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East Fortune
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The boy stepped out into the road. He stretched his arms out and his legs apart, making an X, palms...
Regret (Under My Skin #1)
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When Brian “Brin” Schubert’s condo floods, he takes his co-worker up on the offer to stay on...
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The Ostin Prince (Isle of Ostin #2)
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When he was nine years old, Arbor Ostin ran for his life, even though the memories of that fateful...
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One Step Sideways (Enhanced World Security #1)
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"The difference between a hero and an ordinary man is One Step Sideways" When he was sixteen,...
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Lyndsey Gollogly (2893 KP) rated It’s A Wonderful Midlife Crisis ( Good to the Last Death 1) in Books
Jun 4, 2024
111 of 220
Kindle
It’s A Wonderful Midlife Crisis ( Good to the last death 1)
By Robyn Peterman
⭐️⭐️⭐️⭐️
Whoever said life begins at forty must have been heavily medicated, drunk, or delusional.
Thirty-nine was a fantastic year. I was married to the man I loved. I had a body that worked without creaking. My grandma, who raised me, was still healthy, and life was pretty damned good.
But as they say, all good things come to an end. I’d honestly love to know who ’they’ are and rip them a new one. One year later, I’m a widow. My joints are starting to ache. Gram is in the nursing home, and dead people think my home is some kind of supernatural bed and breakfast. Gluing body parts onto semi-transparent people has become a side job—deceased people I’m not even sure are actually there. I think they need my help, but since I don’t speak dead, we’re having a few issues.
To add to the heap of trouble, there’s a new dangerously smokin’ hot lawyer at the firm who won't stop giving me the eye. My BFF is thrilled with her new frozen face, thanks to her plastic surgeon, her alimony check, and the miracle of Botox. And then there’s the little conundrum that I’m becoming way too attached to my ghostly squatters… Like Cher, I'd like to turn back time. Now.
No can do.
Whatever. I have wine, good friends, and an industrial sized box of superglue. What could possibly go wrong?
Everything, apparently.
This was really good. It was witty, funny, heartwarming and sad all at once. A lighthearted read quick read. Definitely can’t wait to read the next one.
Kindle
It’s A Wonderful Midlife Crisis ( Good to the last death 1)
By Robyn Peterman
⭐️⭐️⭐️⭐️
Whoever said life begins at forty must have been heavily medicated, drunk, or delusional.
Thirty-nine was a fantastic year. I was married to the man I loved. I had a body that worked without creaking. My grandma, who raised me, was still healthy, and life was pretty damned good.
But as they say, all good things come to an end. I’d honestly love to know who ’they’ are and rip them a new one. One year later, I’m a widow. My joints are starting to ache. Gram is in the nursing home, and dead people think my home is some kind of supernatural bed and breakfast. Gluing body parts onto semi-transparent people has become a side job—deceased people I’m not even sure are actually there. I think they need my help, but since I don’t speak dead, we’re having a few issues.
To add to the heap of trouble, there’s a new dangerously smokin’ hot lawyer at the firm who won't stop giving me the eye. My BFF is thrilled with her new frozen face, thanks to her plastic surgeon, her alimony check, and the miracle of Botox. And then there’s the little conundrum that I’m becoming way too attached to my ghostly squatters… Like Cher, I'd like to turn back time. Now.
No can do.
Whatever. I have wine, good friends, and an industrial sized box of superglue. What could possibly go wrong?
Everything, apparently.
This was really good. It was witty, funny, heartwarming and sad all at once. A lighthearted read quick read. Definitely can’t wait to read the next one.
Bob Mann (459 KP) rated Roma (2018) in Movies
Sep 28, 2021
“Siempre estamos solas”
Alfonso Cuarón‘s “Roma” has been lauded with praise and award’s hype, and I must admit to have been a little bit snooty about it. A black-and-white Spanish language film with subtitles that – to be honest – looks a bit dreary: can it really be that good? Having now (finally) seen it on Netflix I can confirm that’s a big YES from my point of view. It’s a novelty of a glacially slow film that grips like a vice.
