|
|
|
|
|
|
|
|
|
|
|
|
|
my rating |
|
|
|
|
|
|
|
![]() |
|
|
||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
0553448188
| 9780553448184
| 0553448188
| 3.63
| 274,979
| Oct 30, 2007
| Feb 02, 2016
|
it was amazing
|
There are few greater honors in the global literary community than being awarded the Nobel Prize in Literature and I am thrilled to learn that South K
There are few greater honors in the global literary community than being awarded the Nobel Prize in Literature and I am thrilled to learn that South Korean author Han Kang has now had her name immortalized in this list of honorees. Chaesikjuuija�The Vegetarian in English—is Բ’s best known work, winning the Booker International Prize in 2016 along with translator , and is a searing portrait of obdurate patriarchal societies that strangle out women's autonomy in order to more strongly shackle them to a life of passivity and familial obedience. The Vegetarian is a tapestry of four interwoven lives in three voices emphasizing the lack of agency afforded to the life most central to the narrative: Yeong-hye, the wife of Mr. Cheong who’s �life was no more than a ghostly pageant of exhausted endurance,� at the hands of those around her. At least until she decides to stop eating meat. Told in a darkly poetic prose strong enough to hold a host of horrors, Kang cuts through the masks of society until �familiarity bleeds into strangeness, certainty becomes impossible� in order for her to take critical aim at forces of violence and control. Sharp, sinister and surreal, The Vegetarian is a powerful tale of the aggressions aimed at those who step outside the social norms and the misogynistic assumptions that impose subservience and suppression and it makes for a truly unforgettable read. �It’s your body, you can treat it however you please. The only area where you’re free to do just as you like. And even that doesn’t turn out how you wanted.� Originally published in South Korea as three novellas, The Vegetarians three sections, each from the voice of a different character, stitches the perspectives of family in orbit around the story of Yeong-hye. We begin with her husband, Mr. Cheong, who enjoyed her being �completely unremarkable in every way,� and because �it was rare for her to demand anything of me� making her suited to be the quiet, submissive wife he desires. Her choosing to refrain from eating meat is an annoyance to him, but his real frustration is her desire to attain bodily autonomy as he believes �it was nothing but sheer obstinacy for a wife to go against her husband's wishes.� We move to her brother-in-law as he uses his art to seduce her but, like Mr. Cheong, becomes angry when her actions are less in submission to his sexual hunger but instead enacted as a way to perform her body in a way she desires. Finally we have her sister who is haunted by Yeong-hye’s refusal to eat but beings to understand it as an act of resistance. Kang orchestrates these characters in a sort of destructive dance where we find them rather inscrutable to one another. Or often to themselves.There is a certain sorrow to discover those closest elude decoding or have interior lives we cannot decode, such as In-hye’s revelations after divorcing her husband: �Had she ever really understood her husband’s true nature, bound up as it was with that seemingly impenetrable silence? She’d thought, at one time, that it might be revealed in his work…Despite her best efforts, though, his works proved incomprehensible to her. Nothing was revealed.� The incomprehensibility becomes a clever theme on how our best efforts to understand each other often amounts to placing the personality of others into a box of faulty assumptions and then becoming upset when they act off script of our presumptions. It shines a spotlight on the assumption of control one might impose upon others, a control that becomes harshly oppressive when it is enabled by misogynistic gender roles and feels threatened by any resistance to it. Which is what Kang executes so brilliantly here by denying Yeong-hye a voice similarly to how it has been suppressed by those around her and she must have her own thoughts decentered from her own story to instead have it told through the flawed assumptions of others who can’t truly comprehend her, or, such as the men narrating the first two sections, could never begin to understand what it is like to live as a woman denied any sense of self-agency. �She had never lived. Even as a child, as far back as she could remember, she had done nothing but endure.� Yeong-hye, �a woman of few words,� represents the push and pull between the desire for an authentic, autonomous self and the socially imposed role of a subordinate, familial self. Haunted by horrific dreams of meat and violence, she decides to be a vegetarian as a refusal to be a part of the violence all around. In this way she views plant life as a sort of innocence and her draw to the brother-in-law is only mistaken as sexual when in actuality she enjoys the flowers he paints on her naked body as symbolic of becoming innocence or, better yet, being able to choose to be painted as a symbol. But her actions are met with the consequences of societal disdain, reflected in her husband's anger and the family attempting to force her to eat meat. �The very idea that there should be this other side to her, one where she selfishly did as she pleased, was astonishing. Who would have thought she could be so unreasonable.� The idea that she could have a sense of agency is outright offensive to those around her. �Look at yourself, now! Stop eating meat, and the world will devour you whole.� Even in her attempts to not eat entirely, she is held into a hospital bed with a feeding tube shoved into her nose. The message is clear: you cannot have autonomy. The novel steers us through episodes of social enforcement of norms, with Kang emphasizing the violence society tolerates in order to uphold its narrow values. � In-hye stares fiercely at the trees. As if waiting for an answer. As if protesting against something.� Բ’s The Vegetarian is situated in a South Korean society that has grappled with issues glaring issues of oppression against women, one that has only in the years since the novel was first published in 2007. Kang takes aim at in South Korea such as with South Korean being amongst the despite a generally low homicide rate, gender inequality problems such as having , and until 2013 marital rape was (such as is seen in the novel). While Yeong-hye’s actions are seen as outrageous to others, Kang depicts her and her role in life in such a way that one can certainly see that her refusal to submit �as if boundaries and limitations didn’t mean anything for her� may be the only reasonable actions in the story. � She was no longer able to cope with all that her sister reminded her of. She’d been unable to forgive her for soaring alone over a boundary she herself could never bring herself to cross, unable to forgive that magnificent irresponsibility that had enabled Yeong-hye to shuck off social constraints and leave her behind, still a prisoner. And before Yeong-hye had broken those bars, she’d never even known they were there.� While the novel may have raised controversy with its subject matter, Deborah Smith’s translation into English raised more controversy. Soon after winning the Booker International, Smith’s English translation began to receive harsh criticism in Korean literary communities and presses, stirring a bit of with one critic stating the book was �so different that it was more reasonable to speak of Smith’s work as an adaptation, not a translation. � Smith has defended her artistic choices and while she admits �there's plenty to criticize in my translation,� she stands by it and says her aim was to capture the spirit over one-to-one translation. �Translators feel a great responsibility to the original text,� she explained in the press, �I would only permit myself an infidelity for the sake of a greater fidelity.� Readers can decide for themselves and, personally, I’m a huge fan of translated works because it allows for a greater global community around literature that I—and many others—couldn’t read otherwise. In , Deborah Smith voiced concerns that the criticisms of her work and Բ’s original seemed to be a method of distracting from its message: �It’s not difficult to see why a book that exposes this pervasive structural violence might have been received differently by the (mostly older male) literary establishment than by the many Korean women who didn’t consider it “extreme and bizarre� at all. Perhaps the overwhelming focus on The Vegetarian’s aesthetics is a way of avoiding talking about its politics?� Personally, I quite enjoyed the read though I have no way to know accuracy, and Han Kang has defended Smith’s choices and has continued to have her works translated by Smith. �What makes me worry,� Smith expresses, �is when the desire to prove a particular argument about a translation encourages a misleading view of the original � in this case, overlooking the poetry I and many others see in Han's writing.� There is indeed a beautiful poetry here, even in all the darkness and violence of the text. �Translating from Korean into English involves moving from a language more accommodating of ambiguity, repetition, and plain prose, to one that favors precision, concision, and lyricism,� she continues, �this is simultaneously a gross generalization and an observable phenomenon.� I will remain grateful for translators everywhere who are able to bring us such excellent stories from around the globe. Stories that have left such an impact their author now can be celebrated as a Nobel Prize recipient. This powerful, unsettling, often Kafkaesque, and societally damning tale makes for an excellent read and shocking reminder of the oppressions women face the world over. Han Kang takes aim at patriarchy and subjugation of women and offers a loud voice in protest to make room for self-agency and bodily autonomy. The Vegetarian is fascinating and fierce and a gift to us all from this Nobel Prize winning author. 4.5/5 �Life is such a strange thing, she thinks, once she has stopped laughing. even after certain things have happened to them, no matter how awful the experience, people still go on eating and drinking, going to the toilet and washing themselves—living, in other words. and sometimes they even laugh out loud. and they probably have these same thoughts, too, and when they do it must make them cheerlessly recall all the sadness they'd briefly managed to forget.� ...more |
Notes are private!
|
1
|
not set
|
not set
|
Oct 10, 2024
|
Hardcover
| |||||||||||||||
1683966945
| 9781683966944
| 1683966945
| 4.12
| 258
| Apr 11, 2023
| Apr 11, 2023
|
really liked it
|
For those looking for a eye-popping dose of pure nightmare fuel this spooky season, look no further than the nightmarish artwork of Danish illustrator
For those looking for a eye-popping dose of pure nightmare fuel this spooky season, look no further than the nightmarish artwork of Danish illustrator John Kenn Mortensen. Night Terror presents a collection of frightening yet frightfully impressive artistic depictions of monsters and ghouls run amok through gnarled forests, dark rivers and childhood bedrooms. These hair-raising images, often depicting a child beleaguered by such beasts, are so full of eerie whimsicality and is perfect for fans of artists such as Edward Gorey. Look at these: Its pages and pages of terror and delight, from haunted houses: To haunted bridges: And perhaps haunted dreams as these images linger in the mind late into the evening: These are both chilling and charming and packed with wild imagination and wonder with many of the images depicting a sort of travel with both children and creatures marching headlong into the growing dark. Over the Garden Wall, anyone? I really enjoyed the artwork and this makes for a perfect halloween excursion of art. There isn’t a plot but you’ll pick up on overarching themes and it is certainly worth checking out. So take a look into Night Terror if you dare and have yourself a wonderful spooky season! ...more |
Notes are private!
