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Rachel King (13 KP) rated Sweet Chic: Stylish Treats to Dress Up for Any Occasion in Books
Feb 11, 2019
There are few pastimes that can compete with my love of books, but baking is one of them. The premise of this cookbook seemed rather unique, as it attempted to combine baking with fashion. There is even a delightful foreword by Isaac Mizrahi to further the theme. The author, Rachel Schifter Thebault, runs her own bakery, Tribeca Treats, out of New York City, and this is her debut cookbook.
The book opens with an explanation of Rachel's philosophy of baking. In the same way that a woman uses a little black dress as the foundation of her wardrobe, using accessories to dress it up or down, so too can a baker take a basic recipe for the base of a dessert and use simple alterations to create a complete "wardrobe" of desserts for any occasion. Chocolate chip cookie dough becomes white chocolate coconut cookies, oatmeal raisin cookies, snickerdoodles, or anything else a cook can dream up with a change in mix-ins. I used the oatmeal raisin cookie recipe and substituted in chocolate chips, cinnamon, and nutmeg, and they came out perfect!
The book is divided into three sections: Cookies, Cakes, and Confections. Each chapter in the three sections feature a basic recipe to build on, with names such as "The Crisp Oxford Shirt," "The A-Line Skirt," and "The Leather Jacket." Following the basic recipe of each chapter are several more example recipes of how to alter the base recipe to fit your needs. Vanilla Cake becomes Peanut Butter and Jelly Cupcakes, and Basic Tempered Chocolate becomes Cranberry Almond Bark.
The detail that Rachel goes into is also quite impressive. The beginning of the book teaches the basics of baked goods by reviewing all of the major ingredients used in baking - things like eggs, cocoa powder, and extracts - as well as essential equipment used, like a cake turntable. She then goes into the basic techniques of baking, simplifying them for even the most amateur of novices, and provides a pictorial guide for icing a cake and dipping things in chocolate. Each recipe is provided with very specific details on how to perform each step, as well as ideas at the end on how to dress it up further.
I loved this cookbook, and I would highly recommend it to anyone interested in baking, from the amateur to the experienced baker.
The book opens with an explanation of Rachel's philosophy of baking. In the same way that a woman uses a little black dress as the foundation of her wardrobe, using accessories to dress it up or down, so too can a baker take a basic recipe for the base of a dessert and use simple alterations to create a complete "wardrobe" of desserts for any occasion. Chocolate chip cookie dough becomes white chocolate coconut cookies, oatmeal raisin cookies, snickerdoodles, or anything else a cook can dream up with a change in mix-ins. I used the oatmeal raisin cookie recipe and substituted in chocolate chips, cinnamon, and nutmeg, and they came out perfect!
The book is divided into three sections: Cookies, Cakes, and Confections. Each chapter in the three sections feature a basic recipe to build on, with names such as "The Crisp Oxford Shirt," "The A-Line Skirt," and "The Leather Jacket." Following the basic recipe of each chapter are several more example recipes of how to alter the base recipe to fit your needs. Vanilla Cake becomes Peanut Butter and Jelly Cupcakes, and Basic Tempered Chocolate becomes Cranberry Almond Bark.
The detail that Rachel goes into is also quite impressive. The beginning of the book teaches the basics of baked goods by reviewing all of the major ingredients used in baking - things like eggs, cocoa powder, and extracts - as well as essential equipment used, like a cake turntable. She then goes into the basic techniques of baking, simplifying them for even the most amateur of novices, and provides a pictorial guide for icing a cake and dipping things in chocolate. Each recipe is provided with very specific details on how to perform each step, as well as ideas at the end on how to dress it up further.
I loved this cookbook, and I would highly recommend it to anyone interested in baking, from the amateur to the experienced baker.
A+ Signature - The photo annotator
Photo & Video and Productivity
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A+ Signature is a multi-usage photo annotation app which allows you to make your mark on any photo. ...
Lilyn G - Sci-Fi & Scary (91 KP) rated The Sleeper in Books
Feb 1, 2018
Interesting elements for a kids book
The Sleeper is a 96-page science fiction mystery early chapter book. It comes with a few accompanying discussion questions at the back, as well as with some writing prompts and a basic glossary. These writing prompts encourage the reader to continue to interact with the story on their own terms. It plunges the reader right into a world that is theoretically just a few days away from getting destroyed by aliens. But the viewpoint the story is being told from is different than you might expect.
The illustrations in The Sleeper are black and white and surprisingly creepy. The illustrator, Tom Percival, does a solid job doing things like showing how even a smile can be rather disturbing. Nothing is graphic or outright scary at all, and yet readers can definitely experience an unease just looking at the pictures.
The Sleeper introduces the concept of a sleeper agent to young readers. I thought this was interesting and wasn't expecting it even though the title should have been a dead giveaway. In my defense, the cover for The Sleeper and the two line synopsis don't exactly tell you what to expect other than aliens!
While there are several good points to The Sleeper, I can't say I particularly liked it. It felt too brief and even though the discussion questions invite the reader to continue the story, it ends on a massive cliffhanger regarding one of the kids' fate. This may be deliberate, and for younger readers, it may actually work out well. It enables the child to feel a sense of accomplishment that they finished a book, and yet provides the impetus for them to pick up the next one. (Still made me twitch as it reeks too much of the chop-job that some authors like to do to a plot to sell more books.)