A primer on 70’s Mexican History.
This is a film about ordinary life set against tumultuous times. Set in the Colonia Roma district of Mexico City (if you were puzzled, as I was, where the title came from) it is an “Upstairs, Downstairs” tale of Cleo (Yalitza Aparicio), a maid and nanny to a middle class family in the early 70’s.
There are two intertwined stories here: Cleo’s personal story and that of the family background in which she works.
Cleo has a pleasant enough life working as partners in crime in the household with Adela (Nancy García García). Life is about getting the work done (well, more of less), keeping the four children happy – to who she is devoted – and scraping enough by to spend her downtime with her martial arts boyfriend Ramón (José Manuel Guerrero Mendoza).
Meanwhile the lady of the house Senora Sofia (Marina de Tavira) has an affluent and cosseted lifestyle amid her loving family.
But times are about to change for all of the players, as events – not just the events of the ‘Mexican Dirty War’ of 1971 going on in the background – transpire to change all their lives forever.
A masterclass in framing.
It’s criminal that I wasn’t able to get to see this in the cinema. Since every frame of this movie is a masterpiece of detail. There is just so much going on that your eyes dart this way and that, and you could probably watch it five times and see more. Even the opening titles are mesmerising, as the cobbled floor becomes a screen and an airliner lazily flies across it.
Even major action sequences, that other directors would fill the screen with (“Do you KNOW how much this scene is costing for God’s sake??”), are seen as they would typically be seen in real life – second hand, from a place of hiding. This is typified by the depiction of the Corpus Christi Massacre of June ’71, where the military, and more controversially the elite El Halconazo (The Hawks) of the Mexican army, turned on a student protest. Most of the action is seen as glimpses through the windows by the characters during a shopping trip to the second floor of a department store. How this was enacted and directed is a mystery to me, but it works just brilliantly.
A masterclass in pacing and panning.
One of Cuarón’s trademarks is the long take (think “Children of Men”) and here he (literally!) goes to town with the technique. An incredibly impressive scene has Cleo and Adela running through the streets of the City to meet their lovers at the cinema. It’s a continuous pan that again defies belief in the brilliance of its execution.
Even the mundane act of Cleo tidying up the apartment is done with a glorious slow pan around the room. Some of this panning is done to set the mood for the film (“Get settled in… this is going to be a long haul”) but others manage to evoke a sense of rising dread, an example at the beach being a brilliant case in point.
The cinematography was supposed to have been done by the great Emmanuel Lubezki, but he was unavailable so Cuarón did it himself! And it’s quite brilliant. So, that’s a lesson learned then that will reduce the budget for next time!
A personal story.
Cuarón wrote the script. Of course he did… it’s his story! He’s the same age as I am, so was nine years old for the autobiographical events featured in the film (he is the kid who gets punished for eavesdropping). Numerous aspects of the film are from his own childhood, including the fact that his younger brother kept spookily coming out with things that he’d done in his past lives! It’s a painful true story of his upbringing and of the life of Liboria Rodríguez: “Libo” to whom the film is dedicated.
Where the script is delightful is in never destroying the mood with lengthy exposition. Both of the key stories evolve slowly and only gradually do you work out what’s really going on. This is grown-up cinema at its finest.
It’s also a love letter from Cuarón to the cinema of his youth, a passion that sparked his eventual career. We see a number of trips to the local fleapit, and in one cute scene we seen a clip from the Gregory Peck space epic “Marooned”: the film that inspired Cuarón’s own masterpiece “Gravity“.
A naturalistic cast.
Casting a large proportion of the cast from unknowns feels like a great risk, but its a risk that pays off handsomely, particularly in the case of Yalitza Aparicio, who is breathtakingly naturalistic. Cuarón withheld the script from his cast, so some of the “acting” is not acting at all – specifically a gruelling and heartrending scene featuring Cleo later in the film. That’s real and raw emotion on the screen.
