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1542010187
| 9781542010184
| B07ZP15Y7F
| 3.46
| 3,838
| Dec 19, 2019
| Dec 19, 2019
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liked it
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| | blog | tumblr | ko-fi | | “I won't introduce you to my father, not personally, not yet. Changes are you already know him.” This Inheritance co | | blog | tumblr | ko-fi | | “I won't introduce you to my father, not personally, not yet. Changes are you already know him.” This Inheritance collection is turning out to be a rather good one. Anthony Marra's contribution adds a bit of humour to this series. The narrator's father was responsible for a leak of classified documents, landing his own family in the spotlight. Some thought him a hero, others a traitor. Years later, after publishing a memoir on his childhood, our narrator tries to reconcile himself with his now ill father. The tone of this short story is somewhat satirical and it definitely provides its readers with quite a few amusing lines: “His Bluetooth is so firmly rooted in his ear that may, technically, qualify as a cyborg. .” There is a realistic awkwardness between the various characters' interactions which made all the more realistic. “Honesty comes in an infinite variety, none crueler than a teenager's tedium.” The narrator quotes Natalia Ginzburg, so yes, this story definitely a plus fo that. However, the nitpicker in me couldn't help but notice that our narrator (someone who can quote Ginzburg) fell for the classic Frankenstein slip (where instead of saying that someone looks like Frankenstein's monster, he refers to them as looking like Frankenstein): “Father Carlson's student have that Frankenstein look of being assembled from different limbs that don't quite fit together.” Anyway, this was an entertaining short story. It may focus on self-involved individuals (who seem rather disconnected from everyday life) but it also manages to explore compassion and acceptance in very natural (non schmaltzy) way. Merged review: | | blog | tumblr | ko-fi | | “I won't introduce you to my father, not personally, not yet. Changes are you already know him.” This Inheritance collection is turning out to be a rather good one. Anthony Marra's contribution adds a bit of humour to this series. The narrator's father was responsible for a leak of classified documents, landing his own family in the spotlight. Some thought him a hero, others a traitor. Years later, after publishing a memoir on his childhood, our narrator tries to reconcile himself with his now ill father. The tone of this short story is somewhat satirical and it definitely provides its readers with quite a few amusing lines: “His Bluetooth is so firmly rooted in his ear that may, technically, qualify as a cyborg. .” There is a realistic awkwardness between the various characters' interactions which made all the more realistic. “Honesty comes in an infinite variety, none crueler than a teenager's tedium.” The narrator quotes Natalia Ginzburg, so yes, this story definitely a plus fo that. However, the nitpicker in me couldn't help but notice that our narrator (someone who can quote Ginzburg) fell for the classic Frankenstein slip (where instead of saying that someone looks like Frankenstein's monster, he refers to them as looking like Frankenstein): “Father Carlson's student have that Frankenstein look of being assembled from different limbs that don't quite fit together.” Anyway, this was an entertaining short story. It may focus on self-involved individuals (who seem rather disconnected from everyday life) but it also manages to explore compassion and acceptance in very natural (non schmaltzy) way. ...more |
Notes are private!
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2
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Nov 08, 2019
not set
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Nov 08, 2019
not set
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Sep 28, 2024
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ebook
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1542008239
| 9781542008235
| B07ZP2W8SJ
| 3.48
| 3,891
| Dec 19, 2019
| Dec 19, 2019
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it was ok
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| | blog | tumblr | ko-fi | | “Had Harold Pardee killed his wife? In hair salons, at lunch counters, the question was posed. Such a death, in Bake| | blog | tumblr | ko-fi | | “Had Harold Pardee killed his wife? In hair salons, at lunch counters, the question was posed. Such a death, in Bakerton, was without precedent.” This being the first work I've read by Jennifer Haigh, I wasn't sure what to expect. I'm not sure if this story fits in the Inheritance collection. While others authors who have contributed to this series have focused on themes of reconciliation: Alice Hoffman and Anthony Marra, respectively in Everything My Mother Taught Me and The Lion's Den , focus on the fraught dynamics between a children and their parents, while in The Weddings Alexander Chee turns towards a complicated 'friendship'. Zenith Man has a very different tone that sets it apart from the rest these stories. It seems closer to a work of Souther Gothic or Noir. Similarly to Shirley Jackson Haigh's presents us with a slightly unsettling depiction of on an 'ordinary' town and its people. There is a sense of unease as well as a good dose of dark humour. Haigh's is a good storyteller who creates and maintains this uneasy atmosphere, one that makes us pay attention to the specific language she uses. “In Bakerton a murder would not have been forgotten. The local memory was a powerful tool, an instrument so sensitive it recalled events that hadn't actually occurred. So while Haigh' writing style is definitely enjoyable, I wasn't as taken by the story itself. It was okay, but I was expecting a more interesting storyline. Read more reviews on my blog / / / View all my reviews on Goodreads Merged review: | | blog | tumblr | ko-fi | | “Had Harold Pardee killed his wife? In hair salons, at lunch counters, the question was posed. Such a death, in Bakerton, was without precedent.” This being the first work I've read by Jennifer Haigh, I wasn't sure what to expect. I'm not sure if this story fits in the Inheritance collection. While others authors who have contributed to this series have focused on themes of reconciliation: Alice Hoffman and Anthony Marra, respectively in Everything My Mother Taught Me and The Lion's Den , focus on the fraught dynamics between a children and their parents, while in The Weddings Alexander Chee turns towards a complicated 'friendship'. Zenith Man has a very different tone that sets it apart from the rest these stories. It seems closer to a work of Souther Gothic or Noir. Similarly to Shirley Jackson Haigh's presents us with a slightly unsettling depiction of on an 'ordinary' town and its people. There is a sense of unease as well as a good dose of dark humour. Haigh's is a good storyteller who creates and maintains this uneasy atmosphere, one that makes us pay attention to the specific language she uses. “In Bakerton a murder would not have been forgotten. The local memory was a powerful tool, an instrument so sensitive it recalled events that hadn't actually occurred. So while Haigh' writing style is definitely enjoyable, I wasn't as taken by the story itself. It was okay, but I was expecting a more interesting storyline. Read more reviews on my blog / / / View all my reviews on Goodreads ...more |
Notes are private!
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2
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Nov 08, 2019
not set
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Nov 08, 2019
not set
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Sep 27, 2024
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ebook
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1634616529
| 9781634616522
| B00ODFRFAG
| 3.65
| 192
| Oct 01, 2014
| Oct 21, 2014
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did not like it
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None
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Notes are private!
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2
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Nov 20, 2018
not set
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Nov 21, 2018
not set
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Sep 26, 2024
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Kindle Edition
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1542008484
| 9781542008488
| B07ZP386NQ
| 3.33
| 3,029
| Dec 19, 2019
| Dec 19, 2019
|
really liked it
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| | blog | tumblr | ko-fi | | 3.5 stars “Why am I here? he asks himself. What am I doing?” In just under fifty pages Alexander Chee examines a man's ch | | blog | tumblr | ko-fi | | 3.5 stars “Why am I here? he asks himself. What am I doing?” In just under fifty pages Alexander Chee examines a man's changing relationship to his old college friend. The weddings of the title are the backdrop to our protagonists' personal crisis. Jack Cho is a forty-something man in a committed relationship with Caleb. When they are invited to attend the wedding of a friend of Caleb's, Jack finds himself, for the very first time, wondering if he too will marry. Soon after the couple is invited to the wedding of Scott, Jack's college 'friend'. Jack is forced to confront his own repressed feelings for Scott. As certain details come to light, he becomes aware of having idealised this past relationship. There were many realistically awkward moments and some great commentary regarding marriage (the pressure to marry, the way weddings become displays of the couple's love). Jack's self-analysis was detailed in a poignant prose that conveyed his hurt and unwillingness to see Scott for who he truly is. This short story also touches upon: fetishisation (naive as I am, I had no idea what 'rice queen' and 'rice king' meant), the double 'rejection' that Jack often feels being Korean American (Koreans will not view him as truly Korean and white Americans will question his nationality). My only 'complaint' is that there was the occasional twee phrase: “Scott was so much trouble, whatever the reason was. A beautiful disaster.” Overall however this was a short yet intelligent story that pays careful attention to those awkward pauses and heavy silences that can fill a conversation. It reminded me a bit of Come Rain or Come Shine: Faber Stories by Kazuo Ishiguro and certain short stories by Jhumpa Lahiri. “Even then, ha he would endlessly be a curiosity and not a person. He would forget this was true and then be reminded this way, this he most recent in the jarring series of moments that threaded thorough his whole life in America. When did it end? When would they all just get used to him—to all of them?” Merged review: | | blog | tumblr | ko-fi | | 3.5 stars “Why am I here? he asks himself. What am I doing?” In just under fifty pages Alexander Chee examines a man's changing relationship to his old college friend. The weddings of the title are the backdrop to our protagonists' personal crisis. Jack Cho is a forty-something man in a committed relationship with Caleb. When they are invited to attend the wedding of a friend of Caleb's, Jack finds himself, for the very first time, wondering if he too will marry. Soon after the couple is invited to the wedding of Scott, Jack's college 'friend'. Jack is forced to confront his own repressed feelings for Scott. As certain details come to light, he becomes aware of having idealised this past relationship. There were many realistically awkward moments and some great commentary regarding marriage (the pressure to marry, the way weddings become displays of the couple's love). Jack's self-analysis was detailed in a poignant prose that conveyed his hurt and unwillingness to see Scott for who he truly is. This short story also touches upon: fetishisation (naive as I am, I had no idea what 'rice queen' and 'rice king' meant), the double 'rejection' that Jack often feels being Korean American (Koreans will not view him as truly Korean and white Americans will question his nationality). My only 'complaint' is that there was the occasional twee phrase: “Scott was so much trouble, whatever the reason was. A beautiful disaster.” Overall however this was a short yet intelligent story that pays careful attention to those awkward pauses and heavy silences that can fill a conversation. It reminded me a bit of Come Rain or Come Shine: Faber Stories by Kazuo Ishiguro and certain short stories by Jhumpa Lahiri. “Even then, ha he would endlessly be a curiosity and not a person. He would forget this was true and then be reminded this way, this he most recent in the jarring series of moments that threaded thorough his whole life in America. When did it end? When would they all just get used to him—to all of them?”...more |
Notes are private!