|
1
|
Oct 09, 2024
|
Oct 09, 2024
|
Oct 09, 2024
|
Hardcover
| |||||||||||||||
1646512510
| 9781646512515
| 1646512510
| 4.24
| 15,263
| Mar 13, 2009
| Oct 26, 2021
|
really liked it
|
Cat lovers and spooky season lovers unite: Junji Ito’s Cat Diary is a fiendishly fun tale as the manga horror master explores the terrors of *checks n
Cat lovers and spooky season lovers unite: Junji Ito’s Cat Diary is a fiendishly fun tale as the manga horror master explores the terrors of *checks notes* cat ownership. The frights of feline zoomies, the chills of a fist-full of cat shit (or is it cat vomit???), the shrieks of hunger, the horror of an open window and an absentee cat…Junji Ito glorious combines his horror with humor and a deep humanity of pet responsibility in this wildly wonderful little manga that is sure to sink its fangs right into the hand that feeds� Based on his own experiences, Cat Diary follows Ito, not a cat person, adjusting to his wife’s cat Yon. But when Yon seems lonely, his wife makes the decision to bring in a second cat, Mu, much to his horror. Finding their faces and markings unsettling, he decides they must be cursed and so begins an uproarious tale of feline misadventures that is a joy to read. We also get to see photos of the real life Yon and Mu: I love how while not really being horror in the sense of his other works, he still draws each scene as if it were. I really enjoy how his and his wife’s faces are horror caricatures at all times, with frighteningly large mouths full of gnashing teeth and demonic expressions that are super unflattering in the best way. Traumatized by the cats weirdness but eventually won over by them, this is such a charming little book. I appreciate the small Q&A with the author at the end where he displays such a warm personality in contrast to the cool darkness of his works that make me love him even more. He admits to being �a scaredy cat� of everything in real life, discusses a bit on how his work does contain traces of influence from American horror that were popular in Japan in his youth while also discussing the cultural difference between US and Japanese horror. When asked about advice to other artists he says he finds that to �create a new, unknown kind of fear,� is quite �an effective motivation.� A fun little romp of horror and humor, Cat Diary is a chilling good time. ...more |
Notes are private!
|
1
|
Oct 09, 2024
|
Oct 09, 2024
|
Oct 09, 2024
|
Hardcover
| |||||||||||||||
0811238636
| 9780811238632
| 0811238636
| 4.39
| 33
| unknown
| Sep 24, 2024
|
'Jails were made to last Poetry, the true fiction, was meant to take them down.' OKAY, yep, I need this. 'Jails were made to last Poetry, the true fiction, was meant to take them down.' OKAY, yep, I need this. ...more |
Notes are private!
|
0
|
not set
|
not set
|
Oct 08, 2024
|
Paperback
| ||||||||||||||||
1421596938
| 9781421596938
| 1421596938
| 4.34
| 24,470
| Oct 07, 2015
| Dec 19, 2017
|
really liked it
|
Junji Ito said “I know what you sickos want� AND HE DELIVERS. Terrifying marionettes, holes appearing all over bodies, head-eating caterpilla Junji Ito said “I know what you sickos want� AND HE DELIVERS. Terrifying marionettes, holes appearing all over bodies, head-eating caterpillars, people being hung by giant balloon’s of their own head, a model terrified of having her body cropped in photos has her body chopped instead…all the violence, dismemberment, fear and and horrifically unsettling imagery of famed Junji Ito is alive in Shiver. A Selected Stories collection chosen by the author himself, Shiver dives right into the dark side of possibility for stunningly surreal scares and unforgettable artwork. The stories are brief, but—not unlike a jump scare—leave your heart racing long after the time it takes to frighten it. Because lets be honest, the best part of an Junji Ito collection is flipping the page and being assaulted by an image that makes you go “holy shit!� Like so: Yea thats the good stuff. You know thats what you came here for. And Ito will not disappoint you. Because everything is all tense and eerie and you turn the page and: Chilling. Creepy. You love it. It’s spooky season, get some Junji Ito ASAP because its the festive frightful trip you need. Just keep an eye over your shoulder because who knows what could be lurking there� ...more |
Notes are private!
|
1
|
Oct 08, 2024
|
Oct 08, 2024
|
Oct 08, 2024
|
Hardcover
| |||||||||||||||
0063247216
| 9780063247215
| 0063247216
| 4.01
| 668
| Jun 25, 2024
| Jun 25, 2024
|
it was amazing
|
Mystery, magic and mayhem lurk in the hills just beyond Agatha’s quaint little village but when she dreams for something greater the wishes might just
Mystery, magic and mayhem lurk in the hills just beyond Agatha’s quaint little village but when she dreams for something greater the wishes might just be granted in ways she never expected. The Pale Queen from author and illustrator Ethan M. Aldridge is a delightful young YA graphic novel of fae foolery and budding sapphic romance brought to life in stunning watercolor artwork that captures both the beauty and the beastly. Heartwarming with plenty of darkness lurking about this tale of following your heart in pursuit of your dreams instead of letting others do it for you, this was such a cute read that manages to balance being a rather quick read with plenty going on without feeling too rushed. So if you are like Agatha and I and also can’t resist seeing what the fae are up to, The Pale Queen is a perfectly fun read for you! Agatha wants more that this provincial life of tutoring and avoiding the constant, aggressive flirtation demands of Claude which makes this sound like the start of Disney’s Beauty and the Beast, but the beast central to this tale is far more interested in domineering than showing Agatha an amazing personal library. Alas. Luckily we have Heather visiting from University who’s constant literary quotations, insistence of upending the male canon with her feminist critiques, and generally pleasant ways make her the dream of escape Agatha has been looking for (LIFE ADVICE NOTE: when caught between potential romantic entanglements, the one who will give you a personal library tends to be the correct choice according to these stories). But Agatha cannot afford to go to the Academy and the lady of the hills is alluring with her promise of magic� This is such a cute story as we watch Agatha caught up in the balancing of favors between her and the mysterious hill woman, all enacted under a vagueness that arrives with growing dread. It’s a fun tale with plenty of magic folk, bad deal making and danger that is sure to charm, plus some great themes on how aggression and jealousy are often toxic and to be avoided. Also watch out for trolls. Short, sweetly sapphic and altogether satisfying, The Pale Queen is an utter delight of a graphic novel and fantasy tale. Plus the artwork is so lovely. Also a big thank you to hope for recommending it and putting it directly into my hands saying it was a must read. Indeed, a winner for sure. 4.5/5 ...more |
Notes are private!
|
1
|
Oct 07, 2024
|
Oct 07, 2024
|
Oct 07, 2024
|
Hardcover
| |||||||||||||||
0440312272
| 9780440312277
| 0440312272
| 4.10
| 1,870
| 1981
| Sep 15, 1982
|
liked it
|
A favorite part about working in the library are the variety of books that pass across my desk, books I’d have likely not heard of otherwise or books
A favorite part about working in the library are the variety of books that pass across my desk, books I’d have likely not heard of otherwise or books that, without having had a moment to poke through them, I probably would never have read. This morning I came across The Children’s Story by James Clavell and, due to its extremely short page count, I figured I’d give it a go on my break. Best known for ōܲ which has had a resurgence in popularity due to a recent Hulu adaptation, Clavell wrote this short story following a conversation with his then-6-year-old daughter who, having been tasked with memorizing the US Pledge of Allegiance, admitted she didn’t know what the words meant. The story, a sort of brief 1984 set in an elementary school classroom and steeped in Cold War anxieties and patriotism, confronts the meaning behind saying “I pledge allegiance� in the aftermath of an invasion leaving the country now under occupation. It paints in very broad strokes about the compelling and corrosive nature of propaganda, which is to its credit and makes it more of a universal warning against authoritarian rhetoric than anything else. It reminded me a bit of a short book I read in middle school, The Wave by Todd Strasser, which was based on an in 1967 where an high school history teacher used a series of exercises around discipline and community modeled off Nazi rhetoric in order to show students how a country could fall in line with such horrors. This is similar, yet in miniature to show how rhetoric can easily deceive. For instance, when discussing the work �allegiance,� the new teacher (from the conquering nation, replacing a teacher who had �wrong thoughts,� the sort of which another student was told their father was harboring and for which he needed to be taken away) states �So you are promising or pledging support to the flag and saying that it is much more important than you are. How can a flag be more important than a real live person?� If it is so important why don’t they all keep a piece of it and has the students cut the flag apart. By the end of the first 25min they’ve overturned much of what they know and are praying to “our leader.� Now, it shouldn’t need to be said but this is all a very important and sensitive topic and has been the reality of many people and countries around the world (that the US has actively aided hostile regime takeovers, especially those in South America, is absent from a story so concerned about it happening TO the US�). However, the story can read a tad corny in the “look at this great idea� that doesn’t quite hold up on the page to its intended intensity. Though I think the larger issue is that a lot of political fiction intended to shock and catch you off-guard with a big twist and rail against an opposing political opinion tends towards a heavy-handedness that isn’t all that different from the propaganda it is criticizing. I am frequently reminded of an incredible essay by Brandon Taylor on D.H. Lawrence’s idea of “moral fiction� being fiction that keeps it’s finger off the scale, so to speak, and a lot of politically motivated fiction falls under this critique. �I think moral fiction is less about signaling to the reader that you voted for the right people or that you are able to listen to people who would have you destroyed. Moral fiction does not signal. That is propaganda. That is social work. Not that these are unimportant things, but they are not art. And they are not moral.� Clavell’s story holds the pledge up as pretty sacrosanct despite it having been created as --which, really, is there anything more American? Though for a story about how systems of obedience and punishment are fertile soil for manipulation and indoctrination through propaganda and nationalist rhetoric it also doesn’t seem bothered that the pledge, being repeated without any understanding of its words, could also be seen in a similar light. Still, I think I’m nitpicking in a way that isn’t actually helpful to the work that is meant to be a fairly simple parable about propaganda and the manipulation of the masses, and it is still worth the 10 minutes it takes to read. Which, turns out, you can do right . 3/5 ...more |
Notes are private!