Marina de Tavira, although an actress with a track record, is also mightily impressive as the beleaguered and troubled wife.
Final Thoughts.
This is a masterpiece, and thoroughly deserves the “Best Picture” awards it has been getting. It’s certainly my odds on favourite, as well as being my pick, for the Oscar on Sunday. Will it be for everyone? Probably not.
There are some scenes which feel slightly ostentatious. A forest fire scene is brilliantly done (“Put out the small fires kids”), but then a guy in a monster suit pulls off his head-wear and starts singing a long and mournful song. Sorry?
There will also be many I suspect who will find the leisurely pace of the film excruciating; “JUST GET ON WITH IT” I hear them yelling at the screen. But if you give it the time and let it soak in, then you WILL be moved and you WILL remember the film long after you’ve seen it.
I remain cross however that this was released through Netflix. This is a film that deserves a full and widespread cinema release in 70mm format. It’s like taking an iPhone snap of the Mona Lisa and putting the phone on display instead.
A primer on 70’s Mexican History.
This is a film about ordinary life set against tumultuous times. Set in the Colonia Roma district of Mexico City (if you were puzzled, as I was, where the title came from) it is an “Upstairs, Downstairs” tale of Cleo (Yalitza Aparicio), a maid and nanny to a middle class family in the early 70’s.
There are two intertwined stories here: Cleo’s personal story and that of the family background in which she works.
Cleo has a pleasant enough life working as partners in crime in the household with Adela (Nancy García García). Life is about getting the work done (well, more of less), keeping the four children happy – to who she is devoted – and scraping enough by to spend her downtime with her martial arts boyfriend Ramón (José Manuel Guerrero Mendoza).
Meanwhile the lady of the house Senora Sofia (Marina de Tavira) has an affluent and cosseted lifestyle amid her loving family.
But times are about to change for all of the players, as events – not just the events of the ‘Mexican Dirty War’ of 1971 going on in the background – transpire to change all their lives forever.
A masterclass in framing.
It’s criminal that I wasn’t able to get to see this in the cinema. Since every frame of this movie is a masterpiece of detail. There is just so much going on that your eyes dart this way and that, and you could probably watch it five times and see more. Even the opening titles are mesmerising, as the cobbled floor becomes a screen and an airliner lazily flies across it.
Even major action sequences, that other directors would fill the screen with (“Do you KNOW how much this scene is costing for God’s sake??”), are seen as they would typically be seen in real life – second hand, from a place of hiding. This is typified by the depiction of the Corpus Christi Massacre of June ’71, where the military, and more controversially the elite El Halconazo (The Hawks) of the Mexican army, turned on a student protest. Most of the action is seen as glimpses through the windows by the characters during a shopping trip to the second floor of a department store. How this was enacted and directed is a mystery to me, but it works just brilliantly.
A masterclass in pacing and panning.
One of Cuarón’s trademarks is the long take (think “Children of Men”) and here he (literally!) goes to town with the technique. An incredibly impressive scene has Cleo and Adela running through the streets of the City to meet their lovers at the cinema. It’s a continuous pan that again defies belief in the brilliance of its execution.
Even the mundane act of Cleo tidying up the apartment is done with a glorious slow pan around the room. Some of this panning is done to set the mood for the film (“Get settled in… this is going to be a long haul”) but others manage to evoke a sense of rising dread, an example at the beach being a brilliant case in point.
The cinematography was supposed to have been done by the great Emmanuel Lubezki, but he was unavailable so Cuarón did it himself! And it’s quite brilliant. So, that’s a lesson learned then that will reduce the budget for next time!
A personal story.
Cuarón wrote the script. Of course he did… it’s his story! He’s the same age as I am, so was nine years old for the autobiographical events featured in the film (he is the kid who gets punished for eavesdropping). Numerous aspects of the film are from his own childhood, including the fact that his younger brother kept spookily coming out with things that he’d done in his past lives! It’s a painful true story of his upbringing and of the life of Liboria Rodríguez: “Libo” to whom the film is dedicated.
