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Lottie disney bookworm (1056 KP) rated Thread Needle in Books
Jun 17, 2021
“Magic is the first sin. It must be bound.”
Anna is an orphan, she is a witch with no magic, she is a nobody.
Raised by her aunt in London since her parents’ death when she was just 3 months old, Anna leads a monotonous life of school, homework, chores and learning to control her magic. Not that she has much magic to control, but Anna has been raised in the shadow of the Binders, a coven who believe magic is a sin and who will bind Anna’s magic when she turns 16. Until then, Anna must not draw attention to herself or the world of magic, she must shrink and she must be invisible. Only when her magic is bound will she be safe…or so the Binders would lead her to believe.
Threadneedle begins around Anna’s 15th birthday, when Anna and her Aunt receive a surprise visit from a family friend (and witch) Selene, her daughter Effie and friend Attis. Anna has idolised Selene since her childhood but I imagine even she did not anticipate this birthday visit to change her life so significantly.
Selene, Effie and Attis are the complete opposite of the Binders, using magic freely and unreservedly: they open up a whole new world to the reluctant Anna and even convince her to create a coven with them, discovering new witches right under their noses. However, as Anna practices magic more, a peculiar symbol seems to haunt her; the symbol of the eye – the symbol of a curse.
The majority of Threadneedle takes place within Anna’s home and school. Anna’s life as a nobody at school is turned on its head with Effie’s arrival and she finds that, along with friends, comes the drama of a typical teenage girl. Bullying and body-shaming are key topics here and sort of edged the book into the YA category in my opinion.
Anna as a character is portrayed as an entirely ordinary teenager, if a little meek. Her aunt, in juxtaposition, is controlling and dominating, although she always expresses that this is necessary to protect Anna and comes from a place of love. Aunt is rarely referred to by her name and has an abusive hold over Anna, punishing her with magic if she so much as shows a flicker of emotion. The reader witnesses Anna’s emotional and physical abuse at the hands of her Aunt, with Cari Thomas even beginning each chapter with one of the Binders’ tenets, signifying the brainwashing nature of the coven.
Anna doesn’t remain meek for long though: fuelled by her intrigue of magic and the mystery behind her parent’s death, Anna soon starts pushing the boundaries that she has lived within for so long. Will she succeed and manage to discover the magical world that surrounds her? Or will her magic be knotted before she gets the chance?
Despite being set in present-day London, Thomas really does introduce an entirely new world of magic with different magical languages, different covens and the constant threat of The Hunters. I found the mixture of darkness and realism incredible.
I also loved the fact that the magic and non-magic worlds run side by side in Thomas’ world but I am very conscious that any magical book written post-Harry Potter is obviously going to have comparisons made. However, Anna does not have the safety of Hogwarts or a doting headmaster to fall back on. There are no teachers providing an education in magic, she must find her magic on her own. No this is a far cry from Harry Potter; Threadneedle is more like a bubbling mixture of Charmed, with a ladle full of Mean Girls and a teaspoon of The Craft for good measure.
The sheer amount of world building by Cari Thomas means that the first few chapters of Threadneedle can feel quite slow but the novel soon settles into place. Thomas also has almost a rhythmic quality to her narrative, with fast-paced writing in dramatic spots before slowing right down again to represent Anna’s isolation. The final chapters were so captivating, with several mysteries that had been steadily growing finally coming to a head: I couldn’t read this fast enough.
Threadneedle is the first in the Language of Magic series by Cari Thomas and it is one hell of a debut! From prophecies and poison to bullies and love triangles; magical libraries, witch hunters and more plot twists than you can imagine, this book has it all. Thomas’ writing is so clever that towards the end of the book even the reader doesn’t know who to believe any more!
Thank you to HarperCollins, and NetGalley for the opportunity to discover this new world. The hype around this book is going to be crazy and it is completely deserved.
Anna is an orphan, she is a witch with no magic, she is a nobody.
Raised by her aunt in London since her parents’ death when she was just 3 months old, Anna leads a monotonous life of school, homework, chores and learning to control her magic. Not that she has much magic to control, but Anna has been raised in the shadow of the Binders, a coven who believe magic is a sin and who will bind Anna’s magic when she turns 16. Until then, Anna must not draw attention to herself or the world of magic, she must shrink and she must be invisible. Only when her magic is bound will she be safe…or so the Binders would lead her to believe.
