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Lou Grande (148 KP) rated Her Body and Other Parties: Stories in Books

Jul 17, 2018

Short fiction is hit or miss for me. I think it's actually a harder genre to write than long, sprawling novels. You have to be concise and hard-hitting, and Machado certainly achieves that in her collection here. Her stories are lush with description, beautifully vague and precise at the same time. These stories hit me on a visceral level. And they really span run the gamut: from a retelling of an urban legend ("The Husband Stitch," which plays off of the story about the little girl with a green ribbon around her neck--you know the one), to the centerpiece of the collection, an offbeat, surreal "parody" of Law & Order: SVU entitled "Especially Heinous: 272 Views of Law & Order: SVU"). Each one had me stopping after I finished, rereading certain passages, and pouring over the text again. I never do that! I'm a speed reader! But these stories demand that you take your time.

At its heart, Her Body and Other Parties is about women--especially queer women. Machado brings something of herself into each of these stories, or so she has said. The storytellers are often unreliable, but never in a degrading or dismissive way. We see stories overlapped with stories, creating intricate layers of narrative. This is not a book for a casual experience. It demands your attention, and it's good enough to deserve it. A masterful blending of prose, horror, comedy, and magic realism, Her Body and Other Parties will be read in universities for years to come. Mark my words!

Kudos

Becs (244 KP) rated Final Draft in Books

Oct 29, 2019

Final Draft

Riley Redgate | 2018 | Contemporary, Fiction & Poetry, LGBTQ+, Young Adult (YA)

4.0

(1 Ratings)

Book Rating

female body positivity (0 more)

MC overshadowed plot (2 more)

secondary characters were dry

self-hatred pushed onto others

Not my favorite read

You can also find this review on my blog: bookingwayreads.wordpress.com

I listened to the audiobook of Final Draft and it was honestly not my favorite. The whole thing was out of order and there were a variety of things that made me extremely uncomfortable with the plot.

Firstly, the relationship between Laila and Mr. Madison was a massive cringe-fest. It crossed a lot of lines, not sexual in any way, but it went from a professional student-teacher relationship to something more personal. Laila would email Mr. Madison things that just shouldn’t have been said to a teacher. It made the rest of the book awfully weird.

It was also difficult to relate to Laila as she seemed to overshadow the plot of the story more than was needed. Many of her actions were selfish and she projected self-hatred onto others. The secondary characters weren’t even fleshed out and the relationships between each of the characters were poorly written. The plot didn’t even stick with the whole creative writing aspect and was mainly more drama than anything else.

The ending was rushed and too much happened within the last few pages. Although Laila does explore her sexuality, she never officially comes out. There was a lot of female body positivity which is really nice to see in a book! But I feel that was about the only thing going for this story.

Kudos

JT (287 KP) rated The Possession of Hannah Grace (2018) in Movies

Mar 10, 2020

If there was ever somewhere befitting of a horror film it’s in a morgue. But unlike the terrifying Autopsy of Jane Doe which, uses the location in a dark and gothic manner, The Possession of Hannah Grace feels overworked and desperate to please.

When an exorcism goes horribly wrong the body ends up within the confines of a Boston hospital morgue three months later. There, ex-cop Megan (Shay Mitchell) who is recovering from her own personal trauma, takes a job working the graveyard shift. The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.

As Megan walks about with not much to do until the eventual arrival of Hannah Grace’s disfigured corpse, she spends the time familiarising herself with the creepy surroundings. Megan’s backstory is far more interesting. Suffering from PTSD after watching her partner get gunned down, she battles an addiction to pills and now has the thankless task of having to battle a demon – hardly job satisfaction.

The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.

In fairness to director Diederik Van Rooijen, he has chosen a tried and tested subgenre. And he isn’t helped by Brian Sieve‘s poor script. There is the odd positive moment, mainly when Hannah’s twisted body offers a glimpse at something more sinister lurking inside her. But that’s about it.

“When you die, you die. End of story,” says Megan – and after 85 minutes we’re pleased it did.