Where the script is delightful is in never destroying the mood with lengthy exposition. Both of the key stories evolve slowly and only gradually do you work out what’s really going on. This is grown-up cinema at its finest.
It’s also a love letter from Cuarón to the cinema of his youth, a passion that sparked his eventual career. We see a number of trips to the local fleapit, and in one cute scene we seen a clip from the Gregory Peck space epic “Marooned”: the film that inspired Cuarón’s own masterpiece “Gravity“.
A naturalistic cast.
Casting a large proportion of the cast from unknowns feels like a great risk, but its a risk that pays off handsomely, particularly in the case of Yalitza Aparicio, who is breathtakingly naturalistic. Cuarón withheld the script from his cast, so some of the “acting” is not acting at all – specifically a gruelling and heartrending scene featuring Cleo later in the film. That’s real and raw emotion on the screen.
Marina de Tavira, although an actress with a track record, is also mightily impressive as the beleaguered and troubled wife.
Final Thoughts.
This is a masterpiece, and thoroughly deserves the “Best Picture” awards it has been getting. It’s certainly my odds on favourite, as well as being my pick, for the Oscar on Sunday. Will it be for everyone? Probably not.
There are some scenes which feel slightly ostentatious. A forest fire scene is brilliantly done (“Put out the small fires kids”), but then a guy in a monster suit pulls off his head-wear and starts singing a long and mournful song. Sorry?
There will also be many I suspect who will find the leisurely pace of the film excruciating; “JUST GET ON WITH IT” I hear them yelling at the screen. But if you give it the time and let it soak in, then you WILL be moved and you WILL remember the film long after you’ve seen it.
I remain cross however that this was released through Netflix. This is a film that deserves a full and widespread cinema release in 70mm format. It’s like taking an iPhone snap of the Mona Lisa and putting the phone on display instead.
Beautifully-written, incredibly captivating book
Sadie's pretty much always been an adult. Her mom struggled with drugs and alcohol since Sadie was born. Sadie basically raised her younger sister, Mattie. So when Mattie is found dead at the age of thirteen, Sadie's life completely falls apart. The police have no idea who killed her, so Sadie is determined to find justice for her little sister. She leaves town following the only bits of evidence she has. Meanwhile, a few months later, West McCray, a radio anchor, hears about Sadie's story while on the road. He starts thinking about missing girls, as Sadie's de facto grandmother, May Beth, is now convinced she's missing. He starts a podcast that tracks Sadie and her trail for Mattie's killer, trying to find out what happened. But is he too late?
"I'm going to kill a man. I'm going to steal the light from his eyes. I want to watch it go out. You aren't supposed to answer violence with more violence but sometimes I think violence is the only answer."
I had heard a lot of hype about Sadie before I started it, but luckily this is one of those rare books that really lives up to all the buzz. The novel gets off to a captivating start and never really lets up. It's quite the page-turner and really a tense, heartbreaking journey. You get fully immersed into Sadie's journey between Summers' gorgeous writing and the book's format. The novel alternates between chapters told in Sadie's point of view and then chapters told in West's podcast format.
The result is really spellbinding: West is just a little behind Sadie in her quest, but somehow it all works perfectly, and you feel like you're hurtling (to nowhere good) along with these characters. I wouldn't have thought the podcast pieces would work so well, but they were great, and I found myself enjoying those chapters a lot. You get swept up with West and his desire to find Sadie.
Part of feeling so much a part of this book is because it's so, so well-written. Wow, Courtney Summers can write. This novel is almost lyrical it's so beautiful in its descriptions, in Sadie's narration of her life and her situations. The characters--both the good guys and the bad--are so vivid they almost fly off the pages. You can just picture Sadie--alone in the world and hurting--with the world against her. The book is magical in that sense.
I live in a place that's only good for leaving, is all that needs to be said about it, and I don't let myself look back. Doesn't matter if I want to, it's just better if I don't.