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2
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Nov 06, 2019
not set
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Nov 06, 2019
not set
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Sep 22, 2024
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ebook
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9781682100462
| B07HZ3BXS2
| 3.43
| 200
| Jan 2016
| Jan 08, 2016
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it was ok
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| | blog | tumblr | ko-fi | | A rather forgettable novella that fails to leave a good impression. The characters and their world seem bland, undevelo | | blog | tumblr | ko-fi | | A rather forgettable novella that fails to leave a good impression. The characters and their world seem bland, undeveloped. The idea could have been interesting but... Merged review: | | blog | tumblr | ko-fi | | A rather forgettable novella that fails to leave a good impression. The characters and their world seem bland, undeveloped. The idea could have been interesting but... ...more |
Notes are private!
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2
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Apr 12, 2018
not set
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Apr 12, 2018
not set
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Sep 20, 2024
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ebook
| ||||||||||||||||
1250295130
| 9781250295132
| B07CWSBJ8N
| 3.60
| 161
| Jun 20, 2018
| Jun 20, 2018
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it was ok
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None
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Notes are private!
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2
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Jun 29, 2018
not set
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Jun 30, 2018
not set
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Sep 13, 2024
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Kindle Edition
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4.04
| 1,541
| Feb 13, 2024
| Feb 13, 2024
|
liked it
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Despite collecting stories dating from the 1960s, Neighbors and Other Stories possesses a remarkable immediacy, its stories achieve a timeless quality
Despite collecting stories dating from the 1960s, Neighbors and Other Stories possesses a remarkable immediacy, its stories achieve a timeless quality that makes them feel as though they were written nowadays. Set against the backdrop of the 50s and 60s, these stories explore race and racism during Jim Crow America. The seemingly humdrum settings in many of these stories belie their disconcerting nature. Several stories are quietly sinister, evoking an unease reminiscent of the work of Shirley Jackson and Nella Larsen. Given their subject matter, these stories are often harrowing. Yet, Oliver maintains a distance almost that allows her to delve into the unsettling undercurrents of humanity. The title story, ‘Neighbor’, stands out as the most emotionally engaging piece in the collection. It takes place over the course of a single night, one filled with apprehension and danger for a Black family whose son is set to be one of the first Black students at a newly integrated school. Faced with threats from white nationalists, the parents grapple with guilt for potentially endangering their son or subjecting him to violence. The following story explores a similar scenario, except this time it revolves around a Black college student. ‘Mint Juleps Not Served Here’ very much brought to mind Jackson’s work, as it is a perfectly unnerving story following the lengths to which a Black couple is willing to go to protect their son and themselves from the white gaze. While the story is characterized from the get-go by an uneasy atmosphere, the crescendo of disquiet accompanying the back-and-forth between the mother and a white stranger proved strikingly effective. In ‘Banago Kalt’ three American girls travel to Switzerland, and here the Black girl finds herself the object of curiosity, and feels both extremely alienated by the locals yet strangely hypnotized by their bizarre questions and behaviors. This story’s exploration of racism outside of America very much reminded me of Larson’s Quicksand. any stories also delve into the banality of marriage, focusing on women resentful or exhausted by the monotony of domestic life. From petty jealousies to outright hatred, Oliver doesn’t shy away from portraying the full spectrum of human emotions. Quite a few stories feature adults who are not in the least bit keen on children, and their coldness brought to mind the short stories by Taeko Kono (which, to be fair, are far more overt). Anxieties around being known, boxed in, preoccupy many of the characters, and I appreciated Oliver’s varied approach to this theme to be compelling. I also thought that unlike many other authors, Oliver is able to depict children who sound like actual children. There were however a couple of stories that failed to register their presence, lessening the impact of the other stories in the collection. One story in particular, came across as little other than an exercise in style. I found it to be annoying and repetitive, its experimental nature a gimmick. Still, this makes for a gripping collection, one that is permeated by ambivalence. Oliver’s social commentary is incisive, her storytelling simultaneously subtle and frank. ...more |
Notes are private!
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1
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Feb 15, 2024
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Feb 20, 2024
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Feb 02, 2024
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Hardcover
| ||||||||||||||||||
153872670X
| 9781538726709
| 153872670X
| 4.04
| 26,890
| Feb 06, 2024
| Feb 06, 2024
|
liked it
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A Love Song for Ricki Wilde is an entertaining novel that will definitely appeal to fans of the fated lovers trope. Sure, in the long run, A Love Song
A Love Song for Ricki Wilde is an entertaining novel that will definitely appeal to fans of the fated lovers trope. Sure, in the long run, A Love Song for Ricki Wilde proved to be a tad too cheesy and smutty for my taste, but I still had a good time reading it. Tia Williams’ sense of humor shines front and center here as the story has plenty of funny one-liners (“you sentient Buddha statue from Urban Outfitters”), witty banter, clever descriptions, one-liners and comical scenarios and side-characters. At times the humour element did feel a bit too entrenched in internet humor, and some of the references felt already ‘dated’. The novel’s opening has a modern fairy tale feel to it as we are introduced to the Wilde family, who own a funeral enterprise. The youngest daughter Ricki is not particularly interested in her family’s business, nor does she want to emulate her older sisters’ socialite lifestyle. She’s a free spirit who is far more artistic and less materialistic than the rest of her family. Ricki decides to follow her dreams and sets up her own flower shop in a brownstone in Harlem. There she connects with the owner of the brownstone, widowed nonagenarian Ms. Della, who is busy fluffing her own bucket list. Ricki also makes her first real friend, Tuesday, a former child-actor who is in many ways her kindred spirit. As Ricki struggles to find the right business model for her shop, she happens to come across a mysterious musician who, despite their clear chemistry, is not keen on getting to know her, going as far as to ask her to leave Harlem. We also get chapters transporting us back to the Harlem Renaissance, in which follow a young man who shares a lot in common with Ricki’s mystery man. The book is certainly self-aware in its approach to certain tropes. And in some ways, it succeeds in poking fun at the whole supernatural romance that is has going on…but then the storyline takes way too long to reveal something that most readers will have already figured out from the very start. Why else would we get chapters transporting us back to the roaring 20s? The shift in tone was jarring, as we go from Ricki’s fairly humorous escapades to a character who has endured so much trauma. And I guess I ultimately did not buy into this guy. The story does try to provide a rationale for his inconsistent knowledge of the modern world, but it wasn’t enough to make me believe in this guy. The more you think about his reaction and behavior upon seeing Ricki, the more you realize that, in spite of having ample time to prepare or devise a strategy to escape his fate, the guy decides to say the type of things that would inevitably backfire. Saying mysterious things, acting weird around the FL, and so on. It was giving Robert Pattinson, and in the year 2024, that kind of shit comes across as a huge red flag. Ricki’s bestie Tuesday seems the only ‘sane’ one, but then proceeds to be conveniently won over by him once the whole supernatural thing is explained to her. Ironically enough, for a novel with the words "Love Song" in it, that does primarily focuses on romance, romance was the thing that worked the least (for me obviously). It was just too cheesy: “And, God help her, there it was: Ricki was drawn to this secret tragedy of Ezra, the mystery, the tangible sadness. His unknowable depths.” I liked Ricki’s new eccentric friends, and I would have much rather read about her bond with them than her insta-love with mystery man. Ricki’s family had potential, but they ended up being relegated to the role of minor villains. I found a certain cameo to be quite unnecessary but even more cringey were those sex scenes (that poor piano…). Overall, A Love Song for Ricki Wilde was a bit of a mixed bag for me. While I liked the chaotic energy of Williams’ characters, as well as her engaging storytelling and humor, the romance and plot failed to win me over. ...more |
Notes are private!