Threadneedle begins around Anna’s 15th birthday, when Anna and her Aunt receive a surprise visit from a family friend (and witch) Selene, her daughter Effie and friend Attis. Anna has idolised Selene since her childhood but I imagine even she did not anticipate this birthday visit to change her life so significantly.
Selene, Effie and Attis are the complete opposite of the Binders, using magic freely and unreservedly: they open up a whole new world to the reluctant Anna and even convince her to create a coven with them, discovering new witches right under their noses. However, as Anna practices magic more, a peculiar symbol seems to haunt her; the symbol of the eye – the symbol of a curse.
The majority of Threadneedle takes place within Anna’s home and school. Anna’s life as a nobody at school is turned on its head with Effie’s arrival and she finds that, along with friends, comes the drama of a typical teenage girl. Bullying and body-shaming are key topics here and sort of edged the book into the YA category in my opinion.
Anna as a character is portrayed as an entirely ordinary teenager, if a little meek. Her aunt, in juxtaposition, is controlling and dominating, although she always expresses that this is necessary to protect Anna and comes from a place of love. Aunt is rarely referred to by her name and has an abusive hold over Anna, punishing her with magic if she so much as shows a flicker of emotion. The reader witnesses Anna’s emotional and physical abuse at the hands of her Aunt, with Cari Thomas even beginning each chapter with one of the Binders’ tenets, signifying the brainwashing nature of the coven.
Anna doesn’t remain meek for long though: fuelled by her intrigue of magic and the mystery behind her parent’s death, Anna soon starts pushing the boundaries that she has lived within for so long. Will she succeed and manage to discover the magical world that surrounds her? Or will her magic be knotted before she gets the chance?
Despite being set in present-day London, Thomas really does introduce an entirely new world of magic with different magical languages, different covens and the constant threat of The Hunters. I found the mixture of darkness and realism incredible.
I also loved the fact that the magic and non-magic worlds run side by side in Thomas’ world but I am very conscious that any magical book written post-Harry Potter is obviously going to have comparisons made. However, Anna does not have the safety of Hogwarts or a doting headmaster to fall back on. There are no teachers providing an education in magic, she must find her magic on her own. No this is a far cry from Harry Potter; Threadneedle is more like a bubbling mixture of Charmed, with a ladle full of Mean Girls and a teaspoon of The Craft for good measure.
The sheer amount of world building by Cari Thomas means that the first few chapters of Threadneedle can feel quite slow but the novel soon settles into place. Thomas also has almost a rhythmic quality to her narrative, with fast-paced writing in dramatic spots before slowing right down again to represent Anna’s isolation. The final chapters were so captivating, with several mysteries that had been steadily growing finally coming to a head: I couldn’t read this fast enough.
Threadneedle is the first in the Language of Magic series by Cari Thomas and it is one hell of a debut! From prophecies and poison to bullies and love triangles; magical libraries, witch hunters and more plot twists than you can imagine, this book has it all. Thomas’ writing is so clever that towards the end of the book even the reader doesn’t know who to believe any more!
Thank you to HarperCollins, and NetGalley for the opportunity to discover this new world. The hype around this book is going to be crazy and it is completely deserved.
Sophia (Bookwyrming Thoughts) (530 KP) rated Senshi (Katana, #2) in Books
Jan 23, 2020
Original Review posted on <a title="Senshi by Cole Gibsen" href="http://bookwyrming-thoughts.blogspot.com/2013/11/review-senshi-by-cole-gibsen.html">http://bookwyrming-thoughts.blogspot.com/2013/11/review-senshi-by-cole-gibsen.html</a>;
Original Rating: 4.5 out of 5 Owls
<i><b>Note:</b> Formatting may be lost due to copy and paste</i>
Well, I'll admit Katana felt like a stand alone with the "oh, hey, they lived happily ever after! There's no more!" And I actually did think Katana was a stand alone.
But then Goodreads spoiled everything. -_- I can't believe you would do that to me, Goodreads.
Well, not exactly. I really wouldn't have known Katana had a sequel without Goodreads, but with the announcements every single day (Katana was a book club read in October) at school about preordering Senshi, I'm bound to know eventually.
Or the county library would have said, "hey, there's a sequel!" right after I returned Katana in Ebooks Library Lend101. Go figure.
Moving on.
