that are quite impossible to love or even like.
This is followed by the plot (quite logical), a situation which main character balks at for approximately five chapters before completely giving into it without any clear motivation. If this novel set out to depress about how some women don’t have any outlook on life and what they want to do with it, it succeeds.
Something extra to grind my gears is that – after it has been shown that this guy she needs to help out might not be so ugly and annoying after all – there’s a demonstration of verbal abuse and aggression. And Kate just … takes it.
Combine this with an epilogue that is about as plausible as the Harry Potter’s one and it leaves a lot to be desired. Ten Things I Hate About You did this much more entertainingly.
Vinegar Girl, Anne Tyler, Hogarth 2016
6 hours (approx.)
Read by Meryl Streep, so yes, another audio book! Good gravy, does the woman has a recognisable voice. No need to get into her acting skills here, but her reading fits this story very well.
Kind of well-off woman on her second marriage and second pregnancy gets cheated on. A lot of love for New York and little for other parts of the USA, she writes cook books, he’s involved with media and/or politics, a lot of dinner parties.
It’s juicy, rich people problems with sometimes a recipe added. Meryl Streep’s voice makes it sound like you’re listening on the traumas of a rich, eccentric aunt who – when she’s isn’t full of self-pity – has some snarky oneliners and a nice eye for details (this audio book definitely painted a lot of pictures in my mind). Here, the addition of the right reader, definitely elevated quite a common (but entertainingly written) story.
So, if you want to enjoy an Ephron-production just a little bit more, try an audio book.
Heartburn, Nora Ephron, Penguin Random House 1983 (first edition)
Lang, lang geleden, toen de mensen nog heel andere talen spraken, waren er in de warme landen al grote en prachtige steden.
Ten eerste vraag ik me af waarom Engelse titels veel meer woorden een hoofdletter geven dan Nederlandse. Toen realiseerde ik me ik dacht dat de auteur Michiel en niet Michael heette.
Tot slot sta ik er bij stil hoe kinderboeken soms betere, duidelijker boodschappen geven dan so called volwassen boeken. Het is hier simpel: wat gebeurt er als tijd letterlijk als geld wordt afgeschilderd? Er is geen ruimte meer om te leven, want dingen kunnen altijd sneller en al het ‘onnuttige’ wordt verwijderd. Inclusief plezier, liefde en rust. Steek die maar in je zak.
Daarnaast is er een vreemde eend in de bijt als hoofdpersoon om te laten zien dat het niet allemaal volgens de norm hoeft, en een grote liefde voor verhalen tellen, vrij spelen en zelf uitzoeken wat je leuk vindt, wat kan en wat mag.
Oh, en dan ook nog even een filosofische dip richting het gebied van hoe de hemel er uitziet en wat tijd voor invloed er op heeft.
Kom daar maar eens mee in een volwassen roman.
Momo en de tijdspaarders, Michael Ende, Lemniscaat 1975
65 x 24 min.
Yes, I know, I’m surprised as well. This animated TV-show definitely took me a while to warm up to, and during the first two season (there’s five of them) I wouldn’t even have considered writing a blog about it. Somewhere near the end of season two, and/or the start of season three, it grabbed me. It grabbed me good.
Before starting this show, I knew little about the previous incarnations of it and therefore didn’t feel the need to complain about how She-Ra isn’t a full-grown woman this time, nor about the lack of butt and boob shots (in an animated show, yes I know). It also means that I didn’t have any connection to it, and had to invest some time and energy to feel the connection.
She-Ra is fantasy, people with magic, bad guys that want to take it, colourful stuff, talking horses, but also teenagers, queer love, building your own family and views on power and the (ab)use of it. Especially when watching several episodes in a row you might notice some repetition, but as someone who skipped a few (there’s a character I could barely handle) I can say that you can still follow the main plot without confusion.
It’s also fun and bright and there’s so much heart in it, even though the shows of it sometimes made me feel a bit outside of the target audience/too old. Oh, and the animation is nice, instead of that try-hard, ugly as possible “adult” animation we have to suffer all too often.
She-Ra and the Princesses of Power, Netflix 2018