|
1
|
Oct 04, 2024
|
Oct 04, 2024
|
Oct 04, 2024
|
Mass Market Paperback
| |||||||||||||||
1668051885
| 9781668051887
| 1668051885
| 3.75
| 14,026
| Sep 01, 2023
| Mar 04, 2025
|
Oh HELLL YES give me apocalypse nuns and scary cults!
|
Notes are private!
|
0
|
not set
|
not set
|
Oct 01, 2024
|
Paperback
| ||||||||||||||||
0316381993
| 9780316381994
| 0316381993
| 4.21
| 99,018
| Apr 05, 2016
| Apr 05, 2016
|
really liked it
|
The natural world can be a cold, cruel place full of the inevitability of danger and death. What purpose do we serve in such a world, what reason can
The natural world can be a cold, cruel place full of the inevitability of danger and death. What purpose do we serve in such a world, what reason can we find so we are truly living and not just killing time (and each other)? When Rozzum unit 7134, or Roz for short, is activated in an island wilderness she begins to look for a sense of purpose–a robot designed to serve needs a task to complete. Yet along the way she discovers that kindness, community and love shared can be a purpose that makes such a world one worth having lived in and The Wild Robot by Peter Brown is certainly a book worth having read. Written with a middle-grade audience in mind, The Wild Robot is quietly moving and thought provoking in a way that can touch any reader regardless of age and adults will find this just as charming as younger readers. Its sort of like Becky Chambers’s Monk and Robot books but for a younger audience. A tender story that doesn’t shirk away from the darker parts of life, Brown crafts a modern classic of children’s literature that certainly warmed my heart. �As you might know, robots don’t really feel emotions. Not the way animals do. And yet, as she sat in her crumpled crate, Roz felt something like curiosity.� Last year, an article appeared in the New York Times by Craig Fehrman (you can read it ) about why sad books for children can be healing and how The Wild Robot became his child’s favorite with him even dressing as the robot for Halloween. It was a great article but what really caught my attention was the opening line: �Last summer, my wife and I took our kids to Reader’s World, a wonderful bookstore in Holland, Mich.� Reader: I was the person working at Reader’s World bookstore that day. I remembered the interaction, I remembered how our children’s librarian at the library I also work at has long said it was a favorite and was often the book I recommended because of that. Now that I’ve finally seen the film I realized I too should probably read it. And I have loved it. I think you will too, its such a charming story of life, death, love and community and Brown’s illustrations really add a lovely element of fun to it with art that perfectly matches the tone of the story. As the article above discusses, it is a sad book at times. But it is also a really creative one that sparks the imagination and gets the reader thinking about how our mind and emotions work. Sure, Roz doesn’t have emotions as the narrator tells us (the narrator speaks directly to the reader a very wise yet whimsical tone that is really endearing and effortlessly flows as it pulls us through the story) because she is a robot, but as Roz begins to meet the memorable cast of animals and learns to care for Brightbill, Roz discovers there might be something inside her nobody expected to occur in a robot. I love the way Roz comes to live with the animals and, with a mind for problem solving, first sets out to decode their language and learn their ways. �She discovered that all the different animals shared one common language; they just spoke the language in different ways. You might say each species spoke with its own unique accent.� This is a quiet and cozy story that balances out the darkness with a lot of warmth and humor, with great quips like �the robot's programming stopped her from being violent, but nothing stopped her from being annoying.� Which is all really great because, admittedly, this book gets fairly heavy. It is an exploration of life, togetherness, family and kindness, but with life we inevitably have death. And in the wild…well its animals killing one another for survival. Luckily Brown approaches the discussions in really productive ways that show there is a balance and this inevitability of death isn’t something to be bothered by but something we must all embrace as a fact of life. �[I]t was a quiet spring. There were fewer insects buzzing, fewer birds singing, fewer rodents rustling. Many creatures had frozen to death over the winter. And as the last of the snow melted away, their corpses were slowly revealed. The wilderness really can be ugly sometimes. But from that ugliness came beauty. You see, those poor dead creatures returned to the earth, their bodies nourished the soil, and they helped create the most dazzling spring bloom the island had ever known.� Characters do die and there are many sad moments (not all of the death is natural however, and environmental issues come up such as poisoned water killing a nest of turtle eggs), but ultimately the book still feels uplifting. And very, very healing to be honest. The aspects of motherhood and caring for one another are enough to move even the coldest of readers to tears and feelings, not unlike how even an unfeeling robot operating on basic programming can learn to feel. �Maybe Roz really was defective, and some glitch in her programming had caused her to accidentally become a wild robot. Or maybe Roz was designed to think and learn and change; she had simply done those things better than anyone could have imagined. However it happened, Roz felt lucky to have lived such an amazing life. And every moment had been recorded in her computer brain. Even her earliest memories were perfectly clear. She could still see the sun shining through the gash in her crate. She could still hear the waves crashing against the shore. She could still smell the salt water and the pine trees. Would she ever see and hear and smell those things again? Would she ever again climb a mountain, or build a lodge, or play with a goose? Not just a goose. A son. Brightbill had been Roz’s son from the moment she picked up his egg. She had saved him from certain death, and then he had saved her. He was the reason Roz had lived so well.� The bits with Brightbill are so lovely. But so are all the other bits and all the animals learning to live in a better harmony with one another even if death and needing to eat will still be an inevitable part of reality. �If I could do it all over again, I'd spend more time helping others. All I've ever done is dig tunnels. Some of them were real beauties too, but they're all hidden underground, where they're no good to anyone but me.� This book is teeming with great themes that are all handled with lightest of touches and paints in rather broad strokes of metaphor that work really well when housed in a children’s story. It makes them accessible and thoughtful but still manages to not feel overly heavy handed, which I really appreciate. It comes with equal parts hope and despair and handles it all quite well. �You’ll never be the perfect mother, so just do the best you can. All Brightbill really needs is to know you’re doing your best.� So, sure, The Wild Robot is a sad book, but it is also a very moving, optimistic and healing book. It makes for a heartwrenching look at motherhood and all the efforts that go into it, with a really lovely take on ideas of adoption and found family. It is aimed at younger readers and have plenty of big themes for them around family and bullying and more, but adults are sure to enjoy this as well. A quick read with a big heart that will likely become a modern classic, I really enjoyed The Wild Robot.� 4.5/5 ...more |
Notes are private!
|
1
|
Sep 30, 2024
|
Oct 28, 2024
|
Sep 30, 2024
|
Hardcover
| |||||||||||||||
B0D9MX74H3
| 4.22
| 647
| Sep 25, 2024
| Sep 25, 2024
|
liked it
|
Seeing the cover art and issue number you just know there was a lot of high fiving and dude grunting noises going on at Image Comics. But BKV is reall
Seeing the cover art and issue number you just know there was a lot of high fiving and dude grunting noises going on at Image Comics. But BKV is really turning up the tension in this arc (not just the sexual tension) even though scant actual plot progression has occurred. But then again Saga is more about wondering huh where is this going to go and then suddenly something completely unexpected happening leaving a beloved character dead, others damaged and the reader going “Oh shiiiiiiiiit.� That's gotta be coming soon. But hey, seeing Lying Cat was nice and I really enjoyed Elena’s little heart to heart with brobot. 'Dragon's aren't supposed to be slain, they're meant to be tattooed on hot girl's thighs or...or airbrushed on the side of a badass hover-van.' Can’t wait to see what else they have in store for us. ...more |
Notes are private!
|
1
|
Sep 30, 2024
|
Sep 30, 2024
|
Sep 30, 2024
|
Kindle Edition
| |||||||||||||||||
1250800277
| 9781250800275
| 1250800277
| 3.93
| 447
| Mar 15, 2022
| Apr 05, 2022
|
it was amazing
|
How did I miss that Tillie Walden and partner Emma Hunsinger did a picture book together!? And it is SO CUTE! My Parents Won’t Stop Talking is the val
How did I miss that Tillie Walden and partner Emma Hunsinger did a picture book together!? And it is SO CUTE! My Parents Won’t Stop Talking is the valuable representation I needed in a kids book–and by that I mean chatty parents. It’s me, the chatty parent, and I enjoyed this adorable little story of a kid just wanting to go to the park but her moms will NOT stop talking to everyone. It’s really fun and silly and the duo both work on the art together which is super lovely like everything either of them do: Walden is my favorite graphic novelist so this is really great and a fun and funny little story. Highly recommended. ...more |
Notes are private!
