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Unmasked: A Memoir
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“You have the luck of Croesus on stilts (as my Auntie Vi would have said) if you’ve had the sort...
Lyndsey Gollogly (2893 KP) rated Tenacity ( Rise of Iliri book 5) in Books
Feb 1, 2022
Contains spoilers, click to show
❗️❗️❗️ spoiler in last paragraph!‼️‼️
20 of 230
Kindle
Tenacity ( Rise of Iliri book 5)
By Auryn Hadley
WAR, HEARTBREAK, MORE WAR... AND A NEW FRIEND
In the fifth heart-stopping tale of her epic fantasy series The Rise of the Iliri, Auryn Hadley interjects a compelling sci-fi action fantasy with an emotionally charged reverse harem romance, setting the heart-warming experience of everyday community against the heart-wrenching reality of war - and the loss it causes. A jarring emotional roller coaster, Tenacity tells the age-old tale of pure love amidst a struggle between good and evil - but with a heaping dose of the light-hearted, cross-cultural birds and bees. This one has plenty of laughs. And plenty of heartbreak.
Slowly, region by region, the Lieutenant Salryc Luxx and her elite Black Blades are pushing forward and liberating an enslaved nation from the emperor's reign of terror. But the battle's not without consequence.
While scoping out the quiet remains of a fallen town - too quiet, actually - they discover scores of slaughtered families. But they also discover life: a young girl, locked in a cage below a tavern. No one is certain exactly what she is. She has unusual streaks of red, blonde, and white hair, and two different-colored eyes. She's fluent in iliri language, and she's terrified. So terrified that when an officer approaches to unlock her, her fear burns a hole in his armor.
The girl's name is Shaden. She's too young to know what exactly her talents are, or how to control them, but she's powerful. Immediately recognizing Sal as the fabled Kaisae, she trusts only Sal. Meanwhile, as the Black Blades continue their assault on a city thought to be impenetrable, Shaden manages to harness her power to help keep her newfound family of warriors safe. But for Sal's part, Shaden triggers difficult emotional memories of her own enslavement as a girl. And her longing to free anyone she can
With every win, Sal is bombarded by the thanks of those she rescued, and the disdain of those whose families she could not save. She can't sleep, she can't eat ... but she cannot stop fighting, either.
Victory is near. The Emperor is losing. He knows this. He knows Sal's responsible, and he knows exactly how to destroy her - go after those she loves most.
There’s me going a long nicely really enjoying the book and being back with Sal and her guys the Bam!!!! Not only does Balaec get killed in front of her she has to watch the dogs eat him! My heart broke this was a character death I won’t forget in a hurry poor Sal. Poor black blades. This was another brilliant book from a series I absolutely love! I just need to hide this one in the freezer (if you know you know) .
20 of 230
Kindle
Tenacity ( Rise of Iliri book 5)
By Auryn Hadley
WAR, HEARTBREAK, MORE WAR... AND A NEW FRIEND
In the fifth heart-stopping tale of her epic fantasy series The Rise of the Iliri, Auryn Hadley interjects a compelling sci-fi action fantasy with an emotionally charged reverse harem romance, setting the heart-warming experience of everyday community against the heart-wrenching reality of war - and the loss it causes. A jarring emotional roller coaster, Tenacity tells the age-old tale of pure love amidst a struggle between good and evil - but with a heaping dose of the light-hearted, cross-cultural birds and bees. This one has plenty of laughs. And plenty of heartbreak.
Slowly, region by region, the Lieutenant Salryc Luxx and her elite Black Blades are pushing forward and liberating an enslaved nation from the emperor's reign of terror. But the battle's not without consequence.
While scoping out the quiet remains of a fallen town - too quiet, actually - they discover scores of slaughtered families. But they also discover life: a young girl, locked in a cage below a tavern. No one is certain exactly what she is. She has unusual streaks of red, blonde, and white hair, and two different-colored eyes. She's fluent in iliri language, and she's terrified. So terrified that when an officer approaches to unlock her, her fear burns a hole in his armor.
