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Lottie disney bookworm (1056 KP) rated The Stars That Guide You Home in Books
Oct 25, 2021
Wow.
Just…wow.
Now I make no secret of the fact that I am a crier. Christmas TV ads, airport arrivals halls, old men crying, anything has the ability to set me off blubbing! So I am never entirely surprised when I start crying at a book, even my husband doesn’t mock me anymore. But this book? THIS BOOK had me crying the entire way through and just when you thought life for the characters couldn’t get any worse…Jemma Robinson says hold my coat!
Sophia and Tom live in a quaint little farmhouse in the town of Lowshore. Their life is a simple one but their happy marriage practically radiates from the page. However, Sophia never told her husband about her past and that past is about to catch up with her!
Whilst Tom is at work, Sophia is kidnapped from her happy home and forced to live the life that she tried so desperately to escape. Beaten, abused and powerless, Sophia manages to find two people worthy of her trust but will she ever escape? Can she ever regain the life that she used to have with Tom?
The beauty of this book is that it revolves around its characters. There is very little world building here but, honestly, it isn’t needed. Nothing matters to Tom and Sophia except one-another and that is reflected in Jemma Robinson’s writing style.
The characters themselves stay with you long after the final page: Sophia wears her heart on her sleeve, Tom is steadfast and passionately protective, James and Annalise are, in contrast, calm and collected individuals but Edmund is nothing short of a psychopath!
Edmund is no fairytale villain, despite the Lord Farquaad vibes I was getting from him. Robinson’s antagonist wouldn’t be out of place in Game of Thrones: he is truly revolting, controlling and revels in his absolute power over everything and everyone in his kingdom.
The Stars That Guide You Home is marketed as historical romance, not a fairytale, and with its medicine, photographs and labour camps then it does seem too modern to be considered a fairytale. However, I would argue that castles, arranged marriages, medieval torture and absence of any morally grey characters could push this into the category of dark fairytale.
There are a number of trigger warnings within this novel that I want to highlight. This is by no means a YA book – it is definitely Adult Fiction or New Adult at a push. These trigger warnings include rape, physical and mental abuse, animal cruelty, torture (in detail), kidnap, burns, suicide, miscarriage and general violence.
Dark fairytale still doesn’t seem enough… Sinister fairytale might just do it!
The Stars That Guide You Home is simultaneously beautiful, horrifying and inspiring. This book will break your heart over and over again and keep you coming back for more. Thank you to The Book Network for the opportunity to review this amazing novel, and thank you to Jemma, even though you did make me cry for 486 pages!
Just…wow.
Now I make no secret of the fact that I am a crier. Christmas TV ads, airport arrivals halls, old men crying, anything has the ability to set me off blubbing! So I am never entirely surprised when I start crying at a book, even my husband doesn’t mock me anymore. But this book? THIS BOOK had me crying the entire way through and just when you thought life for the characters couldn’t get any worse…Jemma Robinson says hold my coat!
Sophia and Tom live in a quaint little farmhouse in the town of Lowshore. Their life is a simple one but their happy marriage practically radiates from the page. However, Sophia never told her husband about her past and that past is about to catch up with her!
Whilst Tom is at work, Sophia is kidnapped from her happy home and forced to live the life that she tried so desperately to escape. Beaten, abused and powerless, Sophia manages to find two people worthy of her trust but will she ever escape? Can she ever regain the life that she used to have with Tom?
The beauty of this book is that it revolves around its characters. There is very little world building here but, honestly, it isn’t needed. Nothing matters to Tom and Sophia except one-another and that is reflected in Jemma Robinson’s writing style.
The characters themselves stay with you long after the final page: Sophia wears her heart on her sleeve, Tom is steadfast and passionately protective, James and Annalise are, in contrast, calm and collected individuals but Edmund is nothing short of a psychopath!
Edmund is no fairytale villain, despite the Lord Farquaad vibes I was getting from him. Robinson’s antagonist wouldn’t be out of place in Game of Thrones: he is truly revolting, controlling and revels in his absolute power over everything and everyone in his kingdom.
The Stars That Guide You Home is marketed as historical romance, not a fairytale, and with its medicine, photographs and labour camps then it does seem too modern to be considered a fairytale. However, I would argue that castles, arranged marriages, medieval torture and absence of any morally grey characters could push this into the category of dark fairytale.