In Senshi, it's been a few months since the events left off in Katana. Going down memory lane in terms of nutshell spoilers, Rileigh's finally come to terms with her inner warrior self (go Rileigh!).
I must say, despite the fact Katana felt like a stand alone, Senshi had some nice surprises waiting for me when reading, and it was almost as good as the first novel. Okay, I almost always love the first novel before the sequels because it's not the end where you have to wave good bye to characters.
But I just love it when authors lead you down one road but then all of a sudden, they toss in a thing or two (or more) that throws the reader off balance. It makes everything less predictable. ^_^
The characters are just as amazingly written as ever, particularly Quentin, who I must admit has already landed on my favorite characters from the series next to Rileigh (of course, Rileigh. It's not like I can read Quentin's mind from Rileigh's view, even though I would love to, but I'm just one little opinion out of... hundreds). Then there's Sumi and also Dr. Wendell. I hope I'm not the only when I say the interaction between Rileigh and Dr. Wendell is pretty classic in the way Rileigh pushes Dr. Wendell's buttons all the time. Sumi, on the other hand, is a nuisance and a pain in the butt. Unfortunately, she's likely back in the next book: Shinobi. Fantabulous. A great way to make a Tuesday better. Good thing it's not a Friday. I think I'll survive.
My Two Cents of Randomness: Aliens didn't abduct Rileigh and change her up did they? I still find the cover really weird. O_o (But only the story matters in my humble opinion, so says the girl who can't even draw a pair of eyes that aren't lopsided.)
Original Rating: 4.5 out of 5 Owls
<i><b>Note:</b> Formatting may be lost due to copy and paste</i>
Well, I'll admit Katana felt like a stand alone with the "oh, hey, they lived happily ever after! There's no more!" And I actually did think Katana was a stand alone.
But then Goodreads spoiled everything. -_- I can't believe you would do that to me, Goodreads.
Well, not exactly. I really wouldn't have known Katana had a sequel without Goodreads, but with the announcements every single day (Katana was a book club read in October) at school about preordering Senshi, I'm bound to know eventually.
Or the county library would have said, "hey, there's a sequel!" right after I returned Katana in Ebooks Library Lend101. Go figure.
Moving on.
In Senshi, it's been a few months since the events left off in Katana. Going down memory lane in terms of nutshell spoilers, Rileigh's finally come to terms with her inner warrior self (go Rileigh!).
I must say, despite the fact Katana felt like a stand alone, Senshi had some nice surprises waiting for me when reading, and it was almost as good as the first novel. Okay, I almost always love the first novel before the sequels because it's not the end where you have to wave good bye to characters.
But I just love it when authors lead you down one road but then all of a sudden, they toss in a thing or two (or more) that throws the reader off balance. It makes everything less predictable. ^_^
The characters are just as amazingly written as ever, particularly Quentin, who I must admit has already landed on my favorite characters from the series next to Rileigh (of course, Rileigh. It's not like I can read Quentin's mind from Rileigh's view, even though I would love to, but I'm just one little opinion out of... hundreds). Then there's Sumi and also Dr. Wendell. I hope I'm not the only when I say the interaction between Rileigh and Dr. Wendell is pretty classic in the way Rileigh pushes Dr. Wendell's buttons all the time. Sumi, on the other hand, is a nuisance and a pain in the butt. Unfortunately, she's likely back in the next book: Shinobi. Fantabulous. A great way to make a Tuesday better. Good thing it's not a Friday. I think I'll survive.
My Two Cents of Randomness: Aliens didn't abduct Rileigh and change her up did they? I still find the cover really weird. O_o (But only the story matters in my humble opinion, so says the girl who can't even draw a pair of eyes that aren't lopsided.)
Hadley (567 KP) rated Voices in the Snow in Books
Feb 16, 2021
Horror (2 more)
Well-written detail
Atmosphere
Awkward characters (1 more)
Some inconsistencies
Winter is beginning to really show up for 2021 by blanketing the States in snow, which made this novel seem fitting to read this month, along with the isolated climate of quarantine which the two main characters go through in Darcy Coates' Voices in the Snow. This story is the first book in a four book series that is full of horror and mystery, and I couldn't seem to put it down - - - after the first 100 pages, the story steers off in a direction I didn't see coming.
