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Nicole Hadley (380 KP) rated The Seekers (Amish Cooking Class, #1) in Books
Jun 16, 2018
Showing Amish culture
Contains spoilers, click to show
The Seekers is the first installment to Wanda Brunstetter's newest series, Amish Cooking Class. I really enjoyed this book. In The Seekers, Heidi starts an Amish cooking class. I loved all the different individuals and their own stories and what bought each one to the cooking class held by Heidi.
This book revolves around a woman named Heidi Troyer and her Amish cooking class.Heidi Troyer and her husband of eight years, Lyle, have no children yet. She loves her Lyle and their life together but desires children, also. Lyle refuses to adopt, believing that if it is God’s will, Heidi will be able to conceive a child. Heidi considers giving cooking classes since cooking has come naturally to her and classes won’t take time away from her husband. Heidi will lead six lessons over the next three months.
The Lord prepares students for her first class. The students come with different problems to the classes and through out the book, they find solutions. First is Loretta, a widow and single mother of two little kids that just wants to learn a more simpler way of life. She wants to know more about being Amish, so learning Amish cooking in an Amish home sounds beneficial.
Second, Charlene is engaged to a wonderful man, but has no experience in the kitchen. Her financé has a mother who is an expert cook and doesn’t like Charlene. She doesn’t want her future mother-in-law to know she can’t cook.
Third is Eli, is a young widowed man who is part of the Amish community and also doesn't know how to cook much of anything. His wife had been killed by a hit-and-run driver. He couldn’t cook, and eats out frequently after work.
Fourth, Kendra is a young lady who got pregnant out of wedlock and was kicked out of her home by her dad so he wouldn’t be embarrassed in front of church or social friends. The young man also left her.
Last but not least is Ron. He pulls his older RV into the Troyer’s yard, hungry and broke. He tells Heidi and Lyle the first lie, that his rig needs repairs and he needs a place to park until he can repair it. He ends up in the cooking class without planning to be there. The Troyers share their food and time, but he holds his secrets close. A Viet Nam vet with PTSD, Ron always finds ways to justify what he does.
Most of the characters are very likable. We see Heidi as a three-dimensional woman of faith, and get to know her students through their everyday lives. I love how this book focuses so much on God. I also love the recipes and how after each class she gives a notecard with the recipe and a verse on the back.
This book revolves around a woman named Heidi Troyer and her Amish cooking class.Heidi Troyer and her husband of eight years, Lyle, have no children yet. She loves her Lyle and their life together but desires children, also. Lyle refuses to adopt, believing that if it is God’s will, Heidi will be able to conceive a child. Heidi considers giving cooking classes since cooking has come naturally to her and classes won’t take time away from her husband. Heidi will lead six lessons over the next three months.
The Lord prepares students for her first class. The students come with different problems to the classes and through out the book, they find solutions. First is Loretta, a widow and single mother of two little kids that just wants to learn a more simpler way of life. She wants to know more about being Amish, so learning Amish cooking in an Amish home sounds beneficial.
Second, Charlene is engaged to a wonderful man, but has no experience in the kitchen. Her financé has a mother who is an expert cook and doesn’t like Charlene. She doesn’t want her future mother-in-law to know she can’t cook.
Third is Eli, is a young widowed man who is part of the Amish community and also doesn't know how to cook much of anything. His wife had been killed by a hit-and-run driver. He couldn’t cook, and eats out frequently after work.
Fourth, Kendra is a young lady who got pregnant out of wedlock and was kicked out of her home by her dad so he wouldn’t be embarrassed in front of church or social friends. The young man also left her.
Last but not least is Ron. He pulls his older RV into the Troyer’s yard, hungry and broke. He tells Heidi and Lyle the first lie, that his rig needs repairs and he needs a place to park until he can repair it. He ends up in the cooking class without planning to be there. The Troyers share their food and time, but he holds his secrets close. A Viet Nam vet with PTSD, Ron always finds ways to justify what he does.
Most of the characters are very likable. We see Heidi as a three-dimensional woman of faith, and get to know her students through their everyday lives. I love how this book focuses so much on God. I also love the recipes and how after each class she gives a notecard with the recipe and a verse on the back.
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.