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1
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Dec 25, 2023
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Dec 29, 2023
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Nov 17, 2023
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Hardcover
| |||||||||||||||
0593473450
| 9780593473450
| 0593473450
| 4.04
| 778
| Feb 06, 2024
| Feb 06, 2024
|
liked it
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Dixon, Descending is a thought-provoking debut novel, weaving a compelling narrative that is unfortunately undermined by uneven execution. The ambitio
Dixon, Descending is a thought-provoking debut novel, weaving a compelling narrative that is unfortunately undermined by uneven execution. The ambitious scope of the novel mirrors the monumental challenge at its core—the summit of Mount Everest by two brothers—providing a backdrop for a tale of survival and guilt, choices and their repercussions, forgiveness and recovery. The novel’s central character is Dixon, a former Olympic-level runner who, having narrowly missed making the team, has since avoided letting himself be consumed by a singular goal. Now a school psychologist, Dixon becomes involved in a tricky bullying case. Dixon feels personally connected as he is fond of the victim, Marcus, a boy who truly looks up to him. Dixon attempts to set aside his own anger towards Shiloh, the bully, and intervenes, but his efforts backfire, leading to an escalation of the bullying. Feeling increasingly on edge, Dixon finds himself yielding to Nate, his charismatic older brother, when the latter proposes a daring endeavour - to ‘conquer’ Mount Everest and become the first Black American men to do so. This audacious feat sparks something in Dixon, who, for the first time in years, becomes wholly absorbed by something. Preceding Mount Everest, the two brothers have a lot of training to do, and Dixon soon finds himself being the one to push his brother Nate onwards. Despite the dissent from their loved ones, the two brothers travel to Mount Everest. Along the way, they encounter many other climbers and find themselves confronted by the strange hierarchies operating in the ‘climbing’ world. However prepared they feel, a string of disasters has tragic consequences for the brothers. Much of the novel delves into the aftermath of the climb. Ravaged by Mount Everest, Dixon is guilt-ridden and grief-stricken. His decision to return to work proves to be a terrible idea, resulting in him finally losing control at Shiloh. Things take a turn for the worse, and now Dixon is even more tormented by how he handled the bullying case. The Dixon we encounter in these pages is barely holding on, with Mount Everest still looming over him. Through Dixon’s journey, the novel explores the consequences of life-altering decisions. Not only does Dixon experience survivor’s guilt, but he also finds himself losing sight of the kind of person he was, is, and wants to be. Dixon undergoes a transformative odyssey, grappling with the haunting echoes of his past choices. Despite the novel’s exploration of Dixon's internal and external struggles, the narrative doesn’t always deliver emotional depth. A more introspective narrative would have provided a more in-depth character analysis. The before and after timelines also don’t always gel well, with the bullying storylines sometimes feeling as if from a different book. It didn’t help that Dixon is a character lacking in ‘history,’ that is, we learn virtually nothing about his and Nate’s childhood, and throughout the narrative, I kept forgetting that Dixon is divorced and has a child. The ex-wife and his daughter have no impact whatsoever on his character or his story. Sure, sometimes this contributes to the characterization of a character, say, someone who is entirely self-involved and unreliable, with little interest in his family, etc. But Dixon is presented as someone who should care. The narrative establishes and critiques the dichotomy between the brothers, with Dixon playing the role of the reliable, ‘good’ brother, while Nate is the carefree, wildcard, ‘bad’ brother. Extended flashbacks into their childhood and young adulthood, and their relationship with the rest of their family would have made for a more nuanced portrayal of their bond. Nate serves the role of foil to Dixon, and because of this he never really comes into his own as a character. His behavior during the climb, particularly in the final stages, appears somewhat overdramatized. Sure, we can attribute some of his actions to their extenuating circumstances, but there are moments where his dialogue seems inconsistent and forced, designed more for dramatic effect. Having greater insight into Dixon’s professional life before the climb would have added depth to his character. Following the physical and emotional traumas he experienced, it's understandable that maintaining professionalism becomes challenging, especially in the face of provocation from Shiloh. However, Dixon doesn't exhibit many of the traits and knowledge one might expect from someone who finds fulfillment as a school psychologist. While he questions Shiloh's actions, he fails to consider the possible underlying issues that have shaped Shiloh's behavior. It's only towards the end of the novel that he starts to ‘contextualize’ some aspects of Shiloh's personality. I did appreciate that the novel doesn’t merely go for a cause-and-effect approach when it comes to exploring abuse, violence, and trauma. Still, a more thorough exploration of the bond between Dixon and Marcus would have contributed to Dixon's authenticity as a school psychologist. At times, it felt as if Dixon's role as a school psychologist was primarily a plot device to incorporate the Marcus/Shiloh storyline. Yet, it might have been more convincing for Dixon to be a teacher, considering his surprising lack of awareness regarding mental health throughout the novel. This adjustment would have aligned better with the portrayal of his character and the challenges he faces in understanding and addressing the complexities of his students' psychological issues. The chapters transporting us back to Mount Everest were certainly immersive and succeeded in giving us a glimpse into the kind of people driven by ambition and hubris, leading them to court danger in pursuit of greatness. Sadly, these sections feature a female character who seems to have been included merely to underline the dynamic between the brothers (why she chooses to have a fling with Nate over Dixon). She is the type of one-dimensional female character I usually encounter in male-authored fiction, so I was disappointed to find her here…. Nevertheless, despite these criticisms, I found the novel engrossing. Dixon, Descending would make for a solid book club choice, as it certainly succeeds in challenging readers' notions of right and wrong, the extent of forgiveness, and whether renewal and hope are and should always be possible. ...more |
Notes are private!
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1
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Feb 07, 2024
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Feb 11, 2024
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Sep 12, 2023
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Hardcover
| |||||||||||||||
1250266017
| 9781250266019
| 1250266017
| 4.01
| 13,412
| Feb 13, 2024
| Feb 13, 2024
|
liked it
|
Perhaps I approached The Fox Wife with the wrong exceptions. I thought it would have a much darker tone, given the book's revenge tale premise. But in
Perhaps I approached The Fox Wife with the wrong exceptions. I thought it would have a much darker tone, given the book's revenge tale premise. But in The Fox Wife the revenge storyline seems like an afterthought, and it often faded into the background. Much of the novel reads like a series of humorous misadventures, recounted to us in a conversational, ‘confessional’ almost, style (with lots of "anyways" and "i told yous"). Yet, it never fully leans into the satire, and there are several moments that are meant to be dramatic, but these are depicted in a way that doesn’t quite deliver on the pathos, the end result is that the book suffers from a confused identity, neither a fantasy of manners a la Zen Cho, nor a more tantalizing Catherynne M. Valente type of fairytale-esque affair. The majority of the novel takes place in Manchuria in 1908 with chapters alternating between a female fox, posing as a young human woman by the name of Ah San, and Bao, an old detective who is able to discern truth from falsehood. The fox chapters are heavy with exposition, and she repeatedly goes over the same information or feels the need to explain things to us. While I understand that this was somewhat necessary given the novel’s historical setting, I wish that the world-building could have relied less on the fox’s ‘telling’. She is after Bektu Nikan, the man responsible for her cub’s death, and to learn more about his whereabouts she finds employment as a maid. The grandmother of the family is worried that her grandson, Bohai, the only son of the family, will fall to the family’s curse (the eldest sons die before they reach 24). Bohai and his loser friends have become close to a mysterious and charismatic stranger, Shiro, someone known to our fox. The fox’s quest is seemingly lost in favor of setting up this rather drawn-out storyline involving Bohai&co dealings with Shiro. Eventually, they find themselves in Japan where we encounter with yet another mysterious stranger, who is actually not a stranger to our fox. These two male characters left such non-impressions on me. They have little to no chemistry with our main protagonist, and their few interactions aren’t thrilling (nor do they make you wonder what exactly they mean to one another). This retaining of information does little in terms of creating suspense, maybe because the reveals themselves feel so predictable, maybe because this retention of information goes against our narrator’s conversational confessional style. Surprisingly enough I was more interested in the detective’s chapters. Sadly Bao is so many steps behind that whenever he learns more about these fox rumors it feels like old news. I wish his storyline hadn’t felt so behind the main one. I liked learning more about childhood and his gift and I wish that the story had focused on him and his childhood friend. The story felt a bit too vanilla, childish even. Which is a pity as there was potential to go for a more ambivalent type of tale, especially when it came to the foxes. They were the perfect candidates for morally ambiguous types of characters. Yet, our central character feels simultaneously naive and like a busybody old maid (she was giving miss marple). Her narration is less clever than trite. She's prone to truism and unnecessary asides ("I’ve told you before that every action has an equal opposite reaction"). Maybe this will work for some readers but I found her to be an inconsistent and not particularly charming nor alluring character. There were so many instances where I wanted her to act differently, especially given how she goes on and on about foxes’ special abilities. Her revenge...was very anticlimactic, and even here Choo plays it safe. Worst still, we learn virtually nothing about her cub or her life before. This made her into a rather surface-character, who is there to give us the dos and don'ts of being a fox and interacting with humans. The novel's initial set-up is intriguing but the story felt surprisingly directionless and lacking in momentum. Still, this is probably Choo's best (so far). ...more |
Notes are private!
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1
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Jan 18, 2024
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Jan 22, 2024
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Aug 27, 2023
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Hardcover
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1776564197
| 9781776564194
| 1776564197
| 4.02
| 13,686
| May 13, 2021
| May 13, 2021
|
liked it
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Lots to like but the unrelenting fleabag-esque type of humor wore me down (especially when it lessened the emotional impact of certain scenes/dynamics
Lots to like but the unrelenting fleabag-esque type of humor wore me down (especially when it lessened the emotional impact of certain scenes/dynamics). At first, I liked the novel's chaotic energy and the quirky almost Wes Anderson-esque characters, but, as I read on I found that many scenes just try too hard and for too long to be funny, in a way that didn't quite succeed. While the author does manage to strike a balance between Greta and Valdin's perspectives, their internal monologues at times were too similar ( from them having similar experiences and worries to their vocabulary and thought process) in a way that now and again made it tricky to distinguish whose head we were currently into. I never quite warmed up to Greta, probably because she struck me as the type of messy young woman type of character popularized by Fleabag. While I understand that some people use humor as a shield, a defence mechanism, whatever, she just does it so much that any potentially emotional or vulnerable scenes starring her end up highlighting how quirky she is. I was interested in reading more about the various family dynamics, especially given how chaotic and absurd each family member is, but the narrative seems to speed through most of these types of family scenes in favor of more wacky asides and anecdotes featuring our oddball protagonists. the ending struck me as a bit twee, which was disappointing given the novel's initially wry tone. Still, I would definitely read more from this author and I wouldn't dissuade others from giving this novel a go as it is a delightfully queer and zany read. ...more |
Notes are private!