There are a number of trigger warnings within this novel that I want to highlight. This is by no means a YA book – it is definitely Adult Fiction or New Adult at a push. These trigger warnings include rape, physical and mental abuse, animal cruelty, torture (in detail), kidnap, burns, suicide, miscarriage and general violence.
Dark fairytale still doesn’t seem enough… Sinister fairytale might just do it!
The Stars That Guide You Home is simultaneously beautiful, horrifying and inspiring. This book will break your heart over and over again and keep you coming back for more. Thank you to The Book Network for the opportunity to review this amazing novel, and thank you to Jemma, even though you did make me cry for 486 pages!
How to Improve Study Habits
Book
For students 13 through college graduation, Christine Reidhead's guide to building study skills is...
Young Adult Non Fiction
Lottie disney bookworm (1056 KP) rated The Once and Future Witches in Books
Sep 20, 2020
Thank you to Netgalley for luring me in with this recommendation and the gorgeous cover art. Thank you to Alix E Harrow for providing such an amazing story for this ARC review. All the opinions expressed below are my own.
"Witches and women's rights. Suffrage and spells. They're both...a kind of power...the kind we're not allowed to have."
I'm not often drawn to books involving witches to be honest. I love an annual viewing of Hocus Pocus (who doesn't?!) but that is usually where the affinity ends.
If anything can change my nonchalance, I suspect it may be Alix E. Harrow. This is the first piece of work I have read by the Hugo award winning writer and I don’t need any tarot cards to predict it will not be the last. From the outset of The Once and Future Witches I was hooked: the worldbuilding alone is amazing; you can immediately picture the mills, avenues, squares and slums of New Salem as well as the mysterious tower that pulls our three main characters together.
The three Eastwood sisters themselves are another work of art. Juniper, Agnes and Bella are fierce, formidable women in wildly different ways. They are also flawed, stubborn and quite frankly, inspirational: by linking women’s rights and witchcraft this fantasy novel suddenly becomes more real and relatable to the modern female reader, despite being set in 1893. We empathise, sympathise and rage right alongside the Eastwood sisters on their quest for equality in a male-controlled world.
However, not even witches can act alone and the Eastwood sisters have an amazing cast of supporting characters surrounding them. Impressively, not a single one of these characters can be accused of being two-dimensional: the character development that Harrow has invested into this novel is incredible and must have taken so much work! From the Suffragette’s secretary to the skin-crawling villain to the women and men fighting (and witching) side by side; every single character is substantial and memorable. The sarcasm within Juniper for example is hilarious and even the traditional figures of the Maiden, the Mother and the Crone refuse to conform to stereotypes: I LOVED it!
The format of this novel is very clever and practically forbids you from becoming too comfortable by peppering the main story with “witch-tales”. These complement rather than distract from the storyline and also provide small changes that make you smile – such as the tales of the Sisters Grimm.
Do not be fooled though: the use of witch-tales does not prevent The Once and Future Witches from being an incredibly modern piece of writing. Topics covered include sexuality, gender identity, feminism, race as well as smashing the patriarchy: all interspersed with magic, betrayal and a hell of a lot of emotion.
I would however argue that some topics are slightly too mature for the novel to be considered YA, the description of torture and suggestions of sexual abuse probably push this book firmly into general/adult fantasy fiction novels.
The Once and Future Witches is a future bestseller in my opinion. This unique, powerful novel provides characters that you can’t help but empathise with; slow-burning, intense relationships; the trials and tribulations that come with sisterhood and plot twists at every turn.
This book will swallow you heart and soul, make you laugh, make you cry and leave you bereft at the end.
It is a must read!
"Witches and women's rights. Suffrage and spells. They're both...a kind of power...the kind we're not allowed to have."
I'm not often drawn to books involving witches to be honest. I love an annual viewing of Hocus Pocus (who doesn't?!) but that is usually where the affinity ends.
If anything can change my nonchalance, I suspect it may be Alix E. Harrow. This is the first piece of work I have read by the Hugo award winning writer and I don’t need any tarot cards to predict it will not be the last. From the outset of The Once and Future Witches I was hooked: the worldbuilding alone is amazing; you can immediately picture the mills, avenues, squares and slums of New Salem as well as the mysterious tower that pulls our three main characters together.