I mean. C'mon. This girl. I dare you to read this book and not fall for Sadie. It's pretty much impossible. It's certainly not an easy read, and I felt like this one sort of broke me down and spit me out a bit. I wasn't sure about that ending, but I completely understood it. It was what the book deserved, just perhaps not what I hoped.
Overall, this is a beautifully-written, incredibly captivating book. I was immediately sucked in wondering what happened to Mattie and Sadie. The characters are real, and it's a read that will stick with you. Definitely recommend.
Thank you to Wednesday Books for my copy, which I received in return for an unbiased review.
"I'm going to kill a man. I'm going to steal the light from his eyes. I want to watch it go out. You aren't supposed to answer violence with more violence but sometimes I think violence is the only answer."
I had heard a lot of hype about Sadie before I started it, but luckily this is one of those rare books that really lives up to all the buzz. The novel gets off to a captivating start and never really lets up. It's quite the page-turner and really a tense, heartbreaking journey. You get fully immersed into Sadie's journey between Summers' gorgeous writing and the book's format. The novel alternates between chapters told in Sadie's point of view and then chapters told in West's podcast format.
The result is really spellbinding: West is just a little behind Sadie in her quest, but somehow it all works perfectly, and you feel like you're hurtling (to nowhere good) along with these characters. I wouldn't have thought the podcast pieces would work so well, but they were great, and I found myself enjoying those chapters a lot. You get swept up with West and his desire to find Sadie.
Part of feeling so much a part of this book is because it's so, so well-written. Wow, Courtney Summers can write. This novel is almost lyrical it's so beautiful in its descriptions, in Sadie's narration of her life and her situations. The characters--both the good guys and the bad--are so vivid they almost fly off the pages. You can just picture Sadie--alone in the world and hurting--with the world against her. The book is magical in that sense.
I live in a place that's only good for leaving, is all that needs to be said about it, and I don't let myself look back. Doesn't matter if I want to, it's just better if I don't.
I mean. C'mon. This girl. I dare you to read this book and not fall for Sadie. It's pretty much impossible. It's certainly not an easy read, and I felt like this one sort of broke me down and spit me out a bit. I wasn't sure about that ending, but I completely understood it. It was what the book deserved, just perhaps not what I hoped.
Overall, this is a beautifully-written, incredibly captivating book. I was immediately sucked in wondering what happened to Mattie and Sadie. The characters are real, and it's a read that will stick with you. Definitely recommend.
Thank you to Wednesday Books for my copy, which I received in return for an unbiased review.
Sassy Brit (97 KP) rated Burning Ridge in Books
Jun 5, 2019
Burning Ridge by Margaret Mizushima is a fast-paced and engrossing police procedural. It features Matti Cobb and her K-9 German Shepherd partner Robo, which makes these stories appealing to not only those who enjoy mysteries, but also to animal lovers.
Having done her homework, the author spoke with and shadowed those that train dogs. “I have a friend who retired from training tracking dogs. She allowed me to watch her train for tracking and evidence detection. I was inspired by her to write about a female canine handler. In fact, she had a dog named Robo, which I based the story dog Robo on. He could do so many things: Patrol, apprehend, track, and even pick up on gun powder to find hidden shells and casings.”
8171DUdQgiL._AC_UL115_Ridge
The plot has veterinarian Cole Walker and his two young daughters enjoying their trail ride in the Colorado mountains until they find a man’s charred boot with a decomposing foot in it. Called in to search for the rest of the body Matti and Robo find him. It is then Mattie realizes there is a personal link to her own troubled past.
This book explores her disturbed childhood, having been placed in foster homes since the age of six. Her father was convicted of abusing her mother who later abandoned her and her brother. This is why she and Cole are taking the relationship slow although it is obvious they love each other.
Because her husband is a vet, Mizushima knows something about the profession. “I always wanted to write a vet as a protagonist. Similar to my husband, Cole is a mixed practice vet, which means he treats large and small animals. He has to overcome some personal problems after his wife left him and his daughters. Both he and Mattie are hesitant to connect because of their baggage with abandonment issues. This is why I wrote, ‘And as much as she wanted to, she had trouble allowing him past the wall she built to protect her feelings.’ He is a work driven, a type-A personality, but soft-hearted. She is kind, athletic, spunky, a loner, independent, and vulnerable.”