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1
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Aug 24, 2023
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Aug 29, 2023
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Aug 24, 2023
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Paperback
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1250236436
| 9781250236432
| 1250236436
| 3.57
| 17,755
| Mar 03, 2020
| Mar 03, 2020
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liked it
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Spotted: Anna K, a high-society darling with a penchant for horses, Newfoundland dogs, and, of course, scandal. Kevin Kwan meets Gossip Girl in this Spotted: Anna K, a high-society darling with a penchant for horses, Newfoundland dogs, and, of course, scandal. Kevin Kwan meets Gossip Girl in this juicy retelling of Leo Tolstoy's Anna Karenina. In Lee’s modern-day adaptation of Tolstoy's classic we follow the drama-filled antics of America’s young and wealthy. Seventeen-year-old Anna K is the reigning belle of both Manhattan and Greenwich societies. She has it all: an impeccable reputation, a respectable boyfriend, a doting father, an elite education. Until she meets Alexia, aka Count Vronsky, a (supposedly) charismatic playboy unbound by constraints of priority. As sparks ignite and gossip swirls, Anna embarks into a scandalous relationship. Meanwhile, Anna’s brother Steven grapples with the fallout from his unfaithfulness to his girlfriend, Lolly. Lolly’s sister Kimmie, is adjusting to ‘regular’ teen life after an injury cuts her ice dancing career short. She’s also head-over-heels in love with Alexia, much to Steven’s best friend, Dustin, chagrin. Things get even more tricky after a party makes everyone aware of Anna and Alexia’s sizzling attraction. Having read Tolstoy’s original, it was fun to see how certain plot points and characters would be reimagined for a 21st American setting. Lee's Levin, Dustin, is made far more palatable than his predecessors (thankfully, no cosplaying serfdom to be had here). Unlike the original,Levin/Dustin is relegated to the role of secondary character, with the novel mostly focusing on Anna and Kimmie. The novel is basically about rich kids behaving badly. We see them cheating, having or wanting to have sex, and doing drugs. Now and again they pursue obnoxious rich people activities, participating in horse races or entering their dogs in beauty pageants. Compared to other campy satires—But I’m a Cheerleader, Mean Girls, Libba Bray’s Beauty Queens—the teens in Anna K are devoid of distinct personalities beyond catchphrases and hobbies. They resemble reality show contestants, their shallowness bordering on the absurd. They have extravagant parties, get involved in minor and major scandals, the girls spend most of their time talking or thinking about boys, while most of the male characters have the emotional depth of a paddling pool. Despite dabbling with drugs, and for all their talking of blowjobs, Lee’s teens speak and behave in a babyish lingo. While at times this type of idiosyncrasy can work, Lee’s characters just sound like Disney channel teens. Their lexicon and frame of references also felt off. For a book set in the latter half of the 2010s, there were so many pop cultural references that were dated (the amount of game of thrones references is truly baffling) and not believable. The outdated references combined with the teens’ improbable dialogues seemed unmistakable signs of the generational gap between the characters and their author. Oddly enough, Lee’s characters share similar beliefs to their 19th century counterparts when it comes to what is proper. It felt as though by making her characters adhere to puritanical beliefs, Lee was able to keep the same conflict between Anna and Alexia/Vronsky as Tolstoy had. Considering the contemporary setting and that most of the adults around the teens are divorced and or have had several spouses, without being exiled from their rarefied world, it made no sense for Anna & co to treat her relationship with Alexia as scandalous. The novel flirts with serious topics—substance abuse, revenge porn, suicide ideation—but it does so in a very glib, tongue-in-cheek tone, befitting of Gossip Girl. Even when portraying experiences of first love, heartbreak, and jealousy, Lee does so in a frivolous, sensationalist style. Once again, I find myself comparing Anna K unfavorably to Bray’s Beauty Queens. The latter novel pulls off campy satire in a way that Anna K just doesn't. Also, Bray’s characters, however ridiculous, were fun to read about. But Lee’s ones are mostly different shades of annoying. Most of the secondary characters, Kimmie especially, were excruciatingly grating. The two leads, Anna & Alexia, were surprisingly bland, and I wish Lee had imbued them with some zest. Anna is wishy-washy, and Alexia comes across as a generic fuckboi. Anna’s brother, although idiotic and problematic (especially his use of aave), at leasts provides some levity, and it was nice to see how he always has Anna’s back. Anna K is a read that doesn't demand your undivided attention. It's a frivolous and pulpy retelling populated by a cast of characters who do not sound or behave like actual human beings. The narrative revels in the drama of the rich, poking fun at how inane and shallow the characters are. The novel is undermined by Lee's surface-level satire, which offers little in terms of commenting on privilege, peer pressure, or sexist double-standards. Sure, Anna K is kind of trashy and very stupid, but if you like Kevin Kwan, Curtis Sittenfeld's Eligible, Gossip Girl, or if you enjoy watching reality shows like Made In Chelsea or The Simple Life, chances are you’ll find it to be an entertaining read. ...more |
Notes are private!
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1
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Feb 05, 2024
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Feb 07, 2024
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Feb 26, 2023
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Hardcover
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0385548613
| 9780385548618
| 0385548613
| 3.90
| 1,886
| Jun 06, 2023
| Jun 06, 2023
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liked it
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Although there are plenty of things I liked about Between Two Moons, the messy plot and unsatisfying character arcs ultimately hindered what could hav
Although there are plenty of things I liked about Between Two Moons, the messy plot and unsatisfying character arcs ultimately hindered what could have been an emotionally resonant family drama. Unfolding over the span of one Ramadan, Between Two Moons is predominantly set in the Arab community of Bay Ridge, Brooklyn. The narrative centers on twin sisters, Amira and Lina, who have just graduated from high school and are savoring their final summer before stepping into adulthood. However, their carefree days are disrupted by the unexpected return of their older brother from prison. Their relationship with him is fraught with tension. Not only did he make their parents suffer, but as the ‘problem’ child he was very much the focus of the family. He was also a threatening presence to the twins, and his past behavior towards them is not altogether far from emotionally abusive. To escape him and their parents fretting over him, the twins avoid spending too much time at home. Lina dreams of becoming a model and finds herself ensnared by a man who promises to have the connections to make her dreams a reality. Meanwhile, Amira, weary of being confined to the expectations of a ‘good Muslim daughter’, softly rebels by following her sister on her nightlife outings. Amira also comes across a ‘dashing’ man, whose intentions may not be as innocent as they seem. There is a mystery subplot that feels really shoehorned in, one that not only detracts attention from the novel’s central dynamics but is ultimately ‘resolved’ in a very anticlimactic way. The use of multiple perspectives felt poorly handled as well, at times painting characters in a possibly sinister light, and now and again giving a chapter to a character other than our central character, Amira, but these chapters did not feel like glimpses into their lives but simply conformed to Amira’s view/assessment of that person. I wish the focus could have remained on the three siblings, and that the narrative could have balanced their voices, rather than prioritizing Amira’s one. The other two characters suffer because of it. Lina’s experiences and character are reduced to the classic cautionary tale of the partygoer sexually active girl who actually just seeks (male) approval and inevitably ends up being ‘punished’ by the narrative for her lifestyle. The brother is presented almost as a sociopath early on, and we don’t really get to see what makes him change. He says ‘his piece’, later on, but it felt very rushed and almost unearned in terms of character growth/change. The parents are also severely ‘underused’, which is a pity as I think seeing more of them would have given us more of an understanding of their family. Lots of time is spent on the quasi-romances the two sisters have, and here the narrative really doesn’t do this justice. Especially in addressing the uneven power dynamics between them (more than a whiff of grooming there). Both Amira and Lina are interested in older men, and their naivete here really took me out of the narrative. Sure, Amira is presented as sheltered, inexperienced, an ‘ingénue’ if you will. But she does spend a lot of her time with Lina and their mutual friend, both of whom have the kind of experiences she hasn’t had. Yet, other than one or two scenes where Lina makes some comments about the man Amira is crushing on, the story doesn’t really confront just how messed up that guy is. In fact, it almost presents their relationship as one of mutual push-and-pull. First of all, the guy is too old. Amira is what, 18? The guy is implied to be ‘older’, and is probably in his mid to late twenties. His motivations towards her are dubious from the get-go, Amira sort of picks up on his weird vibes but doesn’t really dig deeper, which was frustrating as she was shown as someone who wouldn’t be content with just accepting surface lies/excuses. But apparently, her critical thinking stops at men she is attracted to. I know she is temporarily ‘blindsided’ by her feelings, but for someone who is supposedly smart and is able to tell that Lina is being used by the man she is into, why doesn’t she think about the odd things her man says? Maybe if the story had not presented him as icky from the get-go, I could have bought into Amira not minding his sketchy behavior. Even at the end, her reaction to the ‘truth’ felt very underplayed. Like, this grown-ass man lied and manipulated you... when it came to these two I was getting Colleen Hoover vibes, which is never a good thing (i guess it’s okay for a traumatized man to be a trash human being?). A lot of the scenes were very repetitive and seemed to paint Lina as a bad influence on Amira, with the parents being wholly unaware of what their daughters are getting up to. The author includes SA and revenge porn, but rather than addressing these, they felt like plot points thrown in to amp up the ‘drama’. I felt that the way the author went about was ultimately really shallow and inadvertently moralistic. Serious issues like these and the whole grooming undercurrents in the sisters’ relationships are mishandled and or rushed. And I can't stress it enough, I am so tired of fiction including sexually active young women—who are shown to enjoy partying, flirting and having/talking about sex—only to frame their lifestyles as cautionary tales (turns out that actually no, they have no agency). I am sick of this trope, especially when the character in question is a side character, one who will not be given the page time necessary to portray things like SA. Speaking of page time, the siblings' fraught bond is given relatively little time to shine. This is a pity as there is tension there, tension and trauma that could have been explored with more depth. Because of this the finale felt very rushed in terms of character development and ends on an unsatisfying note. The chapters following other characters were distracting as they detracted from what could have been a more intimate family drama. Still, despite all my criticisms, I did find the writing itself to be compelling. The author has an ear for dialogue and for rendering time and place. I also appreciated the themes it sets out to explore: faith, identity, and belonging as a young Muslim girl in Brooklyn. Amira's questioning of what it means to be a 'good' Muslim is thought-provoking, and I appreciated the narrative's avoidance of presenting a simplistic, dualistic vision of Islam. Instead, it allows for the complexity and individuality of characters' experiences with religion and heritage. I wish more could have been done when portraying how the sisters navigate that transition period between adolescence and adulthood, but the way the author goes about it was a bit too PSAs flavored. We ultimately don't learn too much about them (beyond the basics: one wants to go to college, the other wants to be a model) despite the time we spend with them. The author often relies on contrasting the sisters' personalities to establish their traits, which feels somewhat simplistic and limiting. The quasi-mystery storyline and multiple perspectives were messy and I can’t say that they worked for me. Still, as I mentioned, there are aspects of this novel that were compelling, so if it happens to be on your radar I encourage you to give it a chance. ...more |
Notes are private!