Voices in the Snow is set in today's world, but at the beginning of a dystopian future in the UK, which mostly takes place at a large, desolate manor that sits just outside a forest called Banksy Forest. From the second chapter until the end, readers make their home here with the two main characters Clare and Dorran, but very shortly into the story, we realize that they aren't the only 'people' in the house.
The main question of the novel is whether or not Dorran can be trusted - - - Clare wakes up in his family's manor after a car accident, and she can't exactly remember how the accident happened, but she also can't remember why she was driving out in a blizzard in the first place, but she does recall that she was on the phone with her sister, Beth, and we learn that her sister worries about Clare like she's her mother. Clare becomes focused on trying to somehow contact Beth to let her know she's still alive.
We find out later that Dorran comes from a prestigious family that makes their money from being in the wood distribution business. His family, the Morthornes, aren't a typical family. Not only does Dorran's relatives live at the manor during the warmer months, but so do the servants, all 60 of them. Dorran makes it obvious that he doesn't enjoy this type of lifestyle:
" ' All right. I guess not. Especially in this house. How large is it [the house] ?'
'Inconveniently large.' He shrugged. 'It does not only house our family, but the servants as well.'
Clare's eyebrows rose. 'Servants?'
'Staff,' he corrected quickly. Clare thought she saw a flicker of embarrassment, but it was hidden almost immediately. 'My apologies. That is another part of tradition that is well outdated. My mother wishes for the staff to be referred to as servants.' "
Soon the two are discussing whether or not they could survive for months at the manor due to the blizzard not seeming to let up, with this discussion, readers find out there is an inside garden located in the depths of the manor, unfortunately, food wasn't planted since the family and servants leave the home for the winter, but there are plenty of seeds to start cultivating. One day while Clare is trying to get the seeds planted, she decides to go get Dorran, who left to go check on the many furnaces that heat the manor, but Clare easily gets lost in the house she has barely walked around in, and ends up in a wine cellar: here, Clare hears scraping noises that lead her to a creature huddled in the dark.
" The figure turned toward her. Eyes glinted - - - horrible, inhuman eyes peering out from behind long, greasy hair. Then the figure darted away, escaping from her circle of light, disappearing into a narrow doorway in the stone wall.
A sharp, broken scream cut through the cold air. Clare didn't realize it had come from her until she felt the ache in her throat. She stumbled backward, and her shoulders hit one of the shelves. Muffled clinking noises surrounded her as the bottles rocked.
She couldn't stop shaking. The thudding footsteps echoed around her, beating fast, like her own heart. The scraping noise joined it, louder this time. It surrounded her and overwhelmed her. "
Although Clare tells Dorran what she saw, he doesn't believe her. He believes that the stress from the car accident has caused her to hallucinate. Clare slowly begins to tell herself that he's probably right, but then the human-like creatures begin to show up more and more, always disappearing right before Dorran can see them. Shortly after an incident with another one of the creatures, Clare runs into Banksy Forest, set on getting the radio she remembered having in her car, to contact her sister Beth.
There are so many twists and turns in this story that it makes it wonderfully unpredictable. If I said anymore about it, it would give away too many of the surprises waiting inside. Voices in the Snow may not have been the best title for this book, but it is a really well-written horror story. The only annoyance I had with the novel is the awkwardness between the two main characters, which didn't seem natural. Most of what happens between Clare and Dorran are seen a mile away before it happens. During some scenes, I found myself rolling my eyes at the dialogue between Clare and Dorran, but the horror in the story makes up for the predictability of the characters.
I highly recommend this book to horror lovers; the scenes of scares and creatures were well-detailed. I was not disappointed at all. There were only a few inconsistencies throughout, but I think they would be easily over looked for the story is really enjoyable. I look forward to reading the rest of the series.
Voices in the Snow is set in today's world, but at the beginning of a dystopian future in the UK, which mostly takes place at a large, desolate manor that sits just outside a forest called Banksy Forest. From the second chapter until the end, readers make their home here with the two main characters Clare and Dorran, but very shortly into the story, we realize that they aren't the only 'people' in the house.
The main question of the novel is whether or not Dorran can be trusted - - - Clare wakes up in his family's manor after a car accident, and she can't exactly remember how the accident happened, but she also can't remember why she was driving out in a blizzard in the first place, but she does recall that she was on the phone with her sister, Beth, and we learn that her sister worries about Clare like she's her mother. Clare becomes focused on trying to somehow contact Beth to let her know she's still alive.