What makes this novel special is the relationship between the partners. Robo is not written as some Superdog, but with realistic traits. Mattie and Robo are a dedicated team who have a strong bond professionally and personally. He is truly her best friend, and when she goes missing Robo uses his search and rescue skills to find her.
Having lived in Colorado all her life, Mizushima is able to create a realistic setting. She seems to draw from current events since there have been so many wildfires this season. In the novel, she uses it to enhance the action where the fire becomes an antagonist. “I grew in a small town on a ranch. I used the mountains because there is a sense of suspense and danger. This is why I wrote in the book quote, ‘Blazing orang lit the ridge above her, rapidly feeding on timber and eating its way downward. Balls of fire leapt from tree to tree, the dry needles wicking flames into branches and sap, setting off booming explosions in the treetops.’”
This is a gripping tale that has a message of hope. With Robo at her side Mattie is trying to overcome her childhood demons and learn to tear down the wall she has built, allowing Cole and his daughters into her life.
Having done her homework, the author spoke with and shadowed those that train dogs. “I have a friend who retired from training tracking dogs. She allowed me to watch her train for tracking and evidence detection. I was inspired by her to write about a female canine handler. In fact, she had a dog named Robo, which I based the story dog Robo on. He could do so many things: Patrol, apprehend, track, and even pick up on gun powder to find hidden shells and casings.”
8171DUdQgiL._AC_UL115_Ridge
The plot has veterinarian Cole Walker and his two young daughters enjoying their trail ride in the Colorado mountains until they find a man’s charred boot with a decomposing foot in it. Called in to search for the rest of the body Matti and Robo find him. It is then Mattie realizes there is a personal link to her own troubled past.
This book explores her disturbed childhood, having been placed in foster homes since the age of six. Her father was convicted of abusing her mother who later abandoned her and her brother. This is why she and Cole are taking the relationship slow although it is obvious they love each other.
Because her husband is a vet, Mizushima knows something about the profession. “I always wanted to write a vet as a protagonist. Similar to my husband, Cole is a mixed practice vet, which means he treats large and small animals. He has to overcome some personal problems after his wife left him and his daughters. Both he and Mattie are hesitant to connect because of their baggage with abandonment issues. This is why I wrote, ‘And as much as she wanted to, she had trouble allowing him past the wall she built to protect her feelings.’ He is a work driven, a type-A personality, but soft-hearted. She is kind, athletic, spunky, a loner, independent, and vulnerable.”
What makes this novel special is the relationship between the partners. Robo is not written as some Superdog, but with realistic traits. Mattie and Robo are a dedicated team who have a strong bond professionally and personally. He is truly her best friend, and when she goes missing Robo uses his search and rescue skills to find her.
Having lived in Colorado all her life, Mizushima is able to create a realistic setting. She seems to draw from current events since there have been so many wildfires this season. In the novel, she uses it to enhance the action where the fire becomes an antagonist. “I grew in a small town on a ranch. I used the mountains because there is a sense of suspense and danger. This is why I wrote in the book quote, ‘Blazing orang lit the ridge above her, rapidly feeding on timber and eating its way downward. Balls of fire leapt from tree to tree, the dry needles wicking flames into branches and sap, setting off booming explosions in the treetops.’”
This is a gripping tale that has a message of hope. With Robo at her side Mattie is trying to overcome her childhood demons and learn to tear down the wall she has built, allowing Cole and his daughters into her life.
Erratic.
To begin with I should point out that I listened to this rather than read it, and I have to say that I found (not for the first time with American audiobooks) that the narrator detracted from the story. They chose a woman with a very slow, drawling delivery which in some ways, I imagine, was intended to emphasise the sunny, laid-back easy-going stereotype of the late 60's hippy movement. Unfortunately the actual effect was to make the book drag.