The girl's name is Shaden. She's too young to know what exactly her talents are, or how to control them, but she's powerful. Immediately recognizing Sal as the fabled Kaisae, she trusts only Sal. Meanwhile, as the Black Blades continue their assault on a city thought to be impenetrable, Shaden manages to harness her power to help keep her newfound family of warriors safe. But for Sal's part, Shaden triggers difficult emotional memories of her own enslavement as a girl. And her longing to free anyone she can
With every win, Sal is bombarded by the thanks of those she rescued, and the disdain of those whose families she could not save. She can't sleep, she can't eat ... but she cannot stop fighting, either.
Victory is near. The Emperor is losing. He knows this. He knows Sal's responsible, and he knows exactly how to destroy her - go after those she loves most.
There’s me going a long nicely really enjoying the book and being back with Sal and her guys the Bam!!!! Not only does Balaec get killed in front of her she has to watch the dogs eat him! My heart broke this was a character death I won’t forget in a hurry poor Sal. Poor black blades. This was another brilliant book from a series I absolutely love! I just need to hide this one in the freezer (if you know you know) .
Eilidh G Clark (177 KP) rated Dirt Road in Books
May 13, 2017
Kelman is an expert in understanding people
Kelman’s new novel Dirt Road is story that takes both characters and reader on a journey right from the outset, but the journey is more than it seems. The novel begins in the West coast of Scotland where we learn that Murdo - a sixteen-year-old boy - and his father Tom are mourning the death of their mother/wife and sister/daughter. Searching for solace, they embark on a journey to Alabama, U.S.A to spend time with Uncle John and Aunt Maureen. For Murdo, family is just a happy memory, a moment in time captured in a photograph, ‘The family was four and not just him and Dad’, whilst for Tom, family is the bond that holds them together. Throughout the journey, Tom strives to guide his son and keep him on ‘the right path’, yet Murdo, as we will learn, has a path of his own to find. Stifled by the fathers influence, the boy has a tendency to stray, thus when they reach Allentown Mississippi, Murdo stumbles upon a family of musicians led by Zydeco performer Queen Monzee-ay. Murdo is as drawn to music as his father is to family, the boy himself is an accomplished accordion player, and when he is offered an opportunity to play a set with Queen Monzee-ay in two weeks’ time, we watch as the road between father and son diverges and choice and risk becomes the key plot in the story.
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
Movie Metropolis (309 KP) rated Inside Out (2015) in Movies
Jun 10, 2019
A delightful treat
If there’s one thing Pixar knows how to do, it’s create memorable films. Long after you’ve walked out the cinema, the likes of Wall.E and Finding Nemo stay with you.
2015 marks the first time the studio will release two films in the same year, with The Good Dinosaur coming to cinemas in December and the subject of this review, Inside Out, in this year’s busy summer season.
But has this increased workload for Pixar’s animators resulted in a poorer quality movie?
Inside Out follows the story of young Riley, an eleven-year-old girl coming to terms with growing up in a new home away from her friends and the neighbourhood she knows and loves.
Deep inside her head, however, we find a whole host of colourful characters controlling Riley’s emotions. Joy, Sadness, Fear, Anger and Disgust all play a part in keeping her level-headed. Unfortunately, after a near disaster it falls on upbeat Joy and ever-blue Sadness to bring Riley back to who she once was.
Inside Out continues Pixar’s trend of creating beautifully animated films that really strike a chord with audiences. The sheer amount of colour is absolutely breath-taking and children will find much to enjoy in both the central characters and the numerous environments inside Riley’s head, while adults will love the stunning recreation of San Francisco in all its bustling glory.
The cast, which includes voice work by Bill Hader (Monsters University), Kyle MacLachlan (Desperate Housewives) and Diane Lane (Man of Steel) all do sterling jobs in bringing their characters to life but it is in Phyllis Smith, who plays Sadness, that we find the best portrayal.
A relatively unknown actress with few film credits to her name, Smith is truly wonderful as the little blue lady who keeps a check on the more upsetting moments in Riley’s life.
