I watched this entire film with focused energy and still don’t know why this is the title. It’s not the only thing lacking: the summary says this is about a street kid suing his parents for being born. It really is about Zain and his lack of control over things, plus his attempts to change that.
He tries to save his sister, he tries to save a left-behind toddler, he tries to save himself a bit. The streets of Yemen provide little, but Zain tries to take all of it.
It’s hard to believe that this is fiction, that it’s only actors that were put through this. Especially the boy playing Zain pulls story-lines off that would have been scoffed or laughed at with a lesser actor.
After, you’ll be glad that this time it was fiction. It just won’t make it easier to acknowledge that this way of living is reality for plenty of people.
And the court case? Or the title? Meh, I can do without.
Most of recorded human history is one big data gap.
Good gravy, just when you thought you already knew, things turn out to be so much worse. Next to a sexist gap in pay, safety and health there is a huge one in the thing that drives pretty much all of society: data.
Why is the default ‘he’? Why is there still a riddle about a doctor whose husband died, and why do too many people involved with design viewing women as ‘men with boobs’? Well, because societies worldwide have made it so, and not enough people in powerful positions protest it. And it turns out to be lethal for women.
Invisible Women isn’t particularly uplifting material: there’s just so many numbers and anecdotes on things that went wrong and are going wrong and men not giving a damn about it. How do we rally for change when the entire history of humanity is against us?
Because in some cases and in some countries things have changed and are changing. And you can never change something you don’t know anything about. And because it might save your life to know.
Invisible Women: Data Bias in a World Designed for Men, Caroline Criado Perez, Abrams Press 2019
We typed a hundred words per minute and never missed a syllable.
While I’m absolutely lukewarm about stories that use the World Wars as their background, the Cold War or anything involving the USSR/Russia has easily my interest (peeked). The Secrets We Kept ads love for literature to that. Ace in the hole, you’d say.
I can’t pinpoint why it isn’t one. It’s an appealing, enticing story; easy to read, pretty easy to follow (several chapters keep you in the dark about who’s the protagonist now — at least for a page and a half) and voices could have differed a bit more from each other. But that’s details I discover looking back, not necessarily crippling me during reading the story.
The secrets kept the title mentioned are from both The Agency (American security) as from Russian individuals that dare do things The State doesn’t agree with. Of course, there’s secrets on other levels as well, and this isn’t a Cold War story in the way of ‘pick a side and follow through’. These women and typists carry more responsibility than their detailed-described looks entail.
It’s a fun novel to read, easily calling up images and with no frills when not necessary. I’m honestly surprised that I’m not more excited about it.
The Secrets We Kept, Lara Prescott, Bond Street Books 2019
Red flowers were blooming in the front yard, but Nanase had no idea what they were: the names of the flowers did not interest her.
Well, the summary of this novel is going to be short and clear. Young Japanese woman is telepathic and listens in on the households in which she does maid-work. Any questions?
Nanase doesn’t really manage to hold on to a job for long, which could be quite understandable when you can hear everyone’s thoughts. It turns the novel into a collection of short stories: ever so often a new household. It also makes it quite repetitive: everyone only seems to think about status, money and sex.
So, yes, maybe that’s all what people think about when they think no-one else can hear them, but couldn’t there have been some kind of addition to prevent feeling like you’ve read this already the previous chapter? Sadly not. There’s no descriptions of surroundings and Nanase herself doesn’t seem to spend too much thought on herself and her future. It sadly turns The Maid into a creative writing exercise that went on for too long.
Ik kreeg het niet voor elkaar om de film te kijken, maar gelukkig hielp Netflix (weer eens): nu is er ook een serie.
Met hetzelfde gegeven: zwarte studenten op overmatig witte campus die in mindere en meerdere mate tegen racisme ingaan. Hoofdpersoon is misschien wel Sam met radioshow Dear White People, maar – heel fijn – anderen krijgen elk ook een aflevering. Iets met ‘verschillende, nodige invalshoeken’ en zo.
Zo leer je waarom sommigen “zo min mogelijk zwart” willen zijn, of hoe het is om waarheid te ontkennen voor je eigen veiligheid.
En door het evenwicht van continu activisme en ‘ik wil gewoon leven, hoe dan ook’ wordt Dear White People geen eenzijdig pamflet. Hoeft ook niet; de ervaring van met de neus op de bittere feiten gedrukt worden gebeurt toch wel.
It was the happiest moment of my life, though I didn’t know it.
Not for this story, but my opinion on it. A Nobel Prize winning author it may be, a deep, emotional romance in the loved city of Istanbul it may be, I only found egoism and sexism, with a dollop of patronizing ideas towards women.
The male main character starts an affair with a much younger, and poorer woman when he’s engaged to a nice, intelligent woman of his age and social standards. He steamrolls his mistress into many things, while not giving anything in return, only to throw a tantrum in any way but yelling when she disappears after his engagement party. There’s moping, pouting, dramatic thoughts and work-omitting behaviour. But don’t view it as that, he all has to do that because he’s so in love!
This goes on for years and years. Whenever there’s an interesting look into (high) society in Turkey of the seventies and eighties, the lens is turned back to the ever-suffering man. How dare she, how dare his mother worry, how dare his brother ask to come to work again, and so on, and so on. After eight years things turn in his direction again, but still there’s the woe-is-me tone.
An exhausting, frustrating novel that is interesting for about 10% of its pages: whenever Kemal Bey deigns to show a look at the world around him, instead of the one inside of his head.
The Museum of Innocence, Orhan Pamuk, Faber and Faber 2009
Lloyd shoves off the bedcovers and hurries to the front door in white underwear and black socks.
Oh boy, a novel involving journalists, editors and media. At least the title vouches for a neutral, not-myth-making point of view?
It definitely does. There (still) seems to be such a charm attached to the media making branch, while at the same time having entire populations look down on it. The Imperfectionists need neither, cocking up and showing human weaknesses all too often themselves.
The story is about the going-ons of an English-language newspaper in Rome. Editors, correspondents, even a loyal reader — all get a chance to share their point of view. Over fifty years there’s not only the societal changes, but also ones in the branch that show that decades of years at the same company isn’t a good idea for many people.
It makes things (all too) recognisable, funny, sad, and the reader possibly left with a craving for a visit to Italy.
It’s a light, quick read that might make you think differently about media and journalists, but definitely will make you feel less like a stubborn fool. There’s this crowd, after all.
The Imperfectionists, Tom Rachman, The Dial Press 2010
Een coming out met een taalbarrière er tussen. Lilting laat zien hoe het weerhouden van informatie van directe familie de dood alleen maar een grotere klap maakt. Want hoe rouw je om je vriend als zijn moeder niet eens van zijn homoseksualiteit af wist en jou niet eens mag?
Ben Whishaw speelt beschadigend, een pruttelende vulkaan die alle bewuste onwetendheid niet aan kan. Hij biedt zijn vriend’s moeder een tolk aan, maar dat verbetert de weg tussen hen niet. Het is een stil verdriet van twee mensen, en de film laat open of ze dat wel kunnen overleven.
Het is een zachte, knappe film die je met het gevoel achter laat alsof een bel is geklapt. Doe je best om het te zien.