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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!
RS
Ridley Scott: Interviews
Laurence F. Knapp and Andrea F. Kulas
Book
Artisan, entrepreneur, and impresario, British filmmaker Ridley Scott accepts the profit motive as...
Eilidh G Clark (177 KP) rated Serious Sweet: Longlisted for the Man Booker Prize in Books
May 13, 2017
This novel is a work of art, l I would expect nothing less from a Man Booker contender.
‘The trouble was, that Margaret Thatcher got her drunk.’
A.L. Kennedy is an award-winning novelist, short story writer, and comedian. Her most recent novel, Serious Sweet, 2016, was long listed for this year’s Man Booker prize. Prior to reading the novel, I read some reviews and was fascinated by their diversity, comments ranging from disappointing to outright marvellous. This told me that I was about to embark on a work of art, after all I would expect nothing less from a Man Booker contender.
The novel is set in the heart of contemporary London and follows its two main characters, John Sigurdsson and Meg Williams through a single day. John is a fickle character, who at 59-year of age, has recently divorced is adulterous wife, and his professional life is hanging in the balance. Working as a senior civil servant in Westminster, he is attempting to uncover some pretty immoral activity. John has a talent for letter writing, this, he finds, is a romantic way to connect to women, whilst otherwise remaining inconspicuous. This is how he meets Meg.
Meg Williams is a 45-year-old bankrupt accountant, now working in an animal shelter because, ‘people who’ve been damaged by people go and work with salvaged animals because the animals have also been damaged by people’ (128). Meg is a victim of sexual abuse from a previous partner, something that we only learn in smatterings throughout the novel. A struggling alcoholic, Meg is on the wagon then off the wagon and blames her more recent fall on Margaret Thatcher, ‘The trouble was that Margaret Thatcher got her drunk.’
While the novel itself can be read as a political satire, and political corruption is plentiful in the narrative, I feel it is simply a back-story. The real story is the unfolding of the human consciousness and the power of the mind. Kennedy shows the reader the power of will through the thoughts of each character, stripping them back to their rawest and purest selves, and showing real courage and hope.
When John and Meg eventually meet at the end of the novel, it is not without some supercharged emotional turmoil. Connecting initially through letter writing, however, allowed the characters to open up their inner thoughts and feelings and gave a platform to be open and honest without the restrictions of reality. This, I believe, is where hope is born in the story.
Watching these two characters evolve was a real delight for me and I feel that Kennedy did the novel justice. You can almost feel each character battle with their own heads while their consciousness’ begins to intertwine. And let us not forget those beautifully written vignettes between chapters. Kennedy has written a wonderful novel, and Serious Sweet, I believe was worthy of its Man Booker place.
A.L. Kennedy is an award-winning novelist, short story writer, and comedian. Her most recent novel, Serious Sweet, 2016, was long listed for this year’s Man Booker prize. Prior to reading the novel, I read some reviews and was fascinated by their diversity, comments ranging from disappointing to outright marvellous. This told me that I was about to embark on a work of art, after all I would expect nothing less from a Man Booker contender.
The novel is set in the heart of contemporary London and follows its two main characters, John Sigurdsson and Meg Williams through a single day. John is a fickle character, who at 59-year of age, has recently divorced is adulterous wife, and his professional life is hanging in the balance. Working as a senior civil servant in Westminster, he is attempting to uncover some pretty immoral activity. John has a talent for letter writing, this, he finds, is a romantic way to connect to women, whilst otherwise remaining inconspicuous. This is how he meets Meg.
Meg Williams is a 45-year-old bankrupt accountant, now working in an animal shelter because, ‘people who’ve been damaged by people go and work with salvaged animals because the animals have also been damaged by people’ (128). Meg is a victim of sexual abuse from a previous partner, something that we only learn in smatterings throughout the novel. A struggling alcoholic, Meg is on the wagon then off the wagon and blames her more recent fall on Margaret Thatcher, ‘The trouble was that Margaret Thatcher got her drunk.’
While the novel itself can be read as a political satire, and political corruption is plentiful in the narrative, I feel it is simply a back-story. The real story is the unfolding of the human consciousness and the power of the mind. Kennedy shows the reader the power of will through the thoughts of each character, stripping them back to their rawest and purest selves, and showing real courage and hope.
When John and Meg eventually meet at the end of the novel, it is not without some supercharged emotional turmoil. Connecting initially through letter writing, however, allowed the characters to open up their inner thoughts and feelings and gave a platform to be open and honest without the restrictions of reality. This, I believe, is where hope is born in the story.