Elsewhere, Pixar has once again created a story that really focuses on the themes of growth, family bonding and what it means to grow up in today’s society with numerous cultural references that children and adults alike will enjoy.
However, it’s important to note that Inside Out is one of the more emotional films Pixar has created. At numerous points throughout the movie there were a couple of children in the cinema wiping away the tears – though this shows how heavily invested in the characters they became.
Unfortunately, despite being 94 minutes in length, Inside Out does feel a little drawn out in places and lacks the deeper storytelling elements that has made some of the studios other films so charming. This isn’t to say it lacks charm, but it’s in slightly shorter supply here.
Overall, Pixar has added another cracking film to its ever-increasing roster. Whilst not hitting the heights of Wall.E or Toy Story, it makes for a memorable and sensible film for the whole family to enjoy.
It’s the perfect start to the summer holidays. Roll on The Good Dinosaur.
https://moviemetropolis.net/2015/07/26/a-delightful-treat-inside-out-review/
2015 marks the first time the studio will release two films in the same year, with The Good Dinosaur coming to cinemas in December and the subject of this review, Inside Out, in this year’s busy summer season.
But has this increased workload for Pixar’s animators resulted in a poorer quality movie?
Inside Out follows the story of young Riley, an eleven-year-old girl coming to terms with growing up in a new home away from her friends and the neighbourhood she knows and loves.
Deep inside her head, however, we find a whole host of colourful characters controlling Riley’s emotions. Joy, Sadness, Fear, Anger and Disgust all play a part in keeping her level-headed. Unfortunately, after a near disaster it falls on upbeat Joy and ever-blue Sadness to bring Riley back to who she once was.
Inside Out continues Pixar’s trend of creating beautifully animated films that really strike a chord with audiences. The sheer amount of colour is absolutely breath-taking and children will find much to enjoy in both the central characters and the numerous environments inside Riley’s head, while adults will love the stunning recreation of San Francisco in all its bustling glory.
The cast, which includes voice work by Bill Hader (Monsters University), Kyle MacLachlan (Desperate Housewives) and Diane Lane (Man of Steel) all do sterling jobs in bringing their characters to life but it is in Phyllis Smith, who plays Sadness, that we find the best portrayal.
A relatively unknown actress with few film credits to her name, Smith is truly wonderful as the little blue lady who keeps a check on the more upsetting moments in Riley’s life.
Elsewhere, Pixar has once again created a story that really focuses on the themes of growth, family bonding and what it means to grow up in today’s society with numerous cultural references that children and adults alike will enjoy.
However, it’s important to note that Inside Out is one of the more emotional films Pixar has created. At numerous points throughout the movie there were a couple of children in the cinema wiping away the tears – though this shows how heavily invested in the characters they became.
Unfortunately, despite being 94 minutes in length, Inside Out does feel a little drawn out in places and lacks the deeper storytelling elements that has made some of the studios other films so charming. This isn’t to say it lacks charm, but it’s in slightly shorter supply here.
Overall, Pixar has added another cracking film to its ever-increasing roster. Whilst not hitting the heights of Wall.E or Toy Story, it makes for a memorable and sensible film for the whole family to enjoy.
It’s the perfect start to the summer holidays. Roll on The Good Dinosaur.
https://moviemetropolis.net/2015/07/26/a-delightful-treat-inside-out-review/
Gareth von Kallenbach (980 KP) rated Godzilla (2014) in Movies
Jun 19, 2019
Adapting a cultural film icon that is held sacred by a nation and legions of fans is a daunting task. Roland Emerich attempted to do so, and created a film widely panned that ended his run of blockbuster hits.
Gareth Edwards is the latest director bold enough to bring the legendary Godzilla to the screen and has done so with cutting edge visual effects and 3D.
When Joe Brody (Bryan Cranston), becomes unsettled about some unusual tremors around the Japanese nuclear plant he works at, little does he know that the pending accident and tragedy will have long-term consequences.