|
1
|
not set
|
not set
|
Sep 27, 2024
|
Hardcover
| |||||||||||||||
1774883155
| 9781774883150
| 1774883155
| 4.01
| 136
| unknown
| Oct 22, 2024
|
really liked it
|
There is magic in this world if only you are brave enough to dive into it. Such is the message of the picture book Tove and the Island with No Address
There is magic in this world if only you are brave enough to dive into it. Such is the message of the picture book Tove and the Island with No Address from Lauren Soloy who dedicates it to those brave enough to be uncomfortable, but also for those who aren’t yet still willing to keep trying. Having long loved the stories and artwork of Tove Jansson I could not wait to read this adorable little book based on the great artists childhood. Set on an island cottage not unlike the one Jansson herself stayed in during the summer. Her beloved novel The Summer Book is based on the cottage and I love how this picture book continues the tradition of whimsical tales of childhood that allow to all grow up alongside child-Tove in the magical realm of memory. The cottage in the story Jansson’s actual cottage. This was a real cute read that leans into the whimsical and wondrous. We follow young Tove around the island chasing after the tiny seed-like daughters of her secret troll friend that lives by the water. It’s a lovely story about adventure and finding joy in the natural world, all brought to life with some rather exquisite illustrations. I love the brushworks of the sky and the dark, earthy tones. Sometimes the events feel a bit random or contextless, but it also captures the spirit of adventure where things just suddenly occur and it is sure to spark the imagination of readers: both children and those reading to them. There is a rather Moomin sense of wonderment and adventure here and it makes for such a lovely tribute to Tove Jansson. I quite enjoyed the short biography about her at the end as well. Tove and the Island with No Address is quite fun and a great way to share a love for Jansson with young readers but also just a great book in general. This book will be published on Oct. 22, 2024. Thank you to the publisher for an ARC in exchange for an honest review. Received through Edelweiss ...more |
Notes are private!
|
1
|
Sep 27, 2024
|
Sep 27, 2024
|
Sep 27, 2024
|
Hardcover
| |||||||||||||||
0525564454
| 9780525564454
| 0525564454
| 4.18
| 78,524
| Oct 1942
| Nov 06, 2018
|
it was amazing
|
One could imagine Sisyphus happier if maybe he had a sticker chart on the side of the boulder and got a cute animal or smiley face sticker to put on i
One could imagine Sisyphus happier if maybe he had a sticker chart on the side of the boulder and got a cute animal or smiley face sticker to put on it each time he made it to the top of the hill and after completing a row of stickers he could redeem them for a soda or maybe a small toy next time his parents went to the grocery store. See, look how happy he is: ...more |
Notes are private!
|
1
|
not set
|
not set
|
Sep 26, 2024
|
Paperback
| |||||||||||||||
1644214059
| 9781644214053
| 1644214059
| 4.47
| 2,779
| Nov 14, 2023
| Mar 19, 2024
|
it was amazing
|
In 2022, mass protests swept across Iran following the tragic death of who died after being beaten by police while detained fo
In 2022, mass protests swept across Iran following the tragic death of who died after being beaten by police while detained for allegedly not complying with hijab regulations. These protests, which began on September 16 2022 in Iran, took critical aim at State violence and the oppression of women in Iran. Social media quickly spread word and soon demonstrations began to spring up cities all around the world, though in Iran their pleas for an end to violence was met with more violence. In response, graphic novel veteran Marjane Satrapi gathered artists, journalists and professors for the creation of the graphic novel Woman, Life, Freedom which presents the movement from which it takes its title in short chapters rotating between writers and artists. An important look into the state of Iran and the treatment of women, Woman, Life, Freedom chronicles the events and ideologies in the hopes of educating, garnering support, and ensuring the significance of this woman’s movement is not washed away. A moving and insightful work with fantastic art, harrowing testimonials and more, this is an important work of literature and history in the making (though conditions have become far more violent and harsh ) and certainly a must-read. Much like her previous work, the incredible graphic memoir Persepolis, Woman, Life, Freedom both tells the story of a period of time while also offering valuable insight into Iranian politics and society. There are discussions on government structures and a large focus on the Guidance patrol—better known as the “morality police� for their task of determining if women’s manner of dress and behavior could be deemed “sacrilegious”—by whom Mahsa Amini was murdered. There is also in depth and invaluable insight into the long history of women being oppressed in Iran as well as key figures in the movement protesting against such hardships demanding . I really loved the variety of artwork in this collection and how each writer had a different story to share as well as method of presenting history. It is a sad subject matter, but one that is important to pay attention to as the book makes the case for widespread unity and participation as the only way towards collective liberation. In this way we see how social media has become such an important aspect of the movement—the Woman, Life, Freedom movement and slogan originated within the women-led Kurdish movements but has since become a globally recognized slogan for women’s liberation largely due to social media—and why journalism and activism is so important to keep a movement alive. Especially one met with such violent resistance, with an estimated during the protests between Sept 22 to Sept 23, and This collection does an excellent job of presenting complex issues and politics in an accessible manner and will hopefully draw more attention and support for their cause. �I call it a revolution,� Satrapi said in , �it’s not a revolt, it’s not a movement, it’s a proper revolution.� She is hopeful for the progress being made, especially the show of unity. �I’ve said it many times and nobody says the contrary: I think it’s the first really feminist revolution � and it is supported by men.� In recent months, however, there has been , with frequent instances of dangerous car chases to stop women from driving, , assaults on teen girls for removing head scarves, and , rampant and much cover-up or denial. So it is all the more important to push back against the mass . A moving and important work, Woman, Life, Freedom is a must-read. 5/5 ...more |
Notes are private!
|
1
|
Sep 25, 2024
|
Sep 25, 2024
|
Sep 25, 2024
|
Paperback
| |||||||||||||||
1954245793
| 9781954245792
| B0CQDH3L78
| 3.96
| 45
| unknown
| Mar 15, 2024
|
really liked it
|
These are poems filed down to their sharpest words, like a small blade that cuts directly into your heart. Quite a few of these are hitting pretty har
These are poems filed down to their sharpest words, like a small blade that cuts directly into your heart. Quite a few of these are hitting pretty hard right now and I thank Andrea Cohen for knowing just the right words to devastate me. Sea Shanty When land is that abstract, you have to sing your way back. Right for the jugular, thanks for that. Oh wait... Bunker What would I think, coming up after my world had evaporated? I'd wish I were water. Okay hurt me some more I guess, I could use it. These are sly poems, witty without being gimmicky or feeling overly from the head and not the heart because the heart pours its whole array of emotions all over these pages. These poems can be achingly funny before becoming heartache, often short and hinging around a singular word that sets off a chain reaction of emotional resonance and wordplay. Something half-heard to be a 'balm' is accepted in order to abate anxiety of 'not wanting / bomb to be / the last // word heard.' One child plays capture the flag in the dark while another captures the darkness. Does life offer you things you can steal or must one steel themselves 'to the mysteries' of life? Swap Shop We keep coming back� leaving this mirror for that.' The playfulness of these poems keeps the reader on their toes, moving between emotional blows with a wry smile the whole way. I love the imagery, from 'snow falling as / in a silent film' with the night descending like a projector breaking down, to the more heartbreaking of seeing a mother 'log-like' in her exhaustion in bed, 'she who had always / been a tree.' It just works. Its sometimes silly but it never becomes saccharine and this I can appreciate. I believe that things fly, that I don’t know what they are or what they might signify. I've not read Cohen before but now I feel like I need to check out all the work. A fun little collection that makes for a quick read but worth revisiting as, like the best of microfiction or short stories of Lydia Davis, your mind invents all the details around the poems, making you feel like a creator along with Cohen. Worth the read. ...more |
Notes are private!