Overall, The Sleeper was an okay read. If it gets even a handful of kids interested enough to pick up another book, then it is has done its job. And, as always, it's nice to see a beginning chapter book that focuses on science fiction!
The illustrations in The Sleeper are black and white and surprisingly creepy. The illustrator, Tom Percival, does a solid job doing things like showing how even a smile can be rather disturbing. Nothing is graphic or outright scary at all, and yet readers can definitely experience an unease just looking at the pictures.
The Sleeper introduces the concept of a sleeper agent to young readers. I thought this was interesting and wasn't expecting it even though the title should have been a dead giveaway. In my defense, the cover for The Sleeper and the two line synopsis don't exactly tell you what to expect other than aliens!
While there are several good points to The Sleeper, I can't say I particularly liked it. It felt too brief and even though the discussion questions invite the reader to continue the story, it ends on a massive cliffhanger regarding one of the kids' fate. This may be deliberate, and for younger readers, it may actually work out well. It enables the child to feel a sense of accomplishment that they finished a book, and yet provides the impetus for them to pick up the next one. (Still made me twitch as it reeks too much of the chop-job that some authors like to do to a plot to sell more books.)
Overall, The Sleeper was an okay read. If it gets even a handful of kids interested enough to pick up another book, then it is has done its job. And, as always, it's nice to see a beginning chapter book that focuses on science fiction!
Goddess in the Stacks (553 KP) rated Gentleman's Guide To Vice And Virtue in Books
Jun 8, 2018
This was excellent! First, all the diversity here - between the bisexual main character, his best friend, who is biracial, has an "invisible" disability, and also likes men (or at least likes Monty!) and his seemingly asexual sister - the book covers so many facets, it's great.
Given that it's historical fiction, set in Victorian Europe, Percy's biracial heritage has him just seen as black to most people they encounter. Monty doesn't seem to understand what that means, most of the time, and is a little blinded by his rich white boy privilege. He gets talked to a couple of times about how he's being blind to the problems his friend is facing.
I liked that we got to peek under Monty's playboy facade a few times, when being punched has him flashing back to being beaten by his father for being a "disappointment." An interaction between him and a pirate captain was particularly sweet, teaching him to fight back because he's worth defending.
I LOVE Felicity, Monty's sister, and I'm really eager to read her story in the sequel to this book, The Lady's Guide to Petticoats and Piracy. She is so badass, and incredibly intelligent.
The writing was fun, the action well-paced, and the dialogue clever. I was a little put off at first by the size of the book, but I flew through it quickly. I especially liked Monty's bisexuality - how he just cheerfully perved on practically everyone his age. It definitely reminded me of a few people I know!
Something that I noted, near the end of the book, was Percy not asking Monty to stop his perving. What he said was "if you ever go behind my back..." which implies as long as Percy knows, it's not an issue. Yay for non-monogamy being present in YA! It's nice to see alternative relationship structures being presented, though I wish it had been more than just implied.
This was an excellent read for Pride Month, and I loved the amount of diversity and intersectionality present in it.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Given that it's historical fiction, set in Victorian Europe, Percy's biracial heritage has him just seen as black to most people they encounter. Monty doesn't seem to understand what that means, most of the time, and is a little blinded by his rich white boy privilege. He gets talked to a couple of times about how he's being blind to the problems his friend is facing.
I liked that we got to peek under Monty's playboy facade a few times, when being punched has him flashing back to being beaten by his father for being a "disappointment." An interaction between him and a pirate captain was particularly sweet, teaching him to fight back because he's worth defending.
I LOVE Felicity, Monty's sister, and I'm really eager to read her story in the sequel to this book, The Lady's Guide to Petticoats and Piracy. She is so badass, and incredibly intelligent.
The writing was fun, the action well-paced, and the dialogue clever. I was a little put off at first by the size of the book, but I flew through it quickly. I especially liked Monty's bisexuality - how he just cheerfully perved on practically everyone his age. It definitely reminded me of a few people I know!
Something that I noted, near the end of the book, was Percy not asking Monty to stop his perving. What he said was "if you ever go behind my back..." which implies as long as Percy knows, it's not an issue. Yay for non-monogamy being present in YA! It's nice to see alternative relationship structures being presented, though I wish it had been more than just implied.
This was an excellent read for Pride Month, and I loved the amount of diversity and intersectionality present in it.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Gareth von Kallenbach (980 KP) rated The Magnificent Seven (2016) in Movies
Jul 15, 2019
Full disclosure, I have never seen The 1960s Magnificent Seven film, nor do I care that at its core it is a retelling of the Japanese legend of the Seven Samurai. This is not a comparison review. Instead this is a simple review of what I watched on screen. Not beholden to anything other than itself as film and it being a western.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
Shadow Land - Endless Tap
Games, Entertainment and Stickers
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One day, the world suddenly lost its colour… All the colour in the world was taken by a monster...
SmartScan Express
Business and Productivity
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SmartScan Express is a simple, fast solution to scan, crop, edit, save, e-mail your paperwork -...
Darren Fisher (2454 KP) rated 13 Dolls In Darkness (2017) in Movies
Jul 24, 2022
I have been an obsessive fan of horror films since I was a kid in the 70's. Brought up on Hammer and Universal monster films it wasn't long before I delved into pre-cert exploitation films and that is where my preference has been ever since.
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
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