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BookblogbyCari (345 KP) rated The Dark Net in Books
Jan 26, 2019
Eye-opening!
For those who don’t know, the dark net is hidden seedier internet just below the regular surface internet. In this work of non-fiction, Bartlett explores the dark net’s various elusive and somewhat criminal goings-on; often going out of his way in the name of research.
The book kicks off with a dramatic introduction, talking about the Assassination Market. The assassination market is basically an online list of names and dates. Participants bet on what date an individual on the list will die. If a bet is correctly “guessed”, the winner walks away with all the winnings. Unfortunately, this was the shortest chapter and had the least amount of research made evident.
The drama continues in the following chapter which is about trolling, however this chapter read like a history book, and didn’t live up to the precedent set in the introduction. Shortly afterward though, Bartlett goes on to talk about one-man political parties, who set up several accounts on several sites to get their propaganda trending.
Later on Bartlett journeys into the strange real world community of Calafou. Here he meets cypherpunks and explains the crypto-currency Bitcoin to the reader. This unfortunately was another rather drab chapter.
The shortest chapter following the introduction was entitled “Three clicks”, which was named so when the author tried to find out how long it would take him to find child porn using free software known as “The Onion Router” and the “Hidden Wiki”. (Of course the author reported it to the police.)
There’s also a chapter on pro-anorexia and pro-self-harm sites.
And when I said the author often went out of his way in the name of research, I wasn’t kidding! The author went on the online “Silk Road” to purchase a very small amount of marijuana! And later still Bartlett is in the actual bedroom of a webcam star as she performs a rude show with 3 other women!
Reading a book on the dark net is the closest I’m ever going to get to actually using the dark net, so I wanted a lot from this book. I learned that the dark net would be pretty easy to navigate if I really wanted to use it. That said there was nothing in the book that would entice me to do anything that might involve covering my tracks.
So although there were a couple of chapters that were unnecessarily long, the other chapters definitely made up for it! Aside from the lack of detail on the Assassination Market, the remainder of the book appears well researched, with a lot of face to face and online meetings between the author and the people in the know.
The book kicks off with a dramatic introduction, talking about the Assassination Market. The assassination market is basically an online list of names and dates. Participants bet on what date an individual on the list will die. If a bet is correctly “guessed”, the winner walks away with all the winnings. Unfortunately, this was the shortest chapter and had the least amount of research made evident.
The drama continues in the following chapter which is about trolling, however this chapter read like a history book, and didn’t live up to the precedent set in the introduction. Shortly afterward though, Bartlett goes on to talk about one-man political parties, who set up several accounts on several sites to get their propaganda trending.
Later on Bartlett journeys into the strange real world community of Calafou. Here he meets cypherpunks and explains the crypto-currency Bitcoin to the reader. This unfortunately was another rather drab chapter.
The shortest chapter following the introduction was entitled “Three clicks”, which was named so when the author tried to find out how long it would take him to find child porn using free software known as “The Onion Router” and the “Hidden Wiki”. (Of course the author reported it to the police.)
There’s also a chapter on pro-anorexia and pro-self-harm sites.
And when I said the author often went out of his way in the name of research, I wasn’t kidding! The author went on the online “Silk Road” to purchase a very small amount of marijuana! And later still Bartlett is in the actual bedroom of a webcam star as she performs a rude show with 3 other women!
Reading a book on the dark net is the closest I’m ever going to get to actually using the dark net, so I wanted a lot from this book. I learned that the dark net would be pretty easy to navigate if I really wanted to use it. That said there was nothing in the book that would entice me to do anything that might involve covering my tracks.
So although there were a couple of chapters that were unnecessarily long, the other chapters definitely made up for it! Aside from the lack of detail on the Assassination Market, the remainder of the book appears well researched, with a lot of face to face and online meetings between the author and the people in the know.
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Eleanor Luhar (47 KP) rated I'll Give You the Sun in Books
Jun 24, 2019
Read the original review: https://bookmarkedreading.wordpress.com/2015/10/08/book-review-ill-give-you-the-sun/
(Self-portrait: Book Remakes Girl)
Oh my Clark Gable. I'll Give You the Sun is simply amazing. It's a piece or artwork in itself, a definite new favourite of mine.
Alternating between twins Noah and Jude, I'll Give You the Sun is two alternating stories that twist together in ways so unexpected and so perfect that you'll undoubtedly want to read to the end without putting the book down. The Invisible Museum of Noah, aged 13 to 14, and The History of Luck, 16-year-old's Jude's story, are amazing on their own, but then they start to fit together so tremendously, and every little thing makes so much sense... I can't describe how amazing I found this book.