|
1
|
not set
|
not set
|
Sep 24, 2024
|
Kindle Edition
| |||||||||||||||
B0DM2CZKNZ
| 4.60
| 111
| 2021
| Jun 29, 2021
|
it was amazing
|
�Some desires are only legible in the dark.� Stories can be a house into which we are welcomed inside. We lounge upon the finery of prose that decorate �Some desires are only legible in the dark.� Stories can be a house into which we are welcomed inside. We lounge upon the finery of prose that decorates and dazzles each room and hallway of emotion. Later as we peer back through the windows of the narrative, we find the world changed through its beveled glass, the landscape awash in the creeping shadow of the house. Such fresh perspectives have long been said to be found in Emily Brontë’s classic novel Wuthering Heights, a story which, interestingly enough, was once described by author David Markson as being mostly about people are �continually looking in and out of windows.� Not content to merely gaze in and out of the Heathcliff home, K-Ming Chang throws open the shutters to climb inside and remake the novel as her own in Bone House. Renovating the Brontë’s story with a toolbelt of exquisite prose, this modern day queer retelling features Taiwanese-Americans caught in a cycle of deep desires, both of passionate yearnings and a �desire to be disintegrated� intertwined so tightly one can hardly find the seams. Fresh yet familiar, Bone House brings its guests and ghosts through a fraught history and towards a conclusion that will clench your heart in Բ’s brilliant vision. �Its the way she says Cathy that makes me listen, the way a woman pleads to any deity that has dammed all her prayers, redirected them to death. A woman deboned of hope.� I cannot in good conscience say anything further without ranting about how absolutely astonishing the prose that pours from K-Ming Chang is in this retelling. It weaves before the readers eyes as if to hypnotize you in its beauty, arriving so assured yet haunted as it delivers such delightfully visceral imagery such as �water foaming in the pipes like a mouthful of rabies,� or a �silver sky so bright he sutured his eyes.� Each page is drips pure gems of poetic expression and it is no surprise to learn that Chang is also an accomplished poet as well as an author (you can read her poetry ). While this is only a short story, the power of the prose builds a structure far greater than its page length and readers will come away feeling as fulfilled and overcome by its narrative as they would a full length novel. �Another word for lesbian is: devourer of the dark.� I adored the queer retelling aspects as well as the cultural shift from Brontë’s original and while Chang uses the bones of the classic she bestows a flesh and life that is all her own. Here Heathcliff is transformed as Millet, a baby girl abandoned above international waters between Taiwan and the US, and her rival for Cathy’s affections is not Edgar but Edie, a woman with a �star-spangled surname� from the Arizona desert. �Millet is the field beneath my feet, is how I walk the world, she is the hinge in my knee when I lower myself for prayer, but Edie is the thing I pray up to.� Chang brings us through a history of relationships flowing with self-destructive impulses—Edie �disturbed by this part of Cathy, the quills in her, the part that wanted Millet to strangle her so that she could shingle herself with stars’—while the present spirals through visions of ghosts in garments of modern gothic. It grips you as tightly as Millet’s hands around Cathy’s neck. �Cathy believed that the more she and Edie thirsted, the deeper their roots would snare inside each other. They would find inside each other’s bodies all the water they wanted.� Բ’s Bone House is far more than a retelling as much as it reads as far more than a simple short story. There is a freshness here that speaks to immigrant family culture, lesbian desires, and a ghostly hope that brings us to a new ending that plays the reader’s heartstrings like a violin. There is excellent thematic motifs with water—water that is life giving but also �can raft my bones and colonize them with rot’—or its absence. The desert drains, the people have fake flowers, the people �don’t want anything that dies for real.� However, death cannot be escaped, though in dodging it we often wonder �what have I lost to live?� Brilliantly told and as haunting as the home in which the ghosts inhabit, Bone House is an impeccable tale. 5/5 �Come tether us together, come flood us a future.� ...more |
Notes are private!
|
1
|
Sep 24, 2024
|
Sep 24, 2024
|
Sep 24, 2024
|
Chapbook
| |||||||||||||||||
0765389436
| 9780765389435
| B01EFIH1J0
| 3.19
| 84
| May 11, 2016
| May 11, 2016
|
really liked it
|
�It was us against the world, right?� While we are often frightened of ghosts, the specters of the dead can sometimes feel less harsh than the sufferin �It was us against the world, right?� While we are often frightened of ghosts, the specters of the dead can sometimes feel less harsh than the suffering of the living. Especially when the person closest to you has tragically passed into their realm. Lee Mandelo’s moving short story, The Pigeon Summer, delivers a haunting of both ghosts and grief as J. is choked with a sorrow of �I don’t know how I’m supposed to be� after the possible suicide of C., shattering the belief that the beloved C. �would be there to the end, no matter bodies or pronouns or the harshness of strangers.� Left behind, J is perhaps not alone, with pigeons and a potential phantom moving about hir room. While the story dives into the deep and dark caverns of loss and the tormented loneliness of non-conforming people in a judgemental and homophobic world, Mandelo manages to bring a sort of relief like a ray of sun after a storm or the calm after a good cry while creating an eerie mystery to add a rather charming texture to it all. A tale of grief yet also a tale to show that even in the darkest hours a reason to live might still bloom where you least expect it, The Pigeon Summer hits with a broad spectrum of emotional resonance. �The question isn’t necessarily if I want to live. It’s whether or not I can.� For a quick story, Mandelo packs in a lot of heart. I was rather endeared to the non-binary representation here—J. has si/hir pronouns—being non-binary myself and was interested in the ways Mandelo touches on the stresses of expected performance in society or relationships that can be a lot to navigate and often collide against misunderstandings on what that even means, or worse, hostility. The inclusion of non-binary pronouns without calling attention to it was nicely done as well, because it reminds us that it is normal and isn’t actually difficult to do compared to expecting people to adapt to being pointlessly and inaccurately gendered as some weird performance. C. was the first person J. could feel understood with, the first person who could deal, and they formed a closeness that went beyond a need for labels. In his absence �there’s nobody left to tell me how much I have to live for.� Which is pure tragedy. Grief pours out of Mandelo’s rather robust and poetically pleasing prose, tracing the space of absence and the aches that emit from it as well as the scraps of past we cling to in these moments. Hir phone, for instance, becomes a place to revisit photos but also the painful vacancy of hir unanswered final text. I really enjoy Mandelo’s description of the phone, however, as a�a fragile slip of circuits and plastic, a box of memories.� The ghostly aspects are a nice touch as well, with J. often wondering if �I might be haunting you,� instead of hir ghostly visitor haunting hir and I enjoyed the way J. writes letters to the ghost which become a method for channeling grief and giving it shape through the strokes of a pen. �It felt as if the ink had crawled up from hir guts and ripped free onto the page, splattered there in a horror show of anger and need and pain. This was what it was like, in words—insufficient, flat, a belly-shaking cry distilled into a page of symbols. This was what it was like to yank at the edges of the gash and look at the insides.� Though through all the sadness and introspection, Mandelo ultimately points us back outwards towards the world and how even when we think we have nothing to give, something small (like a pigeon perhaps) can still be a monumental moment. To help or save another’s life, even in a small way, might show us that the life we save might just be our own. The Pigeon Summer moves through grief towards acceptance and from the inability to carry such burdens towards action and new beginnings in only a few short pages that will linger long past their length. I’ve come to quite like Mandelo and will certainly check out one of their novels now, though I recommend any of their short stories too. 3.5/5 Merged review: �It was us against the world, right?� While we are often frightened of ghosts, the specters of the dead can sometimes feel less harsh than the suffering of the living. Especially when the person closest to you has tragically passed into their realm. Lee Mandelo’s moving short story, The Pigeon Summer, delivers a haunting of both ghosts and grief as J. is choked with a sorrow of �I don’t know how I’m supposed to be� after the possible suicide of C., shattering the belief that the beloved C. �would be there to the end, no matter bodies or pronouns or the harshness of strangers.� Left behind, J is perhaps not alone, with pigeons and a potential phantom moving about hir room. While the story dives into the deep and dark caverns of loss and the tormented loneliness of non-conforming people in a judgemental and homophobic world, Mandelo manages to bring a sort of relief like a ray of sun after a storm or the calm after a good cry while creating an eerie mystery to add a rather charming texture to it all. A tale of grief yet also a tale to show that even in the darkest hours a reason to live might still bloom where you least expect it, The Pigeon Summer hits with a broad spectrum of emotional resonance. �The question isn’t necessarily if I want to live. It’s whether or not I can.� For a quick story, Mandelo packs in a lot of heart. I was rather endeared to the non-binary representation here—J. has si/hir pronouns—being non-binary myself and was interested in the ways Mandelo touches on the stresses of expected performance in society or relationships that can be a lot to navigate and often collide against misunderstandings on what that even means, or worse, hostility. The inclusion of non-binary pronouns without calling attention to it was nicely done as well, because it reminds us that it is normal and isn’t actually difficult to do compared to expecting people to adapt to being pointlessly and inaccurately gendered as some weird performance. C. was the first person J. could feel understood with, the first person who could deal, and they formed a closeness that went beyond a need for labels. In his absence �there’s nobody left to tell me how much I have to live for.� Which is pure tragedy. Grief pours out of Mandelo’s rather robust and poetically pleasing prose, tracing the space of absence and the aches that emit from it as well as the scraps of past we cling to in these moments. Hir phone, for instance, becomes a place to revisit photos but also the painful vacancy of hir unanswered final text. I really enjoy Mandelo’s description of the phone, however, as a�a fragile slip of circuits and plastic, a box of memories.� The ghostly aspects are a nice touch as well, with J. often wondering if �I might be haunting you,� instead of hir ghostly visitor haunting hir and I enjoyed the way J. writes letters to the ghost which become a method for channeling grief and giving it shape through the strokes of a pen. �It felt as if the ink had crawled up from hir guts and ripped free onto the page, splattered there in a horror show of anger and need and pain. This was what it was like, in words—insufficient, flat, a belly-shaking cry distilled into a page of symbols. This was what it was like to yank at the edges of the gash and look at the insides.� Though through all the sadness and introspection, Mandelo ultimately points us back outwards towards the world and how even when we think we have nothing to give, something small (like a pigeon perhaps) can still be a monumental moment. To help or save another’s life, even in a small way, might show us that the life we save might just be our own. The Pigeon Summer moves through grief towards acceptance and from the inability to carry such burdens towards action and new beginnings in only a few short pages that will linger long past their length. I’ve come to quite like Mandelo and will certainly check out one of their novels now, though I recommend any of their short stories too. 3.5/5 ...more |
Notes are private!