We find out later that Dorran comes from a prestigious family that makes their money from being in the wood distribution business. His family, the Morthornes, aren't a typical family. Not only does Dorran's relatives live at the manor during the warmer months, but so do the servants, all 60 of them. Dorran makes it obvious that he doesn't enjoy this type of lifestyle:
" ' All right. I guess not. Especially in this house. How large is it [the house] ?'
'Inconveniently large.' He shrugged. 'It does not only house our family, but the servants as well.'
Clare's eyebrows rose. 'Servants?'
'Staff,' he corrected quickly. Clare thought she saw a flicker of embarrassment, but it was hidden almost immediately. 'My apologies. That is another part of tradition that is well outdated. My mother wishes for the staff to be referred to as servants.' "
Soon the two are discussing whether or not they could survive for months at the manor due to the blizzard not seeming to let up, with this discussion, readers find out there is an inside garden located in the depths of the manor, unfortunately, food wasn't planted since the family and servants leave the home for the winter, but there are plenty of seeds to start cultivating. One day while Clare is trying to get the seeds planted, she decides to go get Dorran, who left to go check on the many furnaces that heat the manor, but Clare easily gets lost in the house she has barely walked around in, and ends up in a wine cellar: here, Clare hears scraping noises that lead her to a creature huddled in the dark.
" The figure turned toward her. Eyes glinted - - - horrible, inhuman eyes peering out from behind long, greasy hair. Then the figure darted away, escaping from her circle of light, disappearing into a narrow doorway in the stone wall.
A sharp, broken scream cut through the cold air. Clare didn't realize it had come from her until she felt the ache in her throat. She stumbled backward, and her shoulders hit one of the shelves. Muffled clinking noises surrounded her as the bottles rocked.
She couldn't stop shaking. The thudding footsteps echoed around her, beating fast, like her own heart. The scraping noise joined it, louder this time. It surrounded her and overwhelmed her. "
Although Clare tells Dorran what she saw, he doesn't believe her. He believes that the stress from the car accident has caused her to hallucinate. Clare slowly begins to tell herself that he's probably right, but then the human-like creatures begin to show up more and more, always disappearing right before Dorran can see them. Shortly after an incident with another one of the creatures, Clare runs into Banksy Forest, set on getting the radio she remembered having in her car, to contact her sister Beth.
There are so many twists and turns in this story that it makes it wonderfully unpredictable. If I said anymore about it, it would give away too many of the surprises waiting inside. Voices in the Snow may not have been the best title for this book, but it is a really well-written horror story. The only annoyance I had with the novel is the awkwardness between the two main characters, which didn't seem natural. Most of what happens between Clare and Dorran are seen a mile away before it happens. During some scenes, I found myself rolling my eyes at the dialogue between Clare and Dorran, but the horror in the story makes up for the predictability of the characters.
I highly recommend this book to horror lovers; the scenes of scares and creatures were well-detailed. I was not disappointed at all. There were only a few inconsistencies throughout, but I think they would be easily over looked for the story is really enjoyable. I look forward to reading the rest of the series.
Hazel (1853 KP) rated Touching the Rock: An Experience of Blindness (Notes on Blindness Film Tie-in) in Books
May 23, 2017
Eye-opener (if you pardon the pun)
I received this book for free through Goodreads First Reads.
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled Touching the Rock (1990), John’s book has been republished as Notes on Blindness after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
Notes on Blindness is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
Notes on Blindness remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today, Notes on Blindness is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled Touching the Rock (1990), John’s book has been republished as Notes on Blindness after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
Notes on Blindness is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
Notes on Blindness remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today, Notes on Blindness is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
Hazel (1853 KP) rated Notes on Blindness: A Journey Through The Dark in Books
Dec 17, 2018
<I>I received this book for free through Goodreads First Reads.</I>
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled <I>Touching the Rock</I> (1990), John’s book has been republished as <I>Notes on Blindness</i> after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
<i>Notes on Blindness</i> is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
<i>Notes on Blindness</i> remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today,<i> Notes on Blindness</i> is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
It is not often a blind man writes a book, and “write” is a word used due to the lack of a better. John M. Hull gradually lost his sight, registering as blind in 1980, a couple of days before the birth of his son. Although anticipating the event, John struggled to come to terms with his new circumstances and adjust to a new way of living. From 1983 through to 1985, John recorded his thoughts on tape, in diary form, as a way to ascertain and understand his predicament. Originally titled <I>Touching the Rock</I> (1990), John’s book has been republished as <I>Notes on Blindness</i> after the release of the film of the same name.
