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Rhapsodic (The Bargainer #1)
9.5
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Callypso Lillis is a siren with a very big problem, one that stretches up her arm and far into her...
Comforting the Grump (Forestville Silver Foxes #5)
8.0
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I don’t do emotions or romantic entanglements. My life is simple: I work hard and I play hard,...
Contemporary MM Romance Series
The Final Day
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A major release in the New York Times bestselling One Second After series, set in an alternate...
Science fiction
The Man Who Saved the Union: Ulysses Grant in War and Peace
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From New York Times bestselling author H. W. Brands, a masterful biography of the Civil War general...
Thrash Anthems II by Destruction
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German thrash legends DESTRUCTION return with, Thrash Anthems II, the follow-up to 2007's Thrash...
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ClareR (5975 KP) rated The Hemlock Cure in Books
Apr 6, 2023
The Hemlock Cure was a fascinating insight into the lives of ordinary people during the Black Death (Bubonic Plague) epidemic of 1665-1666. The plague is very much in the background of this story for most of it, though.
The real evil isn’t a disease, it’s being shut in with people who clearly do not have good intentions.
The village of Eyam is well known for the decision to shut itself off from the outside world when its inhabitants started to become ill and die. They understood that the only way to halt the spread of the disease was to isolate themselves - a selfless act.
This novel looks at some of the families and their relationships inside and outside of their family units. The local apothecary and his daughter Mae, are one such family. Mae is desperate to be her fathers apprentice, but this isn’t a time in history where it’s safe for a woman to be working with herbs. So Mae studies with the midwife and a local wise woman (who are both also skating on thin ice, truth be told).
The plague wasn’t a constant in London it appears, and we travel there with one of the main characters. The contrast between the country village and London was quite something to read. I could almost smell the difference off the page!!
I enjoyed the pacing of this book: in Eyam the time crawls, whilst in London everything is all hustle and bustle.
The slow reveal of the terrible secrets in Mae’s family are not so much shocking as terrifying. Wulfric, Mae’s father, is not a well man. It seems to be a race against time for Mae.
I would most definitely recommend this book to historical fiction fans - and if you like a mystery, you may well like this as well.
The real evil isn’t a disease, it’s being shut in with people who clearly do not have good intentions.
The village of Eyam is well known for the decision to shut itself off from the outside world when its inhabitants started to become ill and die. They understood that the only way to halt the spread of the disease was to isolate themselves - a selfless act.
This novel looks at some of the families and their relationships inside and outside of their family units. The local apothecary and his daughter Mae, are one such family. Mae is desperate to be her fathers apprentice, but this isn’t a time in history where it’s safe for a woman to be working with herbs. So Mae studies with the midwife and a local wise woman (who are both also skating on thin ice, truth be told).
The plague wasn’t a constant in London it appears, and we travel there with one of the main characters. The contrast between the country village and London was quite something to read. I could almost smell the difference off the page!!
I enjoyed the pacing of this book: in Eyam the time crawls, whilst in London everything is all hustle and bustle.
The slow reveal of the terrible secrets in Mae’s family are not so much shocking as terrifying. Wulfric, Mae’s father, is not a well man. It seems to be a race against time for Mae.
I would most definitely recommend this book to historical fiction fans - and if you like a mystery, you may well like this as well.
A detailed look into the world of forensic pathology.
I don’t read a lot on non-fiction and when I do it is rarely an autobiography or memoir but when I happened to see Unnatural Causes I decided to jump in and hopefully get a better understanding of a profession so often touched on in my beloved crime thriller books. I didn’t regret it for a second.
Dr Richard Shepherd, as one of the UK’s top forensic pathologists, has performed over 23,000 postmortems; that’s a lot of dead bodies! Fascinated by cracking the puzzle of what killed each one this book covers a whole host of unusual cases. Clearing up many misconceptions of the world of forensic pathology we get a great insight into a job few people could stomach.
As he covers many interesting cases we get a unique behind the curtain look into some famous murders and disasters. Shipman, Stephen Lawrence, the Hungerford massacre, the Marchioness disaster, he is even involved in Diana’s inquest. The look into the very difficult area of the death of babies shows a complicated area where everything is not as black and white as we’d like it to be.
His single minded quest for the truth and the very distressing nature of his work takes a toll on his mental health and family life. Although not as fascinating as the cases themselves it’s important to cover this, bring into sharp focus the debt society owes to those willing to surround themselves in such a grim profession.
Dr Richard Shepherd, as one of the UK’s top forensic pathologists, has performed over 23,000 postmortems; that’s a lot of dead bodies! Fascinated by cracking the puzzle of what killed each one this book covers a whole host of unusual cases. Clearing up many misconceptions of the world of forensic pathology we get a great insight into a job few people could stomach.
As he covers many interesting cases we get a unique behind the curtain look into some famous murders and disasters. Shipman, Stephen Lawrence, the Hungerford massacre, the Marchioness disaster, he is even involved in Diana’s inquest. The look into the very difficult area of the death of babies shows a complicated area where everything is not as black and white as we’d like it to be.
His single minded quest for the truth and the very distressing nature of his work takes a toll on his mental health and family life. Although not as fascinating as the cases themselves it’s important to cover this, bring into sharp focus the debt society owes to those willing to surround themselves in such a grim profession.
Bob Mann (459 KP) rated The Death Of Stalin (2017) in Movies
Sep 29, 2021
Death…. Torture…. Child Abuse…. LOL??
Armando Iannucci is most familiar to TV audiences on both sides of the pond for his cutting political satire of the likes of “Veep” and “The Thick of It”, with his only previous foray into directing movies being “In the Loop”: a spin-off of the latter series. Lovers of his work will know that he sails very close to the wind on many occasions, such that watching can be more of a squirm-fest than enjoyment.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Caustic by Primitive Man
Album Watch
Denver’s PRIMITIVE MAN’s music matches its name: a savage, sparse mix of death metal,...
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