Jude and Noah were close; Noah was always painting, inside his head and out, and Jude was out being a badass daredevil, and building her flying women in the sand. But a horrific accident involving their mother sends them both tumbling, and the relationship between them is ruined.
But although all hope seems lost, the now-boycotting Jude finds the answer in such an unexpected way and suddenly everything falls back into place.
And Noah, after having his heart ripped out by his own actions, has to decide between telling the truth about his mother or keeping her secrets hidden beneath lies.
I love the style and layout of this book. The cover alone is wonderful, but the pages themselves are all so unique and interesting, I loved it at soon as I turned to the first page. It's not too busy or intricate, just simple little doodles and such giving each page a bit of character. And every cover I've seen is nice and minimalistic too. (If you want to look the book up and see the over editions and covers you can look at it on Goodreads.)
A story of family struggles, individual troubles, love and heartbreak, I'll Give You the Sun is simply beautiful. I'm dying to read it again, even after finishing it just ten minutes ago! A full 5 stars for this gorgeous book.
(Self-portrait: Book Remakes Girl)
Oh my Clark Gable. I'll Give You the Sun is simply amazing. It's a piece or artwork in itself, a definite new favourite of mine.
Alternating between twins Noah and Jude, I'll Give You the Sun is two alternating stories that twist together in ways so unexpected and so perfect that you'll undoubtedly want to read to the end without putting the book down. The Invisible Museum of Noah, aged 13 to 14, and The History of Luck, 16-year-old's Jude's story, are amazing on their own, but then they start to fit together so tremendously, and every little thing makes so much sense... I can't describe how amazing I found this book.
Jude and Noah were close; Noah was always painting, inside his head and out, and Jude was out being a badass daredevil, and building her flying women in the sand. But a horrific accident involving their mother sends them both tumbling, and the relationship between them is ruined.
But although all hope seems lost, the now-boycotting Jude finds the answer in such an unexpected way and suddenly everything falls back into place.
And Noah, after having his heart ripped out by his own actions, has to decide between telling the truth about his mother or keeping her secrets hidden beneath lies.
I love the style and layout of this book. The cover alone is wonderful, but the pages themselves are all so unique and interesting, I loved it at soon as I turned to the first page. It's not too busy or intricate, just simple little doodles and such giving each page a bit of character. And every cover I've seen is nice and minimalistic too. (If you want to look the book up and see the over editions and covers you can look at it on Goodreads.)
A story of family struggles, individual troubles, love and heartbreak, I'll Give You the Sun is simply beautiful. I'm dying to read it again, even after finishing it just ten minutes ago! A full 5 stars for this gorgeous book.
All the Ways We Said Goodbye
Karen White, Beatriz Williams and Lauren Willig
8.0
Rate It
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American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee
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Cody Cook (8 KP) rated A Black Theology of Liberation in Books
Jun 29, 2018
James Cone is considered to be the founder of Black Liberation Theology, a variant of the Liberation Theology movement most widely connected with South American theologian Gustavo Gutierrez. Liberation Theology emphasizes those biblical concerns that white European flavored Christianity has often looked over– concerns like justice and liberation for the oppressed and downtrodden (Luke 4:16-21, Matthew 25:31-45, etc.). Though these emphases are quite important, in Liberation movements, they can often drown out other, extremely vital, elements of the Christian faith, as they clearly do in Cone’s Black Liberation Theology.
One major issue for Cone is one of authority. The experience of one group of people (the oppressed) becomes equivalent with universal truth, and not simply an important concern in Christian theology. In other words, Cone makes his own experience the judge of who God is and what God is for. While “white” (a term used by Cone not so much to reflect skin color but an oppressor mentality) Christianity commits this grave error without realizing it, Cone does so with full knowledge. So, for instance, while a conservative “white” theologian would say that his own views and actions *should* be directed by the scripture (whether or not he does in fact direct them by this standard), Cone makes the judgement of the oppressed black community the ultimate truth for them– and if mass violence against whites is decided by the group as the best means to effect their liberation, so be it. Cone explicitly distances himself from the approach of King, identifying more with the violence-prone philosophy of the Nation of Islam as propounded by Malcolm X. If someone criticizes his approach, he seems to assume that they’re doing so as a “white” oppressor and should be ignored– an oppressor has no moral right to question the rightness or wrongness of the actions of the people he is oppressing. This of course ignores the criticisms of violence, even from the oppressed, of black Christians like Martin Luther King Jr., Desmond Tutu, etc. Cone is also unfortunately either unfamiliar with or unconvinced by pacifist Christian claims to be committed to peaceful action, since he equates non-violence with inaction and acquiescence. While he is absolutely correct in seeing liberation as an important theme in the Christian faith, he, like “white” religionists, allows his own experience and emotions to determine what is right and wrong to the point of supporting evil in the interest of what he feels is best for his community. However, what can’t be said of Cone’s position on violence is that it is radical, because it is emphatically not. The political heroes of most white Americans are men who used violence to gain political autonomy. Thus, it is not radical for black men and women to look up to figures like Malcolm X and James Cone who advocate doing the same thing if it seems necessary for freedom and self-determination; it is merely status quo. The problem is that Jesus calls all men and women, regardless of color, to rise above the status quo and the myth of redemptive violence.