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1
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Mar 25, 2024
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Mar 28, 2024
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Jan 18, 2023
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Hardcover
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1538723565
| 9781538723562
| 1538723565
| 3.59
| 2,675
| Jan 10, 2023
| Jan 10, 2023
|
liked it
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❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “Once upon a time, there was a girl with a vivid imagination, one who was not entirely❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “Once upon a time, there was a girl with a vivid imagination, one who was not entirely sane. She was afraid of many things that weren’t real, but she didn’t tell anyone. They would’ve sent her far, far away, and she wasn’t ready to go.” Liar, Dreamer, Thief had all of the ingredients to be a unique mystery-thriller exploring mental health, but sadly this novel eventually adopted a rather tired formula as it devolved into the typical suspense story where we follow an unreliable woman taking on the role of amateur detective (sometimes to discover what really happened to a friend of hers, who went missing or died, sometimes after she witnesses something troubling, sometimes after she inherited a house or something, etc). Worst still, it relies on the same twist as a lot of these novels do. Maybe if this book had been mid from the very start, I wouldn’t have felt so disappointed, but when I was about ⅓ in, I genuinely thought this was going to be a 4, 5 stars even, read. Not only is too much importance given to that tired twist, but it felt like the middle of the book was just a lot of padding, scenes and internal monologues that come across as repetitive and as if they are stalling for time. Katrina Kim, our 20-something narrator, is precariously employed at Advancex, a “hospital revenue cycle management” company in NY, where she mostly has to deal with taking calls about people’s insurance, bills, etc. Katrina lives with Leoni, whom she found on craigslist, who for various reasons is often away, either due to work-related reasons or to take care of her ill sister. From the very first pages, we realize that Katrina is not doing well at all. Something happened in her past that resulted in her dropping out of college and being ‘ousted’ by her parents, who have not reached out to her in years. In the present day, Katrina is obsessed with Kurt, a co-worker at Advancex whom she has barely interacted with. Leoni, the only one who seems to know about Katrina’s fixation, tries to tell her that her behavior isn’t healthy and that she is acting like a stalker. But Katrina seems to genuinely believe that there is something connecting her to Kurt, not romantic, as Katrina is into women, but a kinship nonetheless. So Katrina often goes to his desk, when he isn’t around, to look at his stuff, sometimes even stealing things from him. What aggravates Katrina’s loose grip on reality is that she often views the world around her through the magical lenses of her favorite children’s book, identifying real people with characters, or seeing her life or actions as if mirroring those of the book’s protagonist. Katrina has many maladaptive coping mechanisms, rituals, and routines, that have to do with numbers and symbols, many of them connected to that magical world. The first few chapters give us an idea of the ways in which Katrina struggles to maintain a semi-functional facade, emphasizing how day-to-day actions, behaviors, and interactions, that other people do automatically or take for granted, she has difficulty to emulate. Sadly, Advancex doesn’t seem to have a lot of visibility or awareness for disability and accessibility in the workplace. Prone to anxiety attacks and perpetually on edge, we see just how lonely and in difficulty Katrina is, yet, that doesn’t make her inappropriate fixation on Kurt any more palatable. It just so happens that after a particularly bad episode, Katrina turns to one of her more powerful rituals to regain a measure of control, her midnight trip sees her become a witness to Kurt’s suicide. Before jumping to his death, he turns to her and accuses her of being somehow to blame for this. Reeling, unsure whether she imagined Kurt’s death or not, Katrina loses the little control she had over her life. At work, she finds several clues that lead her to discover that as she was spying and watching Kurt, he was doing the same to her. What follows is a rather convoluted mystery, with a lot of scenes set in the workplace or in Katrina’s apartment, as we follow Katrina trying to learn more about Kurt and coming across one cryptic clue after the next. In doing so however not only she gets into trouble with her manager but she also puts at risk one of her colleagues, who has always had her back. At first, I really liked the atmosphere of the story, and Katrina’s surreal, feverish, narration is captivating, despite her troubling behavior. I wasn’t sure if this story was going in the direction of something like Horse Girl, or The OA, or in the murkier realms of Danzy Senna’s Symptomatic or the bizarre world of Sayaka Murata's Earthlings, so I was disappointed when it ultimately went along the lines of those thriller books that are all the rage, with our ‘messy’ unreliable main character doing some questionable sleuthing, often guided by instinct more than logic/proof. While Katrina’s voice was compelling, the characters around her were very cartoonish. From her angry manager to the mean receptionist, to the cat-lady who lives in the same building as her, to the librarian she briefly came across…her colleagues too, both of them behaved in a way and said things that weren’t entirely credible. I also found that the novel tries to go somewhere dark, presenting us with a young woman who is doing things that are irrational, and dangerous even, but it ultimately cops out by making the two people with who Katrina behaves appallingly, into psychopathic villains. While I appreciated the lack of romance, I did wish that Katrina’s queerness didn’t feel like such an afterthought, almost as if the author wanted to make Katrina’s obsession with Kurt more palatable because she isn’t in love with him… Also, if I had to be nitpicky since a lot of this book revolves around and in the workplace, there were inconsistencies when it came to how employees like Katrina were monitored. I have a hard time believing that she was able to leave her desk and stalk Kurt for so long without drawing notice. Also, in a lot of workplaces where you have to answer emails/calls from clients/customers, those are monitored, usually for calls to see that they are resolved quickly, and you definitely can’t get away with putting down the phone on someone knowing that they will call again and bother one of your colleagues instead. Additionally, I remember, a friend of mine worked in a call centre and her breaks to pee etc were timed, so if you took longer than 5-10 mins you could be penalized. I wouldn’t be so fussy if it wasn’t for the fact that work surveillance comes into play in the story… There were times when Katrina's 'other world' seems forgotten, and when it comes into play it almost feels gimmicky. spoilers ahead The worst characters were Kurt and Leoni. He was just a one-note generic bad man, and I could never reconcile myself with Katrina’s obsession with him. Sure, she thinks the guy likes the same music as she does and she is lonely, delusional, and prone to obsession….but still. Leoni was even worse. I have come across this type of character one too many times. She is usually the friend or bff of the mc in these books that is super nice and supportive, even when the mc is shitty towards her, but it was all pretend. She is actually a manipulative girlboss who feels like a distant cousin to those golden-age female characters who appear meek, and innocent, only to be then revealed as an evil femme fatale or whatnot. Her motivations were all over the place, and her plan was so convoluted as to lack any sense. Plus, guarda caso, because they are revealed to be as Bad, Katrina’s stalking of Kurt, and her neglectful behavior toward Leoni, are all made moot, because they were actually playing her all along. I did find Katrina's reunion with her parents moving and rewarding even if I didn't buy into how everyone was seemingly swindled by Leoni's act and didn't care to challenge/question her. end of spoilers I guess I just wanted more, from the mystery, from the characters. While the story succeeds in giving readers a glimpse into Katrina, a young woman whose spiralling mental health leaves her vulnerable to other people’s manipulations, it didn’t quite do a lot besides that. The finale was cheesy, almost at odds with the uneasy tone characterizing much of the narrative. This could have been a darker, more subversive read, but it ended up reading like yet another mystery book whose titles usually use words like 'sister', 'girl', 'lies', or a combination of words like 'the other woman', 'the girl you left behind', 'the lies we told', 'the apartment', and so on. Still, it did have the makings to be something great, so I am actually looking forward to reading more by Maria Dong. ...more |
Notes are private!