|
2
|
Aug 10, 2024
not set
|
Aug 10, 2024
not set
|
Sep 24, 2024
|
Kindle Edition
| |||||||||||||||
0060910917
| 9780060910914
| 0060910917
| 4.33
| 1,049
| 1917
| Apr 13, 1988
|
it was amazing
|
�I drink - and live - what has destroyed some men� Palestinian poet Mahmoud Darwish once , �A poem in a difficult time / is beautiful fl �I drink - and live - what has destroyed some men� Palestinian poet Mahmoud Darwish once , �A poem in a difficult time / is beautiful flowers in a cemetery.� Sometimes the words in a verse of grief—be it in a poem or a song—can also become like a pillow to cling to in grief of your own, a shared sorrow to embrace against the world, a sad beauty to get us through. The sonnets of Edna St. Vincent Millay are among such verses and here in her Collected Sonnets readers are given an incredible overview of her work and poetic dives into experiences of grief—�always, with is awkward contours’� and growing older. There is a real beauty emanating from each sonnet even when it takes a hard gaze into the harshness of life as we are �remembering there is dying to be done� but even amidst all that changes or fades there is still life to be lived and moments of serenity when �I shall find the sullen rocks and skies / Unchanged from what they were when I was young.� A brilliant poet whom critic Harriet Monroe once called �the greatest woman poet since Sappho� this volume of The Collected Sonnets is a wonderful window into the work of a writer with such an exquisite gift for examining memory and the morose while remaining beautiful in all the poetic reverberations. Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again; Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; Yet many a man is making friends with death Even as I speak, for lack of love alone. It well may be that in a difficult hour, Pinned down by pain and moaning for release, Or nagged by want past resolution’s power, I might be driven to sell your love for peace, Or trade the memory of this night for food. It well may be. I do not think I would. Edna St. Vincent Millay was a writer who was just as much a celebrity in her own life for being herself as she was for her works and her many public appearances and performances certainly helped grant her a lasting legacy. In Collected Sonnets we are given an overview of her artistic output across the years and grappling with the legacy of life looms large over the bulk of her poems, particularly with regard to love and loss. The two come intermingled in many of her poems, such as in When You, That At This Moment Are to Me, a personal favorite of mine: When you, that at this moment are to me dearer than words on paper, shall depart, and be no more the warder of my heart, whereof again myself shall hold the key; and be no more-what now you seem to be- the sun, from which all excellences start in a round nimbus, nor a broken dart of moonlight, even, splintered on the sea; i shall remember only of this hour- and weep somewhat, as now you see me weep- the pathos of your love, that, like a flower, fearful of death yet amorous of sleep, droops for a moment and beholds, dismayed, the wind whereon its petals shall be laid. The poem speaks to her overbearing awareness of impermanence in life, so much so that even in the first stages of love or happiness she is waiting for the other foot to fall that brings it all topping to ruin. She is �fearful of death, yet amorous of sleep,� knowing that happiness tends to be followed by loss, and a �lover like a flower,� will age, will wither, will die. Death lurks around every corner in her works. �Here I come to look for you, my love, / Even now, foolishly, knowing you are dead,� she writes of love that lingers beyond the grave, yet still she often finds herself thwarted by uncertainty in such situations. �I don’t know what to do exactly when a person dies,� she confesses and many of her poems rain down with grief like tears upon a face. �Weeping I wake; waking, I weep, I weep.� Such is life. Pity me not because the light of day At close of day no longer walks the sky; Pity me not for beauties passed away From field and thicket as the year goes by; Pity me not the waning of the moon, Nor that the ebbing tide goes out to sea, Nor that a man’s desire is hushed so soon, And you no longer look with love on me. This have I known always: Love is no more Than the wide blossom which the wind assails, Than the great tide that treads the shifting shore, Strewing fresh wreckage gathered in the gales: Pity me that the heart is slow to learn What the swift mind beholds at every turn. Quite often these poems show her grappling with the harsh truth that everything will tarnish in time before fracturing and fading into oblivion. Alas, even love she says. �When Time and all his tricks have done their worst, / Still will I hold you dear,� she wonders and it is a fear all of us must confront in life, wondering if the worst winds will blow a love off course or dash us upon the rocks of sorrow. Time chips away at us all and frequently she gorgeously embodies it in the spirit of seasons: I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more. I love the way her pristine prose captures all the waves of emotion that can crash through us within a single moment, often housing her poems in a rather gorgeous expression of time in miniature but with its doors blown open to unveil a vastness inside such as the space �until this cigarette has ended� or the flash of a moment seeing the death notice of a former lover �Read from the back-page of a paper, say, / Held by a neighbor in a subway train.� Each poem moves with such beauty and speaks so loudly of emotion and her voice is always crystal clear with strength, even in grief or remorse. Well, I have lost you; and I lost you fairly; In my own way, and with my full consent. Say what you will, kings in a tumbrel rarely Went to their deaths more proud than this one went. Some nights of apprehension and hot weeping I will confess; but that's permitted me; Day dried my eyes; I was not one for keeping Rubbed in a cage a wing that would be free. If I had loved you less or played you slyly I might have held you for a summer more, But at the cost of words I value highly, And no such summer as the one before. Should I outlive this anguish--and men do-- I shall have only good to say of you. Edna St. Vincent Millay once wrote �How first you knew me in a book I wrote, / How first you loved me for a written line,� and so to do we readers come to embrace and enjoy her work. While I still might recommend her selected poems as a better starting point (I wrote about them here) to get a little more variety, The Collected Sonnets is as endearing as her work is enduring. 5/5 �She had kept that kettle boiling all night long, for company.� ...more |
Notes are private!
|
1
|
Sep 23, 2024
|
Sep 23, 2024
|
Sep 23, 2024
|
Paperback
| |||||||||||||||
164421363X
| 9781644213636
| 164421363X
| 4.14
| 2,008
| Feb 27, 2024
| Feb 27, 2024
|
really liked it
|
You may have heard the quote from Joseph Goebbels, head of the Nazi Ministry of Propaganda, that goes �If you tell a lie big enough and keep repeating
You may have heard the quote from Joseph Goebbels, head of the Nazi Ministry of Propaganda, that goes �If you tell a lie big enough and keep repeating it, people will eventually come to believe it.� A pretty accurate and frightening statement about disinformation, especially when you realize this often repeated quote . False information lurks in every corner of the internet but combating misinformation remains a steep hill to climb. Worse still is when such false information is distributed for political gain, and such is the focus of Barbara McQuade’s Attack from Within: How Disinformation Is Sabotaging America. A law professor and formerly deputy chief of the National Security Unit prosecuting issues of terrorism, McQuade has worked firsthand with the dangerous effects of disinformation and applies her knowledge gained investigating al-Qaeda’s social media disinformation and recruitment campaigns to present day disinformation happening in the US as well as the legal boundaries that make curbing it difficult. �Since in the age of the internet we are all publishers, each of us bears some private responsibility for the public’s sense of truth.� �Timothy Snyder But lets start at the basics and talk about why is so necessary in order to stay informed but also to make sure you don’t spread misinformation even with the best intentions of being helpful. While the term has faced wilfully bad faith resistance as some sort of “dangerous� ideology, the reality is that informational literacy simply means skills to determine the credibility of information and recognize the nuance of framing around its application in a source. But part of keeping disinformation alive is to frame basic terms as some sort of trojan horse and attack legitimate efforts to curb disinformation. McQuade became the target of online death threats following an appearance on the Rachel Maddow show with people taking specific anger over her saying that �we need to have a conversation and common-sense solutions to these things. Instead, we throw out terms like ‘censorship,� we call each other names, we use labels, and we all retreat to our opposite sides. We need to be pragmatic and come up with real solutions.� The real solutions, her detractors decided, was violence against her or anyone addressing the issues of disinformation I am on a committee with a focus on quality reference avenues for patrons that deals with information literacy, AI, and information resources, and we all read Attack From Within as a group as part of our self-education efforts. While misinformation is a problem, for the purpose of Attack From Within McQuade focuses specifically on disinformation and the impetus behind manipulating people with lies or misleading information so we will move on to that. But first, for some fun to check your own information literacy skills, you can take a quiz to see if you can vet credibility of sources. �If we want to protect our rights from tyrants and con men, we must fight disinformation as unpatriotic, a betrayal of the American people.� �The very concept of objective truth is fading out of the world,� George Orwell wrote in his and with the rise of social media and the internet making information sharing instantaneous this threat has only gotten greater. McQuade begins her book with a look at the history of disinformation, particularly its application in authoritarian governments with a run-down of how it was used by Stalin, Mussolini and Hitler’s regimes. In the book The Origins of Totalitarianism, philosopher Hannah Arendt discusses how a “strongman� leader attempts to manipulate the population �to the point where they would, at the same time, believe everything and nothing.� McQuade argues we have seen a similar issue in the past few years in the US with much disinformation around politics and public health being used to manipulate and divide people to where even the validity of an election has been called into question and political arguments occur on subject even in the face of an utter absence of evidence or false information (not unlike how the “evidence� that spurred the US invasion of Iraq was largely untrue). But that’s all part of the plan, McQuade suggests. �Tactics in the authoritarian playbook include appealing to emotion over reason, exploiting divisions, undermining critics, dismantling public institutions, stoking violence, and creating an image of the Leader as both an everyman and a superman. Disinformation is the catalyst that allows these tactics to work.