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George Saunders recommended Silences in Books (curated)
Suswatibasu (1701 KP) rated Hillbilly Elegy: A Memoir of a Family and Culture in Crisis in Books
Oct 22, 2017
An untold story of white working-class poverty in the US
J. D. Vance's homage to his poverty-stricken, working class roots in America is essential reading for those attempting to understand how a person like Trump can end up in power.
Without attributing the 2016 election results to Vance and his family himself, the author paints a picture of a total disconnect between establishments and white working class voters. From education, to opportunities in climbing the social ladder, Vance can be seen as an exception due to the lack of outreach from these institutions.
His story can appear both depressing and uplifting at the same time. From experiencing trauma through a broken home, poverty, and an abusive addict mother, to having supportive grandparents who are able to push him into believing in himself. Vance breaks the mould eventually studying at Yale and becoming a venture capitalist. But his doubts in himself are ever present.
Vance, however, also blames 'hillbilly' culture and it's encouragement of social rot. Likewise, he recounts stories about lack of work ethic, and the notion of blaming others for their own misfortune. It highlights the need for stability in families in order for upward mobility.
It is a raw, emotional portrait of growing up in and eventually out of a poor rural community riddled by drug addiction and volatility.
Without attributing the 2016 election results to Vance and his family himself, the author paints a picture of a total disconnect between establishments and white working class voters. From education, to opportunities in climbing the social ladder, Vance can be seen as an exception due to the lack of outreach from these institutions.
His story can appear both depressing and uplifting at the same time. From experiencing trauma through a broken home, poverty, and an abusive addict mother, to having supportive grandparents who are able to push him into believing in himself. Vance breaks the mould eventually studying at Yale and becoming a venture capitalist. But his doubts in himself are ever present.
Vance, however, also blames 'hillbilly' culture and it's encouragement of social rot. Likewise, he recounts stories about lack of work ethic, and the notion of blaming others for their own misfortune. It highlights the need for stability in families in order for upward mobility.
It is a raw, emotional portrait of growing up in and eventually out of a poor rural community riddled by drug addiction and volatility.
Sarah Waters recommended Jane Eyre in Books (curated)
James Dean Bradfield recommended track We Are All Bourgeois Now by McCarthy in That's All Very Well, But... by McCarthy in Music (curated)
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Eilidh G Clark (177 KP) rated Nasty Women in Books
May 13, 2017
Nasty women is hard-hitting, eye-opening, and unashamedly honest.
‘Sometimes the role model you need is not an example to aspire to, but someone who reflects back the parts of yourself that society deems fit.’ -
Becca Inglis
Nasty Women, published by 404 ink, is a collection of essays about what it is, and how it feels to be a woman in the 21st century. When I first picked up the book, I assumed, like I think most readers would, that it would be an easy book to just pick up and put down whenever I had a spare ten minutes. Wrong, I was sucked into this book right from the beginning, and read it all in a day. That doesn’t mean it was an easy read, or perhaps easy is the wrong word – it isn’t a comfortable read - and it isn’t meant to be. Nasty women is hard-hitting, eye-opening, and unashamedly honest.
The book opens with ‘Independence Day’ by Katie Muriel. A story of mixed race and identity in Trump’s America, Muriel discusses her experience of inter-family racism, heightened by political differences, ‘This is not the first, nor is it the last family divide Trump will leave in his wake, but I refuse to think of him as some deity who stands around shifting pieces on a board in his golden war room.’ The anger in this piece is clear, but it is the rationalism and clarity of the writer that speaks volumes. Race, racism and xenophobia, is a prominent feature in these stories. Claire L. Heuchan, for example, talks about ‘Othering’ a term that readers will see repeatedly in this book, ‘Scotland,’ she writes, ‘is a fairly isolating place to be a black woman.’
Survival is a key trope in Nasty Women. Mel Reeve, in ‘The Nastiness of Survival,’ talks about being a survivor of rape and emotional abuse, ‘I do not fit the ‘right’ definition of someone who has been raped.’ This statement alone is filled with irony.
I was particularly drawn to Laura Waddell’s essay, ‘Against Stereotypes: Working Class Girls and Working Class Art.’ Laura talks about the difficulty of both gender and class inequality, and, in particular, the lack of working class writers and working class fiction being published, ‘I have read a lot of fiction’ she says, ‘I have read almost none from housing estates such as the one I grew up on. These stories are missing, from shelves, and from the record.’ As a Scottish fiction writer from a working-class background myself, these words resonate deeply.