Beyond that the content of the book itself was a mixed bag of the pleasurable and the pointless.
Where Cline excelles in this book is in her portrayal of a normal adolescent female trying to fit the role society has dictated for her. It's important to note that Evie is normal - she's not in the small group of incredibly popular, socially adept, fashionably en point and appropriately presented girls of the moment, nor is she so far away from the 'norm' that she is considered especially weird. She falls firmly within the parameters of 'normal' girls who are just struggling with the 'project of their girlhood'. Nor is it just girls that Cline succeeds in painting an accurate picture of - the tribulations of Evie's mother (newley divorced and struggling to realise the relevance and attraction that society expects from her again) speak to the ongoing and endless demands of a civilisation that puts endless pressure on it's female members to adhere to a very narrow and sharply defined criteria in order to be 'acceptable'. This pressure is something I imagine most female readers of this book will relate to, regardless of age, because, of course, it is still very much a daily aspect of most girls' and womens' lives; some possibly even recognising individual situations in which they have been at some stage in their life.
Understanding and empathising with Evie then, it is disconcerting to follow her absorption into the cult; her fascination with the older girls, the ones she later reflects upon as barely more than children themselves; the ease with which she is manipulated through her desire to please her new friends and to defy her mother; the lies sher emotional side is sold and accepts, even as her more rational mind recognises that they are lies...
These are the things Cline excelles in. I can honestly say I have never read an more accurate depiction of clumsy, normal female adolescence.
Unfortunately interspersed through these parts are large tracts of pointless and incredibly, horribly flowery waffle that don't really add anything else to the story other than to repeat, endlessly the message that 'the girl who was part of the cult' had a sad and unfulfilling life afterwards.The message that she screwed up could have been delivered successfully at the beginning and reinforced at the end - it didn't need that kind of repetition.
Overall I would say that for fans of general fiction (which I'm not), and teen readers (which I am also not), this is probably a good read, just expect it to drag at times. It's not one I shall be revisiting.
Beyond that the content of the book itself was a mixed bag of the pleasurable and the pointless.
Where Cline excelles in this book is in her portrayal of a normal adolescent female trying to fit the role society has dictated for her. It's important to note that Evie is normal - she's not in the small group of incredibly popular, socially adept, fashionably en point and appropriately presented girls of the moment, nor is she so far away from the 'norm' that she is considered especially weird. She falls firmly within the parameters of 'normal' girls who are just struggling with the 'project of their girlhood'. Nor is it just girls that Cline succeeds in painting an accurate picture of - the tribulations of Evie's mother (newley divorced and struggling to realise the relevance and attraction that society expects from her again) speak to the ongoing and endless demands of a civilisation that puts endless pressure on it's female members to adhere to a very narrow and sharply defined criteria in order to be 'acceptable'. This pressure is something I imagine most female readers of this book will relate to, regardless of age, because, of course, it is still very much a daily aspect of most girls' and womens' lives; some possibly even recognising individual situations in which they have been at some stage in their life.
Understanding and empathising with Evie then, it is disconcerting to follow her absorption into the cult; her fascination with the older girls, the ones she later reflects upon as barely more than children themselves; the ease with which she is manipulated through her desire to please her new friends and to defy her mother; the lies sher emotional side is sold and accepts, even as her more rational mind recognises that they are lies...
These are the things Cline excelles in. I can honestly say I have never read an more accurate depiction of clumsy, normal female adolescence.
Unfortunately interspersed through these parts are large tracts of pointless and incredibly, horribly flowery waffle that don't really add anything else to the story other than to repeat, endlessly the message that 'the girl who was part of the cult' had a sad and unfulfilling life afterwards.The message that she screwed up could have been delivered successfully at the beginning and reinforced at the end - it didn't need that kind of repetition.
Overall I would say that for fans of general fiction (which I'm not), and teen readers (which I am also not), this is probably a good read, just expect it to drag at times. It's not one I shall be revisiting.