� McQuade lays out the intentions behind disinformation and provides recent examples to go with them and how this takes control from the people and gives it to the wealthy and power hungry who manipulate people into being controlled. Which is a real irony in the US where the ones who stormed the Capitol and say they distrust the government are doing so specifically in hopes of giving “their side� control to govern the country. Author Timothy Snyder details this use of disinformation in his book On Tyranny: Twenty Lessons from the Twentieth Century: �To abandon facts is to abandon freedom. If nothing is true, then no one can criticize power, because there is no basis upon which to do so. If nothing is true, then all is spectacle. The biggest wallet pays for the most blinding lights.� Much of this book deals directly with the online groups supporting the failed political candidate Donald Trump which keeps it on topic with headline grabbing issues, though I wish the book dealt more with larger global issues as those needing the information here most will be hard pressed to read it. McQuade shows disinformation as aiming for the heart with nostalgia, dividing through demonizing and building oneself as a sort of brand in battle. A lot of this reminds me of the classic manipulation tactic of predators: DARVO (deny, attack, and reverse victim & offender). Especially when we see those who are purveyors of disinformation staying on the offense and distracting instead of playing defense. Or simply resort to insulting and bad faith arguments that manipulate the framing. And they are often open about it too. Look at Christopher Rufo, the head of a Conservative propaganda institute that does for-profit social media manipulation bragging on twitter: Image: Tweet from Rufo reading ‘we have successfully frozen their brand-”critical race theory�-into the public conversation and are steadily driving up negative perceptions. We will eventually turn it toxic, as we put all of the various cultural insanities under that brand category� 'I am not at all anti-tech, but we really can’t leave this stuff to socially stunted white boys and corporate greed' �Jeanette Winterson McQuade shows how disinformation catches hold and spreads in later chapters. First, disinformation is most effective when kept simple, hence misleading slogans, and elbow out any nuance. Repetition also helps it catch hold. There is an excellent chapter on how new technology is shaping disinformation, how it is spread, and the difficulties in handling it that spends a good deal of time questioning how AI can be used to spread disinformation far faster such as flooding social media and AI deepfakes of politicians. Plus a lot of AI information is simply inaccurate. Plus there is the longstanding research on how algorithms can have racist or sexist bias. In her book in her book Algorithms of Oppression: How Search Engines Reinforce Racism UCLA professor Safiya Umoja Noble discusses �technological redlining� which is �embedded in computer code and, increasingly, in artificial intelligence technologies that we are reliant on, by choice or not.� AI is a tool, like any other, and we must use it effectively and appropriately because abuse of it could only make our problems worse. �Why is propaganda so much more successful when it stirs up hatred than when it tries to stir up friendly feelings?� �Bertrand Russell Disinformation plays on fear, which is one of, if not the strongest, psychological motivators, confirmation bias, and tends to be upheld through stubborness. People also end to pay increased attention to , which is why viral algorithms tend to end up showing very biased information and opinions that tend to elicit strong emotional responses (the irony of desiring moralized framing while claiming they miss when the news was just straight facts as if this golden era of truth actually existed and, besides, all language is inherently political and biased, that's how language works and humans process information as a narrative so those complaints always feel more like signaling than earnest statements). Which isn’t helpful to curbing disinformation or reducing political divides but it is profitable and boosts use. Look at the ways Elon Musk changed Twitter in efforts to “promote conversation� by allowing hate speech, or how a revealed the “angry� emoji reaction would get 5 times the algorithmic boost of the “like� reaction, thus boosting content with the intent to upset people. People are more likely to react or respond to such posts thus increasing engagement and further boosting it in the algorithm as people argue. �A significant number of Americans don’t seem to care anymore whether a statement is true,� McQuade writes, �what seems to matter instead is whether any given message is consistent with their worldview.� This is sadly true and studies have found that people are unlikely to change their beliefs even when presented with factual evidence. Add in conformity bias and in-group signaling and it gets even worse. Though I often think about how disinformation and the reluctance of those to resist it or the stubbornness to uphold it has a lot to do with something called Terror Management Theory (TMT). According to TMT, mortality salience (the awareness of one’s death) wedded to anxiety in high stress incidents like say, global COVID or a presidential election, causes people to solidify their worldview and react in ways they feel will defend their social groups. Such is the lesson the Hitler studies professor teaches in Don DeLillo’s White Noise: �To become a crowd is to keep out death. To break off from a crowd is to risk death as an individual, to face dying alone. Crowds came for this reason above all others. They were there to be a crowd.� The higher the fear of death/lack of control, the more people try to push it out or scapegoat it, blaming others, or reacting violently. This is especially true of people who have an overinflated desire to be controlling, which is the nature of politics and why disinformation can be so powerful in times of crisis or high anxiety. �I have no obligation to be honest� —Trump campaign manager Corey Lewandowski to Congress Perhaps one of the most interesting chapters deals with how our laws make it difficult to curb disinformation and that our legal system and Rights, like free speech, in the US actually make the US more susceptible to it. Section 230 of the Communications Decency Act of 1996 �provides a “safe harbor� from legal liability� for social media providers despite the law pre-dating social media as it is. In my home state of Michigan, it is . �The Supreme Court has set an understandably high bar for criminalizing speech,� she writes, such as the 1969 which ruled people have the right to advocate for violence, just not incite it. Obviously she ties this into the incidents around January 6th at the Capitol, such as the FBI director stating the FBI was �not allowed to just sit and monitor social media…just in case.� (sure, but the Patriot Act had no problem monitoring anyone they suspected of being Muslim). Also consider how good information is often behind paywalls, creating a financial barrier on top of the barrier of needing internet access as 12% of US households lack access as of 2022. McQuade shows how because of the political divide in the US, efforts to curb disinformation are politicized themselves. When the Department of Homeland Security stated in 2022 that disinformation was a threat to national security, Senator Marsha Blackburn (R-TN) wrote to them claiming attempts to curb disinformation was simply code for �policing the speech, thoughts, and opinions of American citizens� She also addresses how religion gets shoehorned in to defend the divide, with religion being a very powerful motivator for many which leaves them open for manipulation. �Just as ISIS twists the Muslim faith to advance its vision of an Islamic state, christian nationalists are hijacking their religion for political advantage.� There is also the anti-intellectualism movements that profit off disinfo as well. A key chapter is ”Somebody Is Going to Get Killed�: Disinformation is Endangering Public Safety and National Security where, giving examples from the Soviet Union, Nazis, Andrew Jackson and more, McQuade shows how �when people become inured to the cruelty of violence, they are more likely to accept it as the cost of attaining the type of society they seek.� Political violence, she argues, �not only eliminates some opponents, it also silences others,� leaving disinformation to fester. �In my work as a national security prosecutor, I learned how a relatively small political movement could amplify its impact through disinformation� she writes and shows how al-Qaeda �were early masters of digital media to recruit and radicalize members with propaganda� capitalizing on hashtags and encrypted messaging platforms. �Stochastic terrorism occurs domestically in the United States when prominent Americans use their platforms to aggressively demonize others� McQuade maps out how disinfo is leading to a rise in hate crimes, particularly against marginalized groups (the Club Q shooting came �in the midst of a series of anti-LGBTQ+ bills being advanced across the country and an increase in hate crimes targeting members of LGBTQ+ communities�) and political violence against election officials, poll workers, public health officials, school officials, etc. Furthermore, it weakens trust in institutions. If we have journalists claiming the FBI cannot investigate Trump, making false claims about planting evidence or saying the judge is rigged, repeated often, how is anyone going to trust our rule of law? Yes, we should definitely be criticizing our legal system and police but if we don’t do it in a productive manner and only do it to protect some elderly rich man and not people who have actually been wronged, its only destructive. Disinformation has also attacked schools and libraries using LGBTQ+ issues or book bans as wedge issues to weaken public trust and demonize them in hopes of eroding public institutions to replace them with privatized education and profit barriers to knowledge. There are people like Chaya Raichik of LibsofTikTok who’s platform exists to but are legally protected despite promoting false of misleading information leading to many bomb threats. SO, what can we do about it? McQuade lays out suggestions such as making social media companies legally responsible for the content and creating a social media code of ethics, something Lee McIntyre also advocates for in his book On Disinformation: How to Fight for Truth and Protect Democracy: �To stop the truth killers from succeeding, we must get more serious about fighting the amplification of misinformation and disinformation, and for that we need to create more reason for both partisan and social media outlets to curb the role that they play in propagating polluted content.� She also suggests regulation to reduce bots, eliminate anonymous users, and subsidize paywalls. Bolstering local journalism as well. But we can also be more vigilant in our own lives and promote civic engagement by advocating for information literacy, improving online tools and, most importantly, a complete overhaul of campaign finance and eliminate Citizens United. Attack from Within is an accessible and informative book and McQuade does an excellent job trying information to current events. I think I preferred this more when it got into the technical, legal aspects but it was a quick and helpful read and available through your local library! 4/5 ...more |
Notes are private!