Watching these two characters evolve was a real delight for me and I feel that Kennedy did the novel justice. You can almost feel each character battle with their own heads while their consciousness’ begins to intertwine. And let us not forget those beautifully written vignettes between chapters. Kennedy has written a wonderful novel, and Serious Sweet, I believe was worthy of its Man Booker place.
Justin Young recommended track Who Are You? by Void in Side B by Void in Music (curated)
Bob Mann (459 KP) rated On the Rocks (2020) in Movies
Oct 23, 2020
Bill Murray being Bill Murray, but in sparkling form
Bill Murray is astonishing. Not just in "On the Rocks", but generally in life. Some actors - Johnny Depp, Mark Rylance, Gary Oldman, for instance - disappear completely into their characters so it takes a while to "see" who they are. Whereas with others - Bill Nighy, Tom Cruise, John Wayne, for instance - it's "Oh, there's the famous actor xxxx in a new movie". If we were grading on a scale, Bill Murray would be at the far right of the latter category. In every movie, he IS Bill Murray! In "Ghostbusters" he was the dry, laconic, wisecracking ghost hunter. In "Groundhog Day" he was the dry, laconic, wisecracking weatherman. In "The Monuments Men" he was the dry, laconic, wisecracking art historian. (In the "Zombieland" movies, he excelled himself by playing the dry, laconic, wisecracking Bill Murray!)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
Emergency Powers (Imogen Trager #3)
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The accidental president is no accident. The investigation that was FBI Agent Imogen Trager’s...
Suspense Thriller Imogen Trager
Sophie Wink (11 KP) rated Granite Grit (Fighting's in the Blood #1) in Books
Jun 26, 2019
"When your toughest opponent is you."
Your not kidding! A very true statement in more ways than one throughout the novel, for the main character Joe and the reader's themselves. What a fantastic debut novel.
The storyline is brilliant, easy to follow and written in quite a unique style jumping from past to present in the space of a couple lines with ease. It is truly fascinating, coming from someone who is clueless when it comes to boxing of any kind I managed to understand everything, it all made sense. I loved the twists and turns the story itself took, unwinding the spiral of destruction the main character created for himself, it's powerful yet sad and overall really moving creating the important hook.
The themes of the story are simple and conveyed with the utmost professionalism, the love between man and women, between parents and children, between man and the art of boxing. The relationships between the characters throughout the novel are wonderfully portrayed whether they come to a complete halt or blossom in times of tragedy. I think the theme of abuse is conveyed beautifully considering the sensitive, powerful and hard-hitting nature of the theme as a whole tying in well with a further theme of family which seems to be one of Joe's fatal flaws. Which leads me on to the character Joe whom I love, hate and support, the character development of Joe is remarkably controlled and really well done. At first, I really loved and sympathised with the man trying to keep his family afloat, then his downwards spiral left me hating him yet supporting him, wanting him to do well and wanting him to win the fight with not only himself but his opponents.
Personally, the fight scenes were my favourite due to the descriptive manner of which they were told, I felt like I was in the crowd onlooking the entire scene feeling the tension and fear in the atmosphere. Although it may not seem like it due to the boxing element the novel is very relatable considering family loyalty, the struggle for money and even the determination Joe has to prove himself. I even found myself laughing out loud at some of the comments Joe made.
Overall, this is truly an amazing book and I couldn't recommend it more.
Your not kidding! A very true statement in more ways than one throughout the novel, for the main character Joe and the reader's themselves. What a fantastic debut novel.
The storyline is brilliant, easy to follow and written in quite a unique style jumping from past to present in the space of a couple lines with ease. It is truly fascinating, coming from someone who is clueless when it comes to boxing of any kind I managed to understand everything, it all made sense. I loved the twists and turns the story itself took, unwinding the spiral of destruction the main character created for himself, it's powerful yet sad and overall really moving creating the important hook.
The themes of the story are simple and conveyed with the utmost professionalism, the love between man and women, between parents and children, between man and the art of boxing. The relationships between the characters throughout the novel are wonderfully portrayed whether they come to a complete halt or blossom in times of tragedy. I think the theme of abuse is conveyed beautifully considering the sensitive, powerful and hard-hitting nature of the theme as a whole tying in well with a further theme of family which seems to be one of Joe's fatal flaws. Which leads me on to the character Joe whom I love, hate and support, the character development of Joe is remarkably controlled and really well done. At first, I really loved and sympathised with the man trying to keep his family afloat, then his downwards spiral left me hating him yet supporting him, wanting him to do well and wanting him to win the fight with not only himself but his opponents.