Flash forward 15 years and his son Ford (Aaron Taylor Johnson), is an ordinance disposal expert in the military who is returning to his San Francisco home after a deployment to see his wife and young son.
No sooner does Ford get home than he is summed to Japan to retrieve his father who has been arrested for venturing into a restricted area located by his former residence and place of work.
Joe is convinced that a massive cover up is place behind the disaster that left him a widow and turned his life upside down.
When the mysterious tremors return, Joe is vindicated and learns that a massive threat is responsible for what has previously transpired, but this is nothing compared to the damage that is unleashed when the creature escapes.
In a race against time, Ford, the Navy, and a team of scientists attempt to prevent massive destruction and loss of life from an enemy they are not prepared for and do not understand.
While the film does have some great visuals, it unfolds in a very plodding manner and the action sequences are few and far between until the end and even that is for the most part anti-climatic.
The dialogue in the film is filled with groans and unintentionally laughable moments that really make it difficult for the characters to really connect with one another and the audience and as such it is very hard to really care what happens to them.
Another big surprise was how little screen time the title characters actually appears in the film. I spent much of the film wondering how such a larger than life character could be reduced to a supporting part in a film that bears his name.
It has been reported that Japanese audiences have not been thrilled with the new film stating that the creature looked “fat “and “slow”. I would not go that far as from a visually standpoint, the film obtained nothing but high marks from me.
However, I had to ask if we really needed to have this film made. We have had so many giant creature movies in recent years including “King Kong”, “Colverfield”, and “Pacific Rim”; one has to wonder what new material there is to show an audience.
While it is not as bad as I expected, it is pretty much a guilty pleasure that you can enjoy in parts and then quickly forget as this film is not likely to enhance the legendary status of Godzilla.
http://sknr.net/2014/05/14/godzilla/
Gareth Edwards is the latest director bold enough to bring the legendary Godzilla to the screen and has done so with cutting edge visual effects and 3D.
When Joe Brody (Bryan Cranston), becomes unsettled about some unusual tremors around the Japanese nuclear plant he works at, little does he know that the pending accident and tragedy will have long-term consequences.
Flash forward 15 years and his son Ford (Aaron Taylor Johnson), is an ordinance disposal expert in the military who is returning to his San Francisco home after a deployment to see his wife and young son.
No sooner does Ford get home than he is summed to Japan to retrieve his father who has been arrested for venturing into a restricted area located by his former residence and place of work.
Joe is convinced that a massive cover up is place behind the disaster that left him a widow and turned his life upside down.
When the mysterious tremors return, Joe is vindicated and learns that a massive threat is responsible for what has previously transpired, but this is nothing compared to the damage that is unleashed when the creature escapes.
In a race against time, Ford, the Navy, and a team of scientists attempt to prevent massive destruction and loss of life from an enemy they are not prepared for and do not understand.
While the film does have some great visuals, it unfolds in a very plodding manner and the action sequences are few and far between until the end and even that is for the most part anti-climatic.
The dialogue in the film is filled with groans and unintentionally laughable moments that really make it difficult for the characters to really connect with one another and the audience and as such it is very hard to really care what happens to them.
Another big surprise was how little screen time the title characters actually appears in the film. I spent much of the film wondering how such a larger than life character could be reduced to a supporting part in a film that bears his name.
It has been reported that Japanese audiences have not been thrilled with the new film stating that the creature looked “fat “and “slow”. I would not go that far as from a visually standpoint, the film obtained nothing but high marks from me.
However, I had to ask if we really needed to have this film made. We have had so many giant creature movies in recent years including “King Kong”, “Colverfield”, and “Pacific Rim”; one has to wonder what new material there is to show an audience.
While it is not as bad as I expected, it is pretty much a guilty pleasure that you can enjoy in parts and then quickly forget as this film is not likely to enhance the legendary status of Godzilla.
http://sknr.net/2014/05/14/godzilla/
Psychological Dynamics of Sport and Exercise-4th Edition
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First published in 1977, The Ballymaloe Cookbook espouses a food philosophy rare for its time, but...