Seizing on that point, one major problem with Cone’s view of violent revolution is that when oppressed people rise up through violence, they become the oppressor– co-opting the tools of oppression and dehumanization. “Blacks” become “white” through the use of violence. Cone seems unaware of (doubtful) or unaffected by the history of the Bolshevik, Cuban, or French revolutions, wherein the oppressed quickly became the oppressors and became twofold more a child of hell than their oppressors. His view also reshapes Nat Turner, the slave who claimed to have been directed by God to murder white women and children, into an unqualified hero. Cone’s system re-establishes and re-affirms oppression– it does not end it.
For Cone, God is black and the devil is white, because God supports the oppressed and the devil supports the oppressor. But in so closely identifying God with blackness, the actions of those in the black community are now above being questioned, just like the actions of white enslavers were, according to them, above being questioned because they aligned themselves with God and those whom they oppressed with the devil.
What Cone is really trying to get at is that since Jesus supports the cause of the oppressed, the oppressor must so distance himself from his oppressor identity that he becomes indistinguishable from the oppressed– willing to suffer along with them– if he is to be Christ-like. In other words, the “white” must become “black.” Cone says that God can’t be colorless where people suffer for their color. So, where blacks suffer God is black. Taking this logic, which is indeed rooted in Scripture, where the poor suffer, God is poor. Where babies are killed in the womb, God is an aborted baby. Where gay people are bullied, God is gay. It is our obligation to identify with the downtrodden, because that’s what Jesus did. Paul, quoting a hymn of the church about Jesus, puts it this way:
“In your relationships with one another, have the same mindset as Christ Jesus:
‘Who, being in very nature God,
did not consider equality with God something to be used to his own advantage;
rather, he made himself nothing
by taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
by becoming obedient to death—
even death on a cross!'”
–Philippians 2:5-8
Jesus not only gives up his power to express love to the powerless by identifying with them, He also takes on their sin and suffers with and for them. This is the essence of the gospel, and it often gets lost when we translate it into our daily lives. For Cone, this important truth gets lost in the banner of black militantism and the cycle of violence. For so many American Christians, it gets lost when they reduce the political nature of Christianity to scolding those whose private expression of morality doesn’t line up with theirs. We refuse to identify with sinners (which is a category we all fit into) in love.
One major issue for Cone is one of authority. The experience of one group of people (the oppressed) becomes equivalent with universal truth, and not simply an important concern in Christian theology. In other words, Cone makes his own experience the judge of who God is and what God is for. While “white” (a term used by Cone not so much to reflect skin color but an oppressor mentality) Christianity commits this grave error without realizing it, Cone does so with full knowledge. So, for instance, while a conservative “white” theologian would say that his own views and actions *should* be directed by the scripture (whether or not he does in fact direct them by this standard), Cone makes the judgement of the oppressed black community the ultimate truth for them– and if mass violence against whites is decided by the group as the best means to effect their liberation, so be it. Cone explicitly distances himself from the approach of King, identifying more with the violence-prone philosophy of the Nation of Islam as propounded by Malcolm X. If someone criticizes his approach, he seems to assume that they’re doing so as a “white” oppressor and should be ignored– an oppressor has no moral right to question the rightness or wrongness of the actions of the people he is oppressing. This of course ignores the criticisms of violence, even from the oppressed, of black Christians like Martin Luther King Jr., Desmond Tutu, etc. Cone is also unfortunately either unfamiliar with or unconvinced by pacifist Christian claims to be committed to peaceful action, since he equates non-violence with inaction and acquiescence. While he is absolutely correct in seeing liberation as an important theme in the Christian faith, he, like “white” religionists, allows his own experience and emotions to determine what is right and wrong to the point of supporting evil in the interest of what he feels is best for his community. However, what can’t be said of Cone’s position on violence is that it is radical, because it is emphatically not. The political heroes of most white Americans are men who used violence to gain political autonomy. Thus, it is not radical for black men and women to look up to figures like Malcolm X and James Cone who advocate doing the same thing if it seems necessary for freedom and self-determination; it is merely status quo. The problem is that Jesus calls all men and women, regardless of color, to rise above the status quo and the myth of redemptive violence.