Personally, the fight scenes were my favourite due to the descriptive manner of which they were told, I felt like I was in the crowd onlooking the entire scene feeling the tension and fear in the atmosphere. Although it may not seem like it due to the boxing element the novel is very relatable considering family loyalty, the struggle for money and even the determination Joe has to prove himself. I even found myself laughing out loud at some of the comments Joe made.
Overall, this is truly an amazing book and I couldn't recommend it more.
Kristy H (1252 KP) rated The Lying Game in Books
Jan 21, 2018
Predictable (1 more)
Slow-moving
Isa, Kate, Fatima, and Thea were the best of friends for a year in boarding school. Thick as thieves, they kept to themselves at Salten House, bonded by a game they invented (The Lying Game), where they came up with increasingly higher stakes lies for a series of points and boasting rights. The girls spent much of their time at The Mill House, Kate's childhood home--a quick walk across the marsh from their boarding school and home to Kate's father, Ambrose, and stepbrother, Luc. But all that changes when Ambrose, an art teacher at Salten, dies; a scandal is uncovered; and the girls are expelled. Years pass without the four women seeing each other, until they receive a text from Kate: I need you. Isa--with her baby daughter in tow, Fatima, and Thea return to The Mill House, where Kate still lives, to help their friend. But what exactly happened all those years ago? And are the women still playing The Lying Game?
So I probably enjoyed this novel more than I should have, considering it's rather predictable. There are so few characters in the book as a whole, it seems, for the ending to be that grand of a surprise. It's also a slow-moving mystery where much of the drama could be avoided if the characters would just talk to each other or tell the truth - ever. The main character, Isa, puts her baby in danger far more often than a reasonable parent would, and for what? Even worse, while Isa is a fairly well-developed main character, her three best friends seem to be more of cliches or stereotypes than fleshed out characters.
Still, Ware has had this hold on me on each of her two previous novels--and she did it again here. The book is just oddly readable, and I found myself drawn to it, despite its flaws, so I have to give that to her. I read it rather quickly, despite being swamped at work, and found myself sneaking away to finish it on my lunch break. It's very descriptive, just like her first two books, and you can easily picture the eerie setting. Even if you're not fully invested in what's happening or you're pretty sure what's going to happen, or who was involved, there's just something compelling that makes you keep reading. The novel is told from Isa's point of view, unfolding in the present, but flashing back to her memories of the past. It's a rather effective technique, as we only figure out plot pieces as she does and can discern bits and pieces of the story through Isa's perspective alone.
Overall, I'd hoped for a bit more, and I probably enjoyed Ware's first two novels as a cohesive whole more than this one. But I won't deny that I found this book intriguing and that it kept me reading. There's certainly a lot in the novel that requires you to suspend some elements of disbelief. Still, I'll definitely continue to read anything Ware writes--she just has a fascinating style.
So I probably enjoyed this novel more than I should have, considering it's rather predictable. There are so few characters in the book as a whole, it seems, for the ending to be that grand of a surprise. It's also a slow-moving mystery where much of the drama could be avoided if the characters would just talk to each other or tell the truth - ever. The main character, Isa, puts her baby in danger far more often than a reasonable parent would, and for what? Even worse, while Isa is a fairly well-developed main character, her three best friends seem to be more of cliches or stereotypes than fleshed out characters.
Still, Ware has had this hold on me on each of her two previous novels--and she did it again here. The book is just oddly readable, and I found myself drawn to it, despite its flaws, so I have to give that to her. I read it rather quickly, despite being swamped at work, and found myself sneaking away to finish it on my lunch break. It's very descriptive, just like her first two books, and you can easily picture the eerie setting. Even if you're not fully invested in what's happening or you're pretty sure what's going to happen, or who was involved, there's just something compelling that makes you keep reading. The novel is told from Isa's point of view, unfolding in the present, but flashing back to her memories of the past. It's a rather effective technique, as we only figure out plot pieces as she does and can discern bits and pieces of the story through Isa's perspective alone.
Overall, I'd hoped for a bit more, and I probably enjoyed Ware's first two novels as a cohesive whole more than this one. But I won't deny that I found this book intriguing and that it kept me reading. There's certainly a lot in the novel that requires you to suspend some elements of disbelief. Still, I'll definitely continue to read anything Ware writes--she just has a fascinating style.
Berek and Hacker's Gynecologic Oncology
Jonathan S. Berek and Neville F. Hacker
8.0
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Get the evidence-based, practical guidance you need to provide state-of-the-art care to women with...
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Trap Door: Trans Cultural Production and the Politics of Visibilty
Johanna Burton, Eric A. Stanley and Reina Gossett
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The increasing representation of trans identity throughout art and popular culture in recent years...