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1
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Jan 17, 2023
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Jan 19, 2023
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Jan 15, 2023
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Hardcover
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0811228274
| 9780811228275
| 0811228274
| 3.83
| 1,204
| 1996
| Oct 30, 2018
|
it was ok
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2 ½ stars Toddler Hunting and Other Stories is an unnerving and subversive collection that doesn’t shy away from depicting perverse desires, sickening 2 ½ stars Toddler Hunting and Other Stories is an unnerving and subversive collection that doesn’t shy away from depicting perverse desires, sickening fixations, unhealthy appetites, and troubling relationships. The collection opens with a very tame story that, surprisingly enough, actually ended up being the only one I really appreciated. I found the quiet unease permeating this first story far more effective than the graphic portrayals we get later on of women who want to act out their sadomasochistic fantasies or children being physically and emotionally abused. This story has a seemingly simple premise, that of a married couple heading out to visit some friends of theirs, that is elevated by the ‘clandestine’ nature of their visit and by the subversion of our expectations in regard to how the night will pan out. It had this disquieting dreamlike quality that I have come to associate with the work of David Lynch and Kazuo Ishiguro. The other stories are mostly populated by women who want their partners to whip/flog them as they find physical pain to be a source of pleasure. Given that these stories were published in the 1960s, the author’s unflinching exploration of her character’s sexual desires, their bodies and psyches, these stories were definitely avant-garde, transgressive even, and they can still be seen as such given that many of the women in these stories express or envision depraved fantasies. The title story is the most ‘shocking’ one given that we follow a woman who out of a mixture of self-hatred or internalized misogyny finds girls repulsive. However, she seems to feel quite differently about little boys and finds ways to watch them undress or eat. Other women in this collection seem to find it arousing to scold children or imagine someone else scolding, or even brutally beating up, children. Some of Taeko Kōno’s women brought to mind Jean Rhys’ passive heroines, as they also find themselves drawn into other people’s volatile marriages (people who are rather 'unattractive' and 'unpleasant'). Others instead made me think of Mariana Enríquez and the infamous Humbert Humbert. Certainly, Kōno has no trouble presenting her readers with discomforting scenes or delving into taboo subjects as grooming, sadomasochism, strange malaises, abject bodies, cruelty to children, self-abnegation, and unnerving portrayals of motherhood are motifs of this collection. While I am usually drawn to this type of restrained prose and morally dubious characters, I was, despite the stories’ graphic contents, bored. I found the stories too-samey, repetitive even. The women in these stories, despite their disruptive and ambiguous desires, were not particularly fascinating to me and I do not attribute depth or value to graphic content alone. I need something else, something, apologies to my fellow vegans, ‘meatier’ to sink my teeth into. Some of my friends here on GR seemed to have had a more rewarding experience with this collection so if you are interested in reading I recommend you check out their reviews instead. Maybe I shouldn't have read this collection all at once, maybe then the stories would have felt more distinct from one another, so I am open to revisiting Kōno's work in the future. ...more |
Notes are private!
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1
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Jan 30, 2023
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Jan 31, 2023
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Jan 09, 2023
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Paperback
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1250252660
| 9781250252661
| 1250252660
| 4.18
| 4,739
| Mar 07, 2023
| Mar 07, 2023
|
liked it
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❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “I love you when you’re at your lowest just as much as at your best. Growing up is abo ❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “I love you when you’re at your lowest just as much as at your best. Growing up is about being sad and angry sometimes.” What could have been a depressing and angsty coming-of-age is ultimately saved by a rewarding & bittersweet narrative arc. As a Korean-American teen girl in the very white New Jersey suburbs, Deb feels and is made to feel like an outsider. She’s introverted and insecure, struggles to make friends, has been subjected to her peers' bullying and racism, and feels very much stuck ‘in limbo’. Her dissatisfaction with her physical appearance, in particular her eyes, is exacerbated by white and western-centric beauty standards and feds into Deb’s self-hatred. Although not without friends, Deb, who is either made to feel visible or hypervisible, is deeply lonely and constantly aware, thanks to the microaggressions of her peers and of the adults in her life, of her ‘Otherness’. When she makes a new friend she soon invests all of her energies in this friendship, but her insecurity and need for validation ultimately pushes away said friend. Contributing to Deb’s poor mental health is her strained relationship with her mother, who is shown for much of the graphic novel shouting, snapping, and even getting physically abusing her daughter. While others dismiss Deb’s mother's behavior as a result of ‘cultural’ differences, her mother’s verbal and physical 'outbursts' still affect Deb, who is made to feel worthless, a failure. There was an instance where a verbal ‘fight’ escalates into something more that came across as somewhat staged (Deb leaves the kitchen in shambles and tells her mother she doesn’t have time to clean it up now because she’s behind with her work…). Sometimes depression can make you quite self-centered, as you are so overwhelmed and fixated on your own sadness, failures, and insecurities, as to never take into account that the people around you also may be going through some difficult times. Thankfully towards the latter half of In Limbo Deb does realize this, and even takes accountability for the way she behaved with her friend. Yet, I did find Deb's propensity for self-victimization and her possessive and obsessive behavior toward that friend rather annoying, especially when the narrative frames most of Deb's not-so-great actions as not really her fault. I think the ending section, when Deb goes to Seoul to visit relatives, as well as Deb’s interactions with her father, had a great emotional resonance. I also appreciated that while much of the story presents Deb’s mother in a rather negative light, Deb, rather than forgiving and forgetting her mother’s physical and emotional abuse, tries to understand her (her experiences growing up, her move to the us, etc). The art style never completely won me over, for instance, I often confused Deb's friends (one was blonde, the other a brunette, but i forgot often which one was which). Speaking of art, Deb's passion for art also comes into play but I kept hoping for it to be explored more. There were some panels that I did find beautiful, especially those in the water, or those solely focused on Deb. While Deb's friends and the people in her art class did feel rather one-dimensional, I did like that one of them brings up how often adults and authority figures fail to see when a young person is struggling, chalking up their depression or unenthusiasm to laziness or in the case of Deb's friend drugs. I think Deb's story also examines how it feels when you feel that your parents aren't there for you, or worse still, they just confirm everything that you hate about yourself or fail to recognise your pain. For some reason when I read this I forgot that it was a memoir, and I wonder if maybe I would appreciated it more if I'd kept that in mind. Maybe I would have found this more hard-hitting if I hadn’t watched Kim Bora's House of Hummingbird on the same day I finished reading this, which is also a coming-of-age that deals with domestic abuse, dysfunctional parents, loneliness, growing-up, feeling left behind by your friends. While I may have not been the ideal reader for this graphic novel that should not dissuade you from picking it up. I admire Lee for writing about their experiences and for being able to be both critical and compassionate towards their younger self. It isn't easy to unlearn self-loathing practices, especially if you have been made to feel unworthy by your own parent. ps: i have used her/she to refer to deb the character not Lee the author (who uses they/them). ...more |
Notes are private!
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1
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Jan 15, 2023
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Jan 16, 2023
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Jan 06, 2023
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Paperback
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1838856145
| 9781838856144
| B09ZB9RQBW
| 3.23
| 9,280
| Sep 11, 2020
| Nov 03, 2022
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it was ok
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❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ 2 ½ stars “Everything about him was precious. When it came to my oshi, I wanted to off❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ 2 ½ stars “Everything about him was precious. When it came to my oshi, I wanted to offer him everything I had.” Rin Usami’s Idol, Burning gives readers insight into fandom culture and celebrity worship through the lens of Akari, a high-school student whose thoughts are always on Masaki Ueno, her oshi, a former child actor who is now part of the boyband Maza Maza. Akari uses her money to go to concerts and to buy their merch and dedicates a blog to Masaki where she interacts with other fans. Her devotion to him never sways, even when rumors about Masaki having assaulted a fan begin to circle. Akari doesn’t really consider these allegations, saddened by the onslaught of haters on online spaces dedicated to Maza Maza. Eventually, she gets a part-time job so she can attend more concerts and buy even more merch. Her room becomes a shrine to Masaki. As Akari’s grades steadily fall, her parents and sister grow increasingly frustrated by her lack of interest in her studies, in life, in her family. Akari’s inability, perhaps unwillingness, to articulate why she is so disinterested in school or to make her parents and sister understand her struggles with her studies, is a cause of additional stress on the family unit. Akari finds solace, from her alienation and abjection, in her oshi. Not being able to feel like she is normal, she finds comfort in Masaki, believing that they share a deep connection. Akari is a rather empty character, a blank slate, which may as well be intentional given how easily she becomes obsessed with the life of another. Yet, her understanding of Masaki is incredibly skewed, as she fails to see him as a human, an entertainer, but endows him with divine qualities. Her treatment of her family is frustrating, as she doesn’t seem to care particularly for them nor does she understand that she cannot exist on devotion alone. I kept waiting for the story to go somewhere, especially with Masaki’s ‘alleged’ assault, but it never does. While you can tell that the person behind this story is familiar with fandom culture, I found myself wanting a more in-depth exploration of it, rather than the surface-level one we get. I also found that the author’s words at the end are simplistic. It seemed that she wanted to make Akari a sympathetic character whose struggles in school may be a result of learning difficulties. But, beyond Akari recalling that a doctor said she was ‘not normal’, this venue of the story remains largely unexplored. Even when it comes to parasocial relationships the novel fails to go deeper. Beyond reiterating that Akari felt ‘saved’ by Masaki when he was acting the role of Peter Pan. The author also doesn’t really go into cancel culture or death of the author (or in this case singer). What happens when a public figure you admire is accused of something like assaulting another person? Akari never doubts him or thinks about it really, beyond feeling sorry for him and being saddened by him losing fans and gaining haters. The author merely comes up with a vanilla take on this (online bullying is bad, we should consider how the people accused of things like this feel, etc). The prose is distant and restrained, and while I usually like this type of style, here it just compounded my disinterest. I guess I was expecting a darker, more complex read. But Idol, Burning made for a rather surface-level read. If you happen to be interested in this novel I recommend you check out more positive reviews. YMMV. ...more |
Notes are private!