The three Eastwood sisters themselves are another work of art. Juniper, Agnes and Bella are fierce, formidable women in wildly different ways. They are also flawed, stubborn and quite frankly, inspirational: by linking women’s rights and witchcraft this fantasy novel suddenly becomes more real and relatable to the modern female reader, despite being set in 1893. We empathise, sympathise and rage right alongside the Eastwood sisters on their quest for equality in a male-controlled world.
However, not even witches can act alone and the Eastwood sisters have an amazing cast of supporting characters surrounding them. Impressively, not a single one of these characters can be accused of being two-dimensional: the character development that Harrow has invested into this novel is incredible and must have taken so much work! From the Suffragette’s secretary to the skin-crawling villain to the women and men fighting (and witching) side by side; every single character is substantial and memorable. The sarcasm within Juniper for example is hilarious and even the traditional figures of the Maiden, the Mother and the Crone refuse to conform to stereotypes: I LOVED it!
The format of this novel is very clever and practically forbids you from becoming too comfortable by peppering the main story with “witch-tales”. These complement rather than distract from the storyline and also provide small changes that make you smile – such as the tales of the Sisters Grimm.
Do not be fooled though: the use of witch-tales does not prevent The Once and Future Witches from being an incredibly modern piece of writing. Topics covered include sexuality, gender identity, feminism, race as well as smashing the patriarchy: all interspersed with magic, betrayal and a hell of a lot of emotion.
I would however argue that some topics are slightly too mature for the novel to be considered YA, the description of torture and suggestions of sexual abuse probably push this book firmly into general/adult fantasy fiction novels.
The Once and Future Witches is a future bestseller in my opinion. This unique, powerful novel provides characters that you can’t help but empathise with; slow-burning, intense relationships; the trials and tribulations that come with sisterhood and plot twists at every turn.
This book will swallow you heart and soul, make you laugh, make you cry and leave you bereft at the end.
It is a must read!
Terraforming Mars
8.7
Rate It
Tabletop Game
In the 2400s, mankind begins to terraform the planet Mars. Giant corporations, sponsored by the...
Boardgame TerraformThis MeeplesChoice
Becs (244 KP) rated A Raisin in the Sun in Books
Oct 2, 2019
They honestly need more books like this. When my husband found out that I was getting A Raisin in the Sun by Lorraine Hansberry, he grew excited and he never does that unless it’s a science-related book. That was when I knew I was going to like this beautiful novel. When I started to read it, I rushed through it. Not in a “I just want to finish this book” way, more like “I FREAKING LOVE THIS BOOK AND I DON’T EVER WANT IT TO END” way. That says something, right?
A Raisin in the Sun by Lorraine Hansberry
Genre: Literary Classic, Play, Drama, Fiction
Synopsis: First produced in 1959, A Raisin in the Sun was awarded the New York Drama Critics Circle Award and hailed as a watershed in American drama. Not only a pioneering work by an African-American playwright – Lorraine Hansberry’s play was also a radically new representation of black life, resolutely authentic, fiercely unsentimental, and unflinching in its vision of what happens to people whose dreams are constantly deferred. In her portrait of an embattled Chicago family, Hansberry anticapted issues that range from generational clashes to the civil rights and women’s movements. She also posed the essential questions – about identity, justice, and moral responsibility – at the heart of those great struggles. The result is an American classic.
Audience/Reading Level: Middle School +
Interests: Plays, dramas, literary classics, racial segregation, women’s movement, 50s era.
Point of View: Third Person Omniscient
Difficulty Reading: Not at all, I rushed through it because I loved it so much! As in some of Shakespeares plays, you don’t get stuck on the general language of the era it was written, as it’s written close to a book you would get from this era.
Promise: “Award-winning drama of the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America–and changed American theater forever.” – It did. 🙂
Insights: I love reading plays as it’s a way to step out of a comfort zone of reading Young Adult novels. It gives me a chance to dip into my theater/acting side and use what I’ve learned from theatre classes. A Raisin in the Sun is a well-written American classic that honestly should be read in every school from middle school and up. The lessens that are taught throughout the play are subtle yet obvious which creates a background that we can use in our every day life.