Initially, John made recordings every day, dictating the everyday occurrences he encountered. Amazingly, despite his disability, John was able to continue as a university lecturer and delve deeper into the world of theology. The way John thinks things through as he speaks reflects his academic abilities. Although he may have despaired at the thoughts of not being able to see his children, he had a fairly positive outlook on life.
John’s thought capacity and religious ideology are evident in his assemblage of diary entries. As a blind person, he learns to see the world in an alternative way, and often feels closer to God as a result. Through these new experiences, John begins to see the light despite the darkness.
The metaphorical descriptions of blindness help the reader to understand the horror and difficulties not being able to see visually provokes. This is heightened by John’s recordings of the bad dreams he often suffers, in which he is able to see. His fixations on these dreams are assumedly a fascination with visual imagery, which he does not have access to in his waking life.
It is hard not feel sorry for John as he reports the conversations he has with his young children. The effort to communicate and play with them is far greater than a seeing parent. Remarkably, as John begins to adjust to his new lifestyle, his children take the situation in their stride.
<i>Notes on Blindness</i> is also an educational narrative for those without sight problems. John explains the things other people, in attempts to be helpful, do that result in making things far more confusing for John as he tries to navigate his way from one place to another. Despite what most think, blind people are fairly good at walking routes they are familiar with, and, with the help of a stick, can safely travel through new areas. Once people start shouting instructions, it is difficult to pay attention to the location and listen to everyone else at the same time.
John’s voice is extremely articulate, and his thoughts profound, which may suggest heavy editing when compiling the recordings into written form. However, as he is an academician, his eloquence of speech does not feel forced or faked.
<i>Notes on Blindness</i> remains the same as the original publication but with the added inclusion of an introduction by Cathy Rentzenbrink, and an epilogue by his wife Marilyn, written in 2016, a year after his death. These, the latter in particular, provide an insight into how John’s blindness affected those around him and emphasises what a truly remarkable man he was.
Of the many memoirs available on bookshelves today,<i> Notes on Blindness</i> is a truly unique publication. It is not telling a story, or recounting a well-lived life, but gives great insight into the world of the blind. As John’s thoughts were not originally recorded with intention of being available to everyone, they are all the more personal and honest, provoking emotion and providing the reader with a new way of seeing. It is a book that will stay with you for a very long time.
Gareth von Kallenbach (980 KP) rated Leatherheads (2008) in Movies
Aug 14, 2019
The movie opens with John Krasinski’s character, “Carter Rutherford”, playing college-level football for Princeton at a bleacher-groaning, over-packed game chock full of screaming patrons and die-hard fans. The kid is a golden-child, a war hero, and the nation’s most promising young athlete in the good old year of 1925. Carter is dynamic, attractive, and exactly what the country needs at a time of World War I. It is little wonder his face plasters billboards across town, that his name is uttered with awe and adoration. In truth, how could you not? The kid had, after all, single-handedly forced a contingent of German soldiers to surrender without even shooting one bullet.
Cut to George Clooney’s character, the aging “Dodge Connelly”, playing pro-football in mire-like conditions; his audience a tangle of bored fans and uninspired locals. It is a far cry from the opulent circumstance of college-level football. Men, bedraggled and sweating under the promise of returning to work at the mines and fields if their football dreams go under, play with reckless abandon and forgotten morals in hopes of winning that next game. Yet, as fate will go, the Bulldogs lose their sponsorship and the team goes under, forcing men to return to their day-jobs and leaving Dodge without a future. The man has no marketable skills, no trade. He is a football player and is determined to see his team back in the game.
Of course, that isn’t the only bit of chaos. There has to be a girl; there is always a girl involved in stories like these. Enter Renée Zellweger’s character, the vivacious and equally tenacious “Lexie Littleton” – a news reporter for the Tribune. Lexie is on a mission to expose Carter Rutherford and get to the bottom of his infamous war story. It comes to no surprise that when Lexie and Dodge meet in a hotel lobby awaiting the arrival of Carter Rutherford and his manager, “CC Frazier” (played by Jonathan Pryce), that sparks immediately fly between them. Dodge has a proposal for CC and Carter: have Carter take a leave of absence from Princeton to play pro-football for the Bulldogs, thus saving pro-football and paying Carter for his efforts. Naturally, CC wants a cut from the profits and finds a way to do so to accommodate his own needs. Dodge, without any other alternative, agrees.