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Jan 06, 2023
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Jan 07, 2023
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Dec 27, 2022
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Kindle Edition
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0062227327
| 9780062227324
| 0062227327
| 3.81
| 35,000
| Aug 06, 2013
| Aug 06, 2013
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liked it
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❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “It seemed to me that in this confluence of cultures, we had acquired one another’s su❀ insta ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ “It seemed to me that in this confluence of cultures, we had acquired one another’s superstitions without necessarily any of their comforts.” A few years back I read and was positutely grossed out by Yangsze Choo’s The Night Tiger as I found its male love interest to be both a perv & bully. Thankfully, Yangsze Choo gives less page time to its love interest(s), as the story is more focused on Li Lan having to navigate the Chinese afterlife. “The town of Malacca was very still, dreaming under the tropical sun of its past glories, when it was the pearl of port cities along the Straits.” The first few chapters are certainly compelling as Choo immerses her readers in colonial Malaysia and brings to life Malacca and Li Lan’s household. Despite her family’s good standing in society, her father’s fall into financial ruin and opioid addiction throw Li Lan’s future in jeopardy. “The hours, days, and years that had bled away in his opium haze demanded a payment from my future.” Li Lan’s father then receives a peculiar offer: a well-off and influential family, the Lim, wants Li Lan to become the ghost bride of Tian Ching, the family’s recently deceased male heir. Rarely practiced, ghost marriages seek to soothe restless spirits or to fulfill promises. Li Lan does not take this offer seriously, yet, when she is invited to the Lim mansion she finds herself growing intrigued by this powerful family, in particular Tian Ching’s cousin, Tian Bai. Li Lan’s blossoming feelings for him lead her to believe that their two families might eventually come to arrange a marriage between them, especially when she learns that the Lim patriarch is a friend of her father and that her mother was related to Madame Lim. Things however do not go Li Lan’s way as the Lim seem intent on making her Tian Ching’s ghost bride. Worse, Tian Ching begins to haunt her and her household, invading her dreams, and insisting on their union. A grave oversight severs Li Lan from her physical self, and she is left in a state of in-between. To return to the land of the living she has to contend with the ghost cities of the Chinese afterlife. She soon learns that the afterlife is as corrupt as the real-life world. To return to ‘life’, Li Lan has to hide the fact that she is not a ghost, face the afterlife’s Kafkaesque bureaucracy, and escape the notice of demons and Tian Ching, who is supported by his other dead relatives. She finds herself aided by a helpful spirit. “[T]o marry the living to the dead was a rare and, indeed, dreadful occurrence.” I genuinely thought that this book would be about Li Lan becoming a ghost bride, but she never does. Her would-be ghost husband is a bratty and frankly pitiful villain. Most of the story takes place in the afterlife, which is a pity as I would have liked more of a back-and-forth between these two worlds, especially given that once Li Lan is trapped in the ghost realm, she is cut off from her Amah, whose presence provided much needed female solidarity. When it comes to the ghost cities and the afterlife the world-building felt surprisingly weak. The ghosts and spirits Li Lan encounter there should have been fascinating and mysterious but at times I forgot that she was not in the real world given how mundane it all felt. This may have been the point, to emphasize how powerful people there are exploiting others or using their wealth to keep living the life they did in the mortal realm…but it just didn’t make for an entertaining reading experience. The Lim family wasn’t that interesting either, which is a pity as the narrative plays out in a way that makes you think that they are much more villainous or powerful than they are. Li Lan’s love interests were painfully dull, one was a complete case of insta love the other seemed a rip-off of Spirited Away. The conceit here, of a mortal trapped in the spirit realm, has been done before and better. From Ghibli’s take to YA books like The Girl Who Fell Beneath the Sea (which was actually published more recently than this novel but hey ho i read that last year). I think the ghost bride premise combined with a murder mystery would have made for a much more captivating story. I could have also done without the cartoonishly mean/evil villains. It seems cheap to me to make bad characters be described as physically unattractive, or if they are beautiful then they are a cold type of beauty. I mean, it gives me Disney energy. Li Lan's voice was rather generic, a light take on the (supposedly) 'spunky' heroine type of protagonist. Her relationship with her parents is sadly sidelined in favor of focusing on petty disagreements and her profoundly vanilla love triangle. It's a pity that I wasn't able to love this as I was at first drawn to Choo's charming and humorous storytelling which brought to mind authors like Zen Cho and Diana Wynne Jones. Nevertheless, while Choo's afterlife may not have grabbed me all that much I did find her portrayal of colonial Malaysia insightful, as she is able to provide a lot of historical and cultural anecdotes and explanations. We are also made to understand the limitations experienced by women such as Li Lan at that time, and the dynamic between a patriarch's wives and off-springs. If this happens to be on your tbr list I recommend you still give it a shot as YMMV. ...more |
Notes are private!
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1
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Dec 28, 2022
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Dec 30, 2022
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Dec 22, 2022
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Hardcover
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1419758705
| 9781419758706
| 1419758705
| 4.08
| 3,938
| Oct 11, 2022
| Oct 11, 2022
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it was ok
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❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ Intrigued by the title and cover of this latest graphic novel by Marjorie Liu and Sana Takeda, ❀ blog ❀ thestorygraph ❀ letterboxd ❀ tumblr ❀ ko-fi ❀ Intrigued by the title and cover of this latest graphic novel by Marjorie Liu and Sana Takeda, I decided to give it a shot despite not being a fan of ‘Monstress’. Sadly, it seems that this creative duo is just not for me. In She Eats the Night we follow twins and restaurant co-owners, Milly and Billy. In addition to the difficulties of keeping their business afloat they also have to contend themselves with their parents’ annual visit. Ipo and Keon, who left Hong Kong for America hoping that their children would ‘prosper’, wonder whether they have shielded them too much. While Keon is more of a laid-back kind of father figure, Ipo is shows little empathy or interest in her children, and most panels show her scowling or looking hard-edged (no doubt these are meant to make her look intriguing and badass but to me, it just made her overly callous and even difficult to take seriously). Ipo enlists Milly and Billy to clean up the house next door, which exudes bad vibes. Although this is listed as a horror, and there are some scenes that are meant to inspire fear/unease in readers, I just found the overall tone and direction of the story to be very corny. A lot of scenes and dialogues exist only to confuse us, readers, when it comes to Ipo and Keon’s motivations (what are they hiding? how do they know about this house? why are putting their children in danger?). I just wasn’t a fan of the parents or their dynamic. The twins were bland and mostly there to react to the weird things that are happening in their lives. I am afraid that She Eats the Night was not the kind of horror graphic novel I was hoping it would be. The dialogues are clunky, the art style didn’t really grab me, and the story is trying too hard for this ambiguous vibe that ultimately comes across as trying too hard to be mysterious. If this graphic novel is on your radar I recommend you check out more positive reviews. ...more |
Notes are private!
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1
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Dec 06, 2022
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Dec 10, 2022
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Dec 06, 2022
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Hardcover
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0593332334
| 9780593332337
| 0593332334
| 3.37
| 7,499
| May 23, 2023
| May 23, 2023
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liked it
| “Life was full of such moments, the self momentarily exposed. What he and all the other people on this site were doing was harvesting such moments, no “Life was full of such moments, the self momentarily exposed. What he and all the other people on this site were doing was harvesting such moments, not through happenstance or spontaneity but using some apparatus of mass production.” This latest release by Brandon Taylor reads less like an elaboration and expansion of those themes and dynamics we can find in his previous works and more like a rehash that sadly doesn’t feel as focused, cohesive, or satisfying as neither Real Life nor Filthy Animals. That is not to say that this was an entirely ‘unsatisfying’ read but since I have come to hold Taylor in high esteem and I ‘just’ expected something more from him. In many ways, The Late Americans suffers from an identity crisis: does it want to be a coming-of-age novel following a group of grad students, friends supposedly, a la Real Life? Does it want to be a series of interlinked short stories like Filthy Animals? Could it be both? Maybe, but The Late Americans struck me as a somewhat clumsy attempt at merging these two different structures. With the exception of Seamus, each character is given one single chapter that favors their perspective. These chapters however felt somewhat unfinished, not quite meandering but unfocused, in a way that the short stories in Filthy Animals certainly didn’t. Not only do the many characters populating this novel all happen to have names that are a rarity, or at least not particularly used, in America (seamus, ivan, fyodor, goran, timo), but most of them seemed to be stuck in relationships with all-too-similar fraught dynamics, share the same area of studies or are in the same field (for instance, we have several dancers), and respond and articulate themselves in a manner that seemed strangely alike. If Taylor had focused on a smaller group of friends, like in A Little Life, as opposed to including a couple of people who are ‘friends’ and then some acquaintances or friends-of-friends, maybe then I would have felt more invested in these characters’ lives and their relationships with each other. While I was making my slow way through this I kept thinking how less impactful Happy Together would have been if it had focused on several dysfunctional couples/people rather than honing in on the perspective of three people. But before I ramble on about the story, and why it ultimately didn't come together (for me), I want to praise Taylor’s style. His unadorned and exacting language intensifies the oppressive, uneasy, dynamics and situations that he explores throughout his narrative. The people Taylor writes of are lonely, unable or unwilling to express themes, their desires, and their fears, and often end up sabotaging their own happiness or their relationships by pushing people away or by picking up fights with them. Many of them are post-grads or in their late twenties and unsure of how to go from their lives as students, to the ‘real world’. Taylor touches on a lot of everyday issues and worries that preoccupy people in their twenties. Are they okay with the person they are? Is the path they are on the one they really want? What do they want out of a relationship? Taylor’s characters seem to perpetually long for connection but are unable to actually see, listen, and make themselves vulnerable to others. Miscommunication, perceived and real slights, insecurity, and jealousy, all of these add tension to the relationships they have with their friends and lovers. Taylor is unremitting when it comes to identifying and probing his character’s flaws, and when doing so he often adopts a clinically detached tone. Yet, despite the cold and impersonal language, there is also a vulnerability, an intimacy even, in the way he hones in on those feelings and thoughts. I will always love the way Taylor is able to articulate and capture those more opaque aspects of a person’s psyche, allowing, when necessary, for ambiguity. Taylor also has a knack for portraying uncomfortable, stultifying interactions, be it an encounter/exchange between two people or a scene taking place at a party or in a class. The discomfort at times it’s almost palpable, and it isn’t always clear what causes this but this uneasiness between his characters is certainly felt, all of the time. I appreciated how Taylor's portrayals of love and friendship are often unforgiving, in that they contain more moments of ugliness, pettiness, and selfishness than say kinship, trust, and kindness. Like in Filthy Animals, Taylor often draws parallels between his characters and animals, ‘beasts’, in a way that is not dehumanizing but that allows us to glimpse, and feel even, the intensity of what his characters are feeling. In addition to being able to bring his readers uncomfortably close to his characters, Taylor can switch to a panoramic view of the people populating his narrative, so that we see them as ‘mere’ players of a larger game, and we realize just how little control they have, or they feel they have, over their own lives. “These sundry interruptions and redactions, all the skirmishes and misdirection. Like a dog finally catching its tail and chewing it down to the gristle.” Whereas I read Real Lifeand Filthy Animals over a short period of time, as I found myself invested in the characters’ lives, The Last Americans