Alice Tarbuck’s ‘Foraging and Feminism: Hedge-Witchcraft in the 21st Century’, is almost fun to read in a deeply devastating way. There is a desperate tone in this piece, and a desperate need to escape society. ‘There is beauty and bounty around us if we look for it, and perhaps that is all the magic we need. Or perhaps, what we need is real magic, whether that comes in the form of resistance and community or the form of blackthorn charms and skullcap tinctures, and howling to the moon.
I loved this book. This book gives women a voice. And it is loud! Well done 404 Ink, and all the contributors, for bravely breaking the silence.
Becca Inglis
Nasty Women, published by 404 ink, is a collection of essays about what it is, and how it feels to be a woman in the 21st century. When I first picked up the book, I assumed, like I think most readers would, that it would be an easy book to just pick up and put down whenever I had a spare ten minutes. Wrong, I was sucked into this book right from the beginning, and read it all in a day. That doesn’t mean it was an easy read, or perhaps easy is the wrong word – it isn’t a comfortable read - and it isn’t meant to be. Nasty women is hard-hitting, eye-opening, and unashamedly honest.
The book opens with ‘Independence Day’ by Katie Muriel. A story of mixed race and identity in Trump’s America, Muriel discusses her experience of inter-family racism, heightened by political differences, ‘This is not the first, nor is it the last family divide Trump will leave in his wake, but I refuse to think of him as some deity who stands around shifting pieces on a board in his golden war room.’ The anger in this piece is clear, but it is the rationalism and clarity of the writer that speaks volumes. Race, racism and xenophobia, is a prominent feature in these stories. Claire L. Heuchan, for example, talks about ‘Othering’ a term that readers will see repeatedly in this book, ‘Scotland,’ she writes, ‘is a fairly isolating place to be a black woman.’
Survival is a key trope in Nasty Women. Mel Reeve, in ‘The Nastiness of Survival,’ talks about being a survivor of rape and emotional abuse, ‘I do not fit the ‘right’ definition of someone who has been raped.’ This statement alone is filled with irony.
I was particularly drawn to Laura Waddell’s essay, ‘Against Stereotypes: Working Class Girls and Working Class Art.’ Laura talks about the difficulty of both gender and class inequality, and, in particular, the lack of working class writers and working class fiction being published, ‘I have read a lot of fiction’ she says, ‘I have read almost none from housing estates such as the one I grew up on. These stories are missing, from shelves, and from the record.’ As a Scottish fiction writer from a working-class background myself, these words resonate deeply.
Alice Tarbuck’s ‘Foraging and Feminism: Hedge-Witchcraft in the 21st Century’, is almost fun to read in a deeply devastating way. There is a desperate tone in this piece, and a desperate need to escape society. ‘There is beauty and bounty around us if we look for it, and perhaps that is all the magic we need. Or perhaps, what we need is real magic, whether that comes in the form of resistance and community or the form of blackthorn charms and skullcap tinctures, and howling to the moon.
I loved this book. This book gives women a voice. And it is loud! Well done 404 Ink, and all the contributors, for bravely breaking the silence.
James Koppert (2698 KP) rated Alan Partridge's Scissored Isle in TV
Nov 13, 2019
Go to the bathroom first. You could wet yourself
Alan offends the working class on air so goes to seek redemption and we get a documentary delivered in his acutely awkward way. It is patronising, difficult to watch and so funny I had to keep rewinding it as I was still laughing from the previous scene.
Oh, if you don't like Alan Partridge you won't like this. Why you don't, I don't know.
Oh, if you don't like Alan Partridge you won't like this. Why you don't, I don't know.
Nadine Shah recommended Little Voice (1998) in Movies (curated)
James Koppert (2698 KP) rated The Push Man in Books
May 9, 2020
Genius at work
After reading his autobiography I thought I'd try his work. It is easy to see why the man is do revered. Fascinatingly he is not influenced by the genre he created, instead his influence came from watching the working class men in the inner city around him as well as the seedy crime stories from the newspaper. It makes his work an absolute contrast to the innocence of the man which makes the stories more absorbing. The stories are like snapshots of lives that tell large stories and are absolute genius
Eilidh G Clark (177 KP) rated Night Song of the Last Tram - A Glasgow Childhood in Books
Jul 2, 2019
Not the best memoir I've read
This is a memoir about the author growing up in a working class family in Glasgow. I read this as part of my dissertation on memoir but was deeply disappointed. The childhood language and the adult language are disjointed, the transitions from the adult self and the child self are awkward and the story (for me) was flat. That's not to say its a terrible book. Some of the memories are sweet, vivid and well put together.