Meanwhile, Lexie is working her magic on Carter to try and weasel the true story out of him as best she can. Try as she might she cannot ignore Dodge, no matter how acid her tongue wags in his direction. In the end, Lexie gets her story yet realizes she must decide between exposing the truth or letting America bask in the glory of its self-proclaimed war-hero.
In review, there is a true chemistry between all of the main characters and both Zellweger and Clooney do a good job of conveying the vehement (and callous) emotion between Lexie and Dodge. However, no matter how funny the banter becomes between these three main characters or how well the scene plugs along, in the end the movie comes off as a passable but by no means memorable. Betimes it seems to stretch on and on and more then once I found myself looking at my clock. In truth, the movie didn’t need to be nearly two hours long. It felt two hours long which is never a good thing, especially when we’re talking about theatre seats.
That said, I thought the movie was a cute and enjoyable comedy. It won’t crack your funny bone but it will certainly tickle it more then once. All in all I give it 3.5 out of 5. It succeeded in making me laugh and did keep me entertained. Above all, I’m sure many will find it enjoyable to some extent.
Cut to George Clooney’s character, the aging “Dodge Connelly”, playing pro-football in mire-like conditions; his audience a tangle of bored fans and uninspired locals. It is a far cry from the opulent circumstance of college-level football. Men, bedraggled and sweating under the promise of returning to work at the mines and fields if their football dreams go under, play with reckless abandon and forgotten morals in hopes of winning that next game. Yet, as fate will go, the Bulldogs lose their sponsorship and the team goes under, forcing men to return to their day-jobs and leaving Dodge without a future. The man has no marketable skills, no trade. He is a football player and is determined to see his team back in the game.
Of course, that isn’t the only bit of chaos. There has to be a girl; there is always a girl involved in stories like these. Enter Renée Zellweger’s character, the vivacious and equally tenacious “Lexie Littleton” – a news reporter for the Tribune. Lexie is on a mission to expose Carter Rutherford and get to the bottom of his infamous war story. It comes to no surprise that when Lexie and Dodge meet in a hotel lobby awaiting the arrival of Carter Rutherford and his manager, “CC Frazier” (played by Jonathan Pryce), that sparks immediately fly between them. Dodge has a proposal for CC and Carter: have Carter take a leave of absence from Princeton to play pro-football for the Bulldogs, thus saving pro-football and paying Carter for his efforts. Naturally, CC wants a cut from the profits and finds a way to do so to accommodate his own needs. Dodge, without any other alternative, agrees.
Meanwhile, Lexie is working her magic on Carter to try and weasel the true story out of him as best she can. Try as she might she cannot ignore Dodge, no matter how acid her tongue wags in his direction. In the end, Lexie gets her story yet realizes she must decide between exposing the truth or letting America bask in the glory of its self-proclaimed war-hero.
In review, there is a true chemistry between all of the main characters and both Zellweger and Clooney do a good job of conveying the vehement (and callous) emotion between Lexie and Dodge. However, no matter how funny the banter becomes between these three main characters or how well the scene plugs along, in the end the movie comes off as a passable but by no means memorable. Betimes it seems to stretch on and on and more then once I found myself looking at my clock. In truth, the movie didn’t need to be nearly two hours long. It felt two hours long which is never a good thing, especially when we’re talking about theatre seats.
That said, I thought the movie was a cute and enjoyable comedy. It won’t crack your funny bone but it will certainly tickle it more then once. All in all I give it 3.5 out of 5. It succeeded in making me laugh and did keep me entertained. Above all, I’m sure many will find it enjoyable to some extent.
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BankofMarquis (1832 KP) rated Toy Story 4 (2019) in Movies
Jun 25, 2019
Another TOY STORY triumph for PIXAR
When I first heard that Pixar was going to make a 4th TOY STORY film, I found myself firmly in the camp of "why are they doing this? The 3rd film tied off the trilogy marvelously well and 4th film was not needed" But...I trust Pixar, and when it was revealed that both Tom Hanks and Tim Allen were back on board after reading the script, my fears were alleviated quite a bit, but I still had some unease in the pit of my stomach.
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)