Seizing on that point, one major problem with Cone’s view of violent revolution is that when oppressed people rise up through violence, they become the oppressor– co-opting the tools of oppression and dehumanization. “Blacks” become “white” through the use of violence. Cone seems unaware of (doubtful) or unaffected by the history of the Bolshevik, Cuban, or French revolutions, wherein the oppressed quickly became the oppressors and became twofold more a child of hell than their oppressors. His view also reshapes Nat Turner, the slave who claimed to have been directed by God to murder white women and children, into an unqualified hero. Cone’s system re-establishes and re-affirms oppression– it does not end it.
For Cone, God is black and the devil is white, because God supports the oppressed and the devil supports the oppressor. But in so closely identifying God with blackness, the actions of those in the black community are now above being questioned, just like the actions of white enslavers were, according to them, above being questioned because they aligned themselves with God and those whom they oppressed with the devil.
What Cone is really trying to get at is that since Jesus supports the cause of the oppressed, the oppressor must so distance himself from his oppressor identity that he becomes indistinguishable from the oppressed– willing to suffer along with them– if he is to be Christ-like. In other words, the “white” must become “black.” Cone says that God can’t be colorless where people suffer for their color. So, where blacks suffer God is black. Taking this logic, which is indeed rooted in Scripture, where the poor suffer, God is poor. Where babies are killed in the womb, God is an aborted baby. Where gay people are bullied, God is gay. It is our obligation to identify with the downtrodden, because that’s what Jesus did. Paul, quoting a hymn of the church about Jesus, puts it this way:
“In your relationships with one another, have the same mindset as Christ Jesus:
‘Who, being in very nature God,
did not consider equality with God something to be used to his own advantage;
rather, he made himself nothing
by taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
by becoming obedient to death—
even death on a cross!'”
–Philippians 2:5-8
Jesus not only gives up his power to express love to the powerless by identifying with them, He also takes on their sin and suffers with and for them. This is the essence of the gospel, and it often gets lost when we translate it into our daily lives. For Cone, this important truth gets lost in the banner of black militantism and the cycle of violence. For so many American Christians, it gets lost when they reduce the political nature of Christianity to scolding those whose private expression of morality doesn’t line up with theirs. We refuse to identify with sinners (which is a category we all fit into) in love.
Kristy H (1252 KP) rated The Stranger Behind You in Books
Jul 15, 2021
An atmospheric and twisty thriller
Reporter Joan Lurie becomes famous when her story in Manhatta exposes Globe owner Caspar Osgood as a sexual harasser. But as she returns home the night of the publication, she's attacked in her apartment. Terrified and feeling ill from a severe blow to the head, she moves to a super secure building in Manhattan, called the Refuge, to write a book that further details what she's discovered about Casper. At the Refuge, she meets her elderly neighbor, Lillian, who has lived there since it was the Magdalen Laundry and Refuge for Fallen Women in the 1940s. She becomes sucked into Lillian's stories, which often remind Joan of her own life. Meanwhile, Caspar's wife Melissa must deal with the aftermath of learning her husband is sexual predator. Soon, these women's lives will intertwine: in potentially dangerous ways.
"I'm here because four weeks ago someone tried to kill me."
This was an often confusing but incredibly intriguing book that combines the #MeToo movement with a story about wayward girls. You're never quite sure what's going on, as Joan can be an unreliable narrator (head injury + fear, anyone?), leaving one feeling very off balance for the entire book. There's a story within a story here, as Joan goes after Caspar and his transgressions, combined with Lillian's story and her past.
"What kind of person is more concerned about their hard drive than their body?"
I loved the 1940s piece, learning about Lily, the Magdalen laundry, and the Refuge when it was a home for girls. It's fascinating even while being quite sad. Joan could be a very frustrating character (just go to the doctor for your head injury and stop drinking already), but you cannot fault her reporting skills. Caspar's wife Melissa adds a certain depth to the tale, as she wrestles with what her husband has done. Telling the story from Joan and Melissa's point of view really expands what we learn. This is also an atmospheric read, with the Refuge becoming its own character, especially as we learn about its history from the 1940s on. Goodman is always excellent at setting the scene.