Ah-Ha Moment: The moment that Beneatha came into the picture and was a total feminist. Man, she’s my favorite character besides Mama (Lena Younger) and her little plant.
Favorite Quotes: “Beneatha: Love him? There is nothing left to love. Mama: There is always something left to love. And if you ain’t learned that, you ain’t learned nothing. (Looking at her) Have you cried for that boy today? I don’t mean for yourself and for the family ’cause we lost the money. I mean for him: what he been through and what it done to him. Child, when do you think is the time to love somebody the most? When they done good and made things easy for everybody? Well then, you ain’t through learning – because that ain’t the time at all. It’s when he’s at his lowest and can’t believe in hisself ’cause the world done whipped him so! when you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account what hills and valleys he come through before he got to wherever he is.”
“Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea I don’t acept. It’s not important. I am not going out and commit crimes or be immoral because I don’t believe in God. I don’t even think about it. It’s just that I get so tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no God! There is only Man, and it’s he who makes miracles!”
What will you gain: A haunting yet revealing play that will be as fresh of a read today, as it was in the 50’s.
Aesthetics: The entire play. The cover. The characters. The underlying meaning beneath it all. The era it was written and is based off of. Just everything about this little book.
“I want to fly! I want to touch the sun!”
“Finish your eggs first.”
A Raisin in the Sun by Lorraine Hansberry
Genre: Literary Classic, Play, Drama, Fiction
Synopsis: First produced in 1959, A Raisin in the Sun was awarded the New York Drama Critics Circle Award and hailed as a watershed in American drama. Not only a pioneering work by an African-American playwright – Lorraine Hansberry’s play was also a radically new representation of black life, resolutely authentic, fiercely unsentimental, and unflinching in its vision of what happens to people whose dreams are constantly deferred. In her portrait of an embattled Chicago family, Hansberry anticapted issues that range from generational clashes to the civil rights and women’s movements. She also posed the essential questions – about identity, justice, and moral responsibility – at the heart of those great struggles. The result is an American classic.
Audience/Reading Level: Middle School +
Interests: Plays, dramas, literary classics, racial segregation, women’s movement, 50s era.
Point of View: Third Person Omniscient
Difficulty Reading: Not at all, I rushed through it because I loved it so much! As in some of Shakespeares plays, you don’t get stuck on the general language of the era it was written, as it’s written close to a book you would get from this era.
Promise: “Award-winning drama of the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America–and changed American theater forever.” – It did. 🙂
Insights: I love reading plays as it’s a way to step out of a comfort zone of reading Young Adult novels. It gives me a chance to dip into my theater/acting side and use what I’ve learned from theatre classes. A Raisin in the Sun is a well-written American classic that honestly should be read in every school from middle school and up. The lessens that are taught throughout the play are subtle yet obvious which creates a background that we can use in our every day life.
Ah-Ha Moment: The moment that Beneatha came into the picture and was a total feminist. Man, she’s my favorite character besides Mama (Lena Younger) and her little plant.
Favorite Quotes: “Beneatha: Love him? There is nothing left to love. Mama: There is always something left to love. And if you ain’t learned that, you ain’t learned nothing. (Looking at her) Have you cried for that boy today? I don’t mean for yourself and for the family ’cause we lost the money. I mean for him: what he been through and what it done to him. Child, when do you think is the time to love somebody the most? When they done good and made things easy for everybody? Well then, you ain’t through learning – because that ain’t the time at all. It’s when he’s at his lowest and can’t believe in hisself ’cause the world done whipped him so! when you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account what hills and valleys he come through before he got to wherever he is.”
“Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea I don’t acept. It’s not important. I am not going out and commit crimes or be immoral because I don’t believe in God. I don’t even think about it. It’s just that I get so tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no God! There is only Man, and it’s he who makes miracles!”
What will you gain: A haunting yet revealing play that will be as fresh of a read today, as it was in the 50’s.
Aesthetics: The entire play. The cover. The characters. The underlying meaning beneath it all. The era it was written and is based off of. Just everything about this little book.
“I want to fly! I want to touch the sun!”
“Finish your eggs first.”
Hazel (1853 KP) rated Kids of Appetite in Books
Dec 14, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.