|
1
|
Sep 19, 2024
|
Sep 19, 2024
|
Sep 19, 2024
|
Hardcover
| |||||||||||||||
0802161545
| 9780802161543
| 0802161545
| 3.61
| 74,486
| 2023
| Dec 05, 2023
|
really liked it
|
**
** I’ve long been in awe of the night sky, of laying back and losing oneself beneath a sky spattered with ** ** I’ve long been in awe of the night sky, of laying back and losing oneself beneath a sky spattered with cosmic light. There is something comforting about being pulverized by the immensity of a sky vaster than even the wildest aspirations of first loves, to feel miniscule in the magnitude of the universe and find that what may feel momentous to your life at the time seems washed away in its enormity. This sense of awe permeates every page of Samantha Ჹ’s Orbital chronicling 24 hours in the lives of six people aboard an international space station as it traverses the �ballroom of space� around the planet. It is a quiet novel with little to call a “plot”—no wars erupt, the station is not visited by technological failures or extraterrestrial visitors which is just as well because �if you’re an astronaut you’d rather not ever be news. � This lack of narrative tension is hardly missed in the sheer beauty of Ჹ’s prose that makes it practically a ponderous poem of a novel as we orbit perspectives into each character’s reflections as they in turn orbit the Earth as �humans with a godly view and that’s the blessing and also the curse.� Occasionally tedious though breathtaking in its delivery, Orbital moves through philosophical and heartfelt investigations into ideas of perspective and the wonder of our fragile existence caught up in both self-destruction and discovery spinning on a tiny, living orb in the vastness of the universe. �The earth is a mother waiting for her children to return, full of stories and rapture and longing. Their bones a little less dense, their limbs a little thinner. Eyes filled with sights that are difficult to tell.� Ჹ’s Orbital is an achievement in packaging a long litany of human aspirations and struggles, desires and damage into the tiny window of its pages. It is less a narrative than a gaze back at the Earth along with the astronauts with a prose to harness their awestruck reverence for the planet while also a reminder to just be, to observe, to not need narrative or structure and still be able to learn from what is around us. In a recent , Harvey recalled collecting quotes from astronauts as a child, such as one from a Russian cosmonaut about how he never truly understood the word “round� until looking at the Earth from orbit. �There's a sense of one's senses and one's perception being redefined by being in space,� she explains, �it's not just that things have a certain clarity, but our terms of reference are redefined,� and the impetus for Orbital was to construct a book about observing the Earth from above in the ways nature writing looks at birds and landscapes. Perception winds its way through the book as a central theme as each character finds themselves mulling over their lives and now distant homes from orbit. Harvey gracefully ropes in the famous photograph by astronaut Michael Collins of the Apollo 11 lunar lander drifting in front of the earth and moon. �Every single other person currently in existence, to mankind’s knowledge,� Harvey writes of the photograph, �is contained in that image; only one is missing, he who made the image.� Such is the nature of the astronauts reflections on the planet as they weigh their own lives and achievements against the world, which Harvey best addresses through a brief discourse on . Who is the subject of the painting, the king and queen seen only in reflection, the little girl at the center, the painter staring back at the audience, or, perhaps, are we the subject simply by gazing. It is a perfect example of the philosophical and emotional states of each of these characters. �Our lives here are inexpressibly trivial and momentous at once…Both repetitive and unprecedented. We matter greatly and not at all. To reach the pinnacle of human achievement only to discover that your achievements are next to nothing and to understand this is the greatest achievement of any life, which itself is nothing, and also much more than everything.� The nature of their stay and how �space shreds time to pieces� further impacts the ideas on perspectives, such as how they are told to awake each day and definitively tell themselves it is a new day despite each 24 hour cycle making them witness to 16 sunrises and sunsets through their orbits. �Raw space is a panther, feral and primal; they dream it stalking through their quarters,� and each is affected by their journey, missing home, missing the funeral of a loved one, missing family, feeling lonely even when surrounded in close quarters by their newfound �floating family� although �in some ways they’re not really a family at all � they’re both much more and much less than that.� It is an honor to be there, though also quite the emotionally arduous honor to bear: �Up here, nice feels such an alien word. It’s brutal, inhuman, overwhelming, lonely, extraordinary and magnificent. There isn’t one single thing that is nice.� While , Harvey mentions Virginia Woolf as a major influence (she is often compared to Woolf in the press) and while she hadn’t had The Waves in mind while writing Orbital, she now sees the parallels and �the way voices surface and dissipate. Of The Waves, Woolf wrote to her friend ٳ�the six characters were supposed to be one,� six facets of consciousness, and in many ways we can view Ჹ’s six orbiting characters in a similar fashion. Harvey sways us through each other their thoughts as they deal with the passing of time, writing lists of of irritating or reassuring things from earth, discussing what they miss, questioning how one could see the Earth from orbit and believe in a God while another questions how one could not believe, while filtering it through with other brief perspectives such as ancient seafarers for whom the ocean was not unlike space. Not much happens beyond the pristine prose instilling you with awe, making it akin to Becky Chambers’s To Be Taught if Fortunate (though with less plot and no dramatic conclusion) and even if it feels overly long for a short novel, that acknowledgement of the lethargy puts you in the mindset of the astronauts for whom time now feels unsteady. �What can we do in our abandoned solitude but gaze at ourselves? Examine ourselves in endless bouts of fascinated distraction, fall in love and in hate with ourselves, make a theatre, myth and cult of ourselves. Because what else is there?� There is a sense of hope and togetherness in Orbital which contrasts with the dread of the planet below ransacked and razed from the �politics of growing and getting.� Though what use are international tensions and politics for a crew that must drink each others recycled urine regardless of nation, race or creed? Still, the terrors of violence from wars, greed, climate crisis are more are felt even if distant from space. �Maybe humankind is in the late smash-it-all-up teenage stage of self-harm and nihilism, because we didn’t ask to be alive, we didn’t ask to inherit an earth to look after, and we didn’t ask to be so completely and unjustly darkly alone.� Even from above we must all confront the harsh reality that �wherever mankind goes it leaves some kind of destruction behind it.� The earth is our home and �we couldn’t survive a second without its grace, we are sailors on a ship on a deep, dark unswimmable sea.� Yet there is also the lingering awareness of the space station and its crew as symbolic of human achievement, of our endless striving for survival, able to carry on even once we’ve destroyed the planet. It calls to mind the poem from Emily Dickinson that begins: This World is not Conclusion. A Species stands beyond - Invisible, as Music - But positive, as Sound - If anything, that is the large hope to be garnered from Orbital, though it is also the tiny hopes—the appreciation for the small lights seen from space, the awareness of loved ones amidst the landscape, the rug one will buy upon return—that add up to something greater than its parts. �We exist now in a fleeting bloom of life and knowing, one finger-snap of frantic being, and this is it. This summery burst of life is more bomb than bud. These fecund times are moving fast.� A short novel that takes its time slowly orbiting your thoughts along with the crew, Orbital by Samantha Harvey is devastatingly gorgeous in its prose and profundity. Engaging in its delivery even though its sustained instillation of awe can become a bit cumbersome as a novel, Orbital puts the reader right alongside the astronauts to gaze at our planet and wonder what we would think of ourselves were we to gaze back. Moving and poetically brilliant, this was quite the lovely read that will make you feel both great and small all at once. 3.5/5 �How are we writing the future of humanity? We’re not writing anything, it's writing us. We’re windblown leaves. We think we’re the wind but we’re just the leaf.� ...more |
Notes are private!
|
1
|
Sep 17, 2024
|
Sep 17, 2024
|
Sep 17, 2024
|
Hardcover
|
|
|
|
|
|
my rating |
|
![]() |
||
---|---|---|---|---|---|---|---|---|---|
3.63
|
it was amazing
|
not set
|
Oct 10, 2024
|
||||||
4.12
|
really liked it
|
Oct 09, 2024
|
Oct 09, 2024
|
||||||
4.24
|
really liked it
|
Oct 09, 2024
|
Oct 09, 2024
|
||||||
4.39
|
not set
|
Oct 08, 2024
|
|||||||
4.34
|
really liked it
|
Oct 08, 2024
|
Oct 08, 2024
|
||||||
4.01
|
it was amazing
|
Oct 07, 2024
|
Oct 07, 2024
|
||||||
4.10
|
liked it
|
Oct 04, 2024
|
Oct 04, 2024
|
||||||
3.75
|
not set
|
Oct 01, 2024
|
|||||||
4.21
|
really liked it
|
Oct 28, 2024
|
Sep 30, 2024
|
||||||
4.22
|
liked it
|
Sep 30, 2024
|
Sep 30, 2024
|
||||||
3.93
|
it was amazing
|
not set
|
Sep 27, 2024
|
||||||
4.01
|
really liked it
|
Sep 27, 2024
|
Sep 27, 2024
|
||||||
4.18
|
it was amazing
|
not set
|
Sep 26, 2024
|
||||||
4.47
|
it was amazing
|
Sep 25, 2024
|
Sep 25, 2024
|
||||||
3.96
|
really liked it
|
not set
|
Sep 24, 2024
|
||||||
4.60
|
it was amazing
|
Sep 24, 2024
|
Sep 24, 2024
|
||||||
3.19
|
really liked it
|
Aug 10, 2024
not set
|
Sep 24, 2024
|
||||||
4.33
|
it was amazing
|
Sep 23, 2024
|
Sep 23, 2024
|
||||||
4.14
|
really liked it
|
Sep 19, 2024
|
Sep 19, 2024
|
||||||
3.61
|
really liked it
|
Sep 17, 2024
|
Sep 17, 2024
|