While I sometimes found this book frustrating, it was also a page-turner, with compelling characters and an interesting story with some great twists. 4 stars.
"I'm here because four weeks ago someone tried to kill me."
This was an often confusing but incredibly intriguing book that combines the #MeToo movement with a story about wayward girls. You're never quite sure what's going on, as Joan can be an unreliable narrator (head injury + fear, anyone?), leaving one feeling very off balance for the entire book. There's a story within a story here, as Joan goes after Caspar and his transgressions, combined with Lillian's story and her past.
"What kind of person is more concerned about their hard drive than their body?"
I loved the 1940s piece, learning about Lily, the Magdalen laundry, and the Refuge when it was a home for girls. It's fascinating even while being quite sad. Joan could be a very frustrating character (just go to the doctor for your head injury and stop drinking already), but you cannot fault her reporting skills. Caspar's wife Melissa adds a certain depth to the tale, as she wrestles with what her husband has done. Telling the story from Joan and Melissa's point of view really expands what we learn. This is also an atmospheric read, with the Refuge becoming its own character, especially as we learn about its history from the 1940s on. Goodman is always excellent at setting the scene.
While I sometimes found this book frustrating, it was also a page-turner, with compelling characters and an interesting story with some great twists. 4 stars.
Gareth von Kallenbach (980 KP) rated The Post (2017) in Movies
Jul 11, 2019
You can’t get on the internet these days without a political controversy smacking you right in the face. You also can’t help but notice the timing of this historical thriller directed by Steven Spielberg. Using the past’s political agenda to reaffirm the resistance we are facing today. The Post takes place in the deep thrones of the Vietnam War, the “Pentagon Papers” are leaked: a classified study of revealing a government cover up relating to the war. Kay Graham (Meryl Steep) is the owner and largest shareholder of the Washington Post newspaper. Taking on a position she never foresaw herself ever doing after the untimely death of her husband. And, finally having to make one of the toughest decision of her entire life, both personally and professionally. To not only bringing down the government, but some very close personal friends in the process. It takes her Editor-In-Chief, Ben Bradlee (Tom Hanks) to convince her the importance of the news and the role journalists must play to deliver the news and protect the governed and not the government.
When you hear the high caliber names such as Hanks, Streep, Speilberg, you can almost guarantee a top notch film with unbelievable emphasis on character development. They definitely did not disappoint! The Post works as a history lesson. Not only does it portray the events that took place with such thorough details, it exemplifies the relationship between not only a journalist and their source, but also the personal struggle between the editor, the owner of the newspaper, their friends who hold major positions within the government, and the moral obligation to at least get the truth out to the public.
The set design, the costume design, the characters’ mannerisms are flawless. Even the way social interaction was demonstrated between men and women. Women’s role is in the home, cooking, cleaning, and entertaining. Something so simple as the use of a rotary phone played such a nostalgic role. I can’t say enough about the wonderful acting skills of both Streep and Hanks. I suspect one or both with be receiving some serious accolades during awards season. Streep and Hanks both shine throughout the entire film. They both did a great job at relaying the emotions and the turmoil these characters faced.
Many lines throughout the movie–“if we don’t hold them accountable, than who will?”–ring true to a lot of the issues affecting us today.
When you hear the high caliber names such as Hanks, Streep, Speilberg, you can almost guarantee a top notch film with unbelievable emphasis on character development. They definitely did not disappoint! The Post works as a history lesson. Not only does it portray the events that took place with such thorough details, it exemplifies the relationship between not only a journalist and their source, but also the personal struggle between the editor, the owner of the newspaper, their friends who hold major positions within the government, and the moral obligation to at least get the truth out to the public.
The set design, the costume design, the characters’ mannerisms are flawless. Even the way social interaction was demonstrated between men and women. Women’s role is in the home, cooking, cleaning, and entertaining. Something so simple as the use of a rotary phone played such a nostalgic role. I can’t say enough about the wonderful acting skills of both Streep and Hanks. I suspect one or both with be receiving some serious accolades during awards season. Streep and Hanks both shine throughout the entire film. They both did a great job at relaying the emotions and the turmoil these characters faced.
Many lines throughout the movie–“if we don’t hold them accountable, than who will?”–ring true to a lot of the issues affecting us today.