was less compelling. With the exception of Seamus and Fyodor, I wasn’t drawn to the characters. Timo and Goran, these two guys were very much the same, and their (supposed) friendship only exacerbated my confusion. Then we have the dancers, Ivan and Noah (i think it was them), who are involved with people who, to put it simply, don’t treat them right. Ivan’s partner disapproves of Ivan earning money through pornography, yet he doesn’t seem particularly close or interested in Ivan himself, whereas Noah is with an older guy who resents younger gay generations. There are three main ‘couples’, and the conflict between them was very much the same. They have different upbringings, different levels of education, different values, and they want different things in life. Later on, we get two chapters from two women, and these read like a belated inclusion of a female's perspective in this otherwise male-dominated novel. Taylor is more uncertain, and tentative even, when it comes to their characterization, whereas he allows his male characters to be messier. The character I felt the most invested in also happened to be the one we are probably meant to find least likeable, Seamus. The guy is a sad asshole, a white gay guy with poor social skills who happens to antagonize or set others on edge. Yet, what can I say, I find pathetic characters like Seamus strangely compelling (at one point we get this: "Seamus liked to be used this way. Sometimes he thought the only things he really needed in life were poetry and to be occasionally held down and fucked like dogmeat." and "It was a guy with reddish hair and sad brown eyes. He didn’t look like he belonged to anyone."). He gets two chapters, and I was fooled into believing that because of this we would be given by no means a neat resolution to his arc, but something more satisfying than what we got. Instead, he seems merely forgotten after his second chapter, in a way that was unkind. A lot of his chapters are sadly wasted on detailing his experiences in this poetry class he goes to. I have said it before, and I will say it again, I am not a fan of creative writing spaces. But I would rather be in one than have to read a fictionalized writing/poetry class/seminar because, more often than not, the authors present us with caricatures of the kind of people that would be in these places. They use meaningless artspeak, usually, they attack the mcs writing or invalidate their work, they feel the need to use performative language to appear morally superior and so on. Sure, in real life, you might get one, two, or even three people, in your class who use buzzwords to appear more enlightened than others and wear edgy tote bags that announce that they don’t give a shit about your ‘fragile masculinity’ or whatever, but a whole class? I just didn't get the point of those scenes. In a way we are meant to see just how wrapped up in himself Seamus is, how he often expresses himself in a way that riles people up, and of his struggles to produce poems that conform to his peers’ expectations: they see poems as inherently personal and political, a cathartic art form, a way to talk about their traumas and personal experiences, whereas Seamus finds the idea of mining his past or drawing from his own personal experiences as banal (i guess he is more of an art for art’s sake kind of guy). The tension between him and the rest of the class had potential, but Taylor goes too heavy-handed in his characterisation of these women who Seamus calls ‘witches’ (something that is meant to emphasize how childish and on the defensive he is with them but frankly felt fitting). They are insufferable. Horrible even but in a way that comes across as less ‘clever satire’ and more ‘unfunny caricature’…in fact I found Taylor’s portrayal of these women to be devoid of subtlety, worse, mean-spirited even, the kind of sketch that you’d expect from people who will go and on about ‘wokeness’ and ‘man-hating feminist’ who are liable to 'screech' 'stop oppressing me' whenever a totally decent guy is just being nice. Whenever Seamus would open his mouth, sure, sometimes to make some provocative comment, things would just escalate in a less credible way than say the other fights and disagreements that populate this novel. Seamus writes a poem about the war, (i or ii, I cannot recall), about a nun (i think it was a nun), and expresses frustration with the way the other poets in his class elevate and romanticize trauma (i also hate the kind of thinking that leads some to see trauma as character-building or a source of ‘depth’ or ‘specialness’...), this leads to him being accused of being racist, misogynist, victim-blaming, and so on. Sure, traumatic experiences can lead to the production/creation of cathartic art, and this can help someone heal or take ‘control’, or whatever, but here the women are unanimous in their consensus that trauma leads to meaningful art and that if you express negative or critical feedback is you are invalidating the poet’s experiences etc. I think that there was potential to have a discussion about what art is and what art ought to be, but Taylor makes these women into such obvious one-note figures that I had very hard time 'believing' in them, let alone the opinions they expressed. Anyway, ironically enough, as they accuse Seamus of this and that and make disparaging comments about him and his poetry, they are themselves doing the ‘invalidating’. I just hated these scenes, the women were too cartoonish, in their ganging up on Seamus, one of the only two male poets (at one point one continues to tell him ‘you don’t get to speak to me’). I wanted to learn more about him, to see him at his job where he makes clumsy attempts at talking to his colleagues, to see him outside of that cursed poetry class. Yet, despite my hating the way Taylor portrayed this class, I did find Seamus to be the most well-developed character. He is very much flawed, lost, and seems resentful of the notion that being ‘privileged’. I found his two chapters to be compelling, despite feeling uneasy about him or the way he behaves with others. “But no one had a happy childhood. No one had a good life. Human pain existed in a vast supply, and people took from it like grain from a barn. There was pain for you and pain for you and pain for you— agony enough for everyone. The pain of his childhood was of such a common source that it embarrassed him. Perhaps it was this that he resented in the work of his peers. It wasn’t that their lives were worse than his or that his life was better than theirs— it was that they all had the same pain , the same hurt, and he didn’t think anyone should go around pretending it was something more than it was: the routine operation of the universe. Small, common things— hurt feelings, cruel parents, strange and wearisome troubles.” The other character that stood out was Fyodor. He is a ‘townie’ who works at a ‘leaner’ in a beef plant, and he is in an on-and-off again relationship with Timo, who Fyodor describes as “irritatingly middle class” and who often picks fights with Fyodor over his job, how unethical it is, and so forth. The two are in a love/hate relationship, drifting apart, arguing over petty nothing-things, breaking up, missing each other, getting back together, and reverting to the same tired cycle where neither feels understood by the other. Sadly Fyodor is also forgotten even if we glimpse or hear of him in later chapters. “Loving people was hard. It was difficult sometimes to believe that they were good. It was hard to know them. But that didn’t mean you could just go on without trying. What he believed was that love was more than just kindness and more than just giving people the things they wanted. Love was more than the parts of it that were easy and pleasurable. Sometimes love was trying to understand. Love was trying to get beyond what was hard. Love, love, love.” The other lads, well. With the exception of the two girls, whose povs felt strangely ‘sanitized’ compared to the men, read very much too samey. I had a hard time distinguishing these guys from one another, and this wasn’t helped by the way they seem to use the same imagery or vocabulary to evaluate and understand the world around them, their sense of self, the currents of their relationships, sexual and non, and so forth. I just wished the novel could have focused on a smaller cast of characters, maybe switching between Fyodor and Seamus, or focusing on an actual group of friends because the whole dancer group did not strike me as actual friends. While I do appreciate how Taylor explores power dynamics, codependency, alienation, loneliness, destructiveness, ennui, race and class disparities, as well as his cutting social commentary. As always he demonstrates a penchant for those inscrutable, occasionally petty, sometimes nasty feelings and urges that lead fights, heartaches, and misery. Yet, Taylor's critique of academia and his observation on the 'real world', lacked the urgency and depth of his other works. ...more |
Notes are private!
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1
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Feb 03, 2023
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Feb 06, 2023
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Dec 01, 2022
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Hardcover
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luce (cry baby) > Books: 5-so-so-reads (674)
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my rating |
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3.46
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liked it
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Nov 08, 2019
not set
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Sep 28, 2024
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3.48
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it was ok
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Nov 08, 2019
not set
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Sep 27, 2024
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3.65
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did not like it
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Nov 21, 2018
not set
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Sep 26, 2024
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3.33
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really liked it
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Nov 06, 2019
not set
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Sep 22, 2024
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3.43
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it was ok
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Apr 12, 2018
not set
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Sep 20, 2024
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3.60
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it was ok
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Jun 30, 2018
not set
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Sep 13, 2024
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4.04
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liked it
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Feb 20, 2024
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Feb 02, 2024
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4.04
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liked it
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Dec 29, 2023
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Nov 17, 2023
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4.04
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liked it
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Feb 11, 2024
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Sep 12, 2023
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4.01
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liked it
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Jan 22, 2024
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Aug 27, 2023
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4.02
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liked it
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Aug 29, 2023
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Aug 24, 2023
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3.57
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liked it
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Feb 07, 2024
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Feb 26, 2023
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3.90
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liked it
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Mar 28, 2024
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Jan 18, 2023
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3.59
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liked it
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Jan 19, 2023
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Jan 15, 2023
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3.83
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it was ok
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Jan 31, 2023
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Jan 09, 2023
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4.18
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liked it
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Jan 16, 2023
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Jan 06, 2023
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3.23
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it was ok
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Jan 07, 2023
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Dec 27, 2022
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3.81
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liked it
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Dec 30, 2022
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Dec 22, 2022
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4.08
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it was ok
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Dec 10, 2022
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Dec 06, 2022
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3.37
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liked it
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Feb 06, 2023
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Dec 01, 2022
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