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Bokashi Composting: Scraps to Soil in Weeks

Adam Footer and Diego Footer

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Bokashi is Japanese for "fermented organic matter." Bokashi composting is a safe, quick, and...

Grumman F6f Hellcat, Vol. 1

Tomasz Szlagor

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Grumman F6F Hellcat was one of the best fighter aircraft of the World War Two era and the most...

ClareR (5869 KP) rated Miss Benson's Beetle in Books

Dec 5, 2020

Miss Benson’s Beetle is an absolute delight, and completely unexpected! I have other Rachel Joyce books on my bookshelf, but I haven’t read them yet (this will be remedied!), so I wasn’t expecting the quirky, moving book that I listened to on Audible.

It must have been very unusual for a woman in 1950 to up sticks and travel to the other side of the world, searching for a beetle that might not even exist. And the fact that she does this with no prior travel experience, not knowing the language at her destination, and with very basic equipment, made me feel that Margery Benson was even more courageous. I loved her companion, Enid Pretty, too - although I think Margery really struggles with her huge personality (despite her diminutive size) for a large part of the book. Enid is confident where Margery is unsure, loud where Margery is quiet - and she teaches Margery the importance of female friendship.

In the wings is an ex-prisoner of war who had been held captive by the Japanese. He suffers from PTSD and a tropical disease, and there is a feeling of constant unease that he will do something to harm Margery or Enid. I felt so sorry for him though. He really wasn’t in a good place mentally or physically throughout.

This book is a story of courage, trials and tribulations, tragedy, and joy in the small things in life (not just beetles!) and I loved it. It’s a book with a lot of laughter and a good helping of tears.

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Kirk Bage (1775 KP) rated Late Spring (1949) in Movies

Jan 28, 2021

As elegant, patient, polite and deliberately still as a side of civilised Japanese life that existed both at the time and for decades before and after. Difficult for our modern western sensibilities to readjust to. It is just so slow and seemingly eventless. It concerns the life of 27 year old Noriko, played by Ozu’s muse Setsuko Hara, with whom he made many of his best loved films. She is constantly hassled by family members and friends to get married, but is much more concerned by her relationship with her sick father, who she is content to care for. The more she is pushed the more her polite smile becomes a rictus of hidden sadness and anxiety. Small meetings, quiet words and subtle gestures take on larger meanings, and the story becomes more tragic the more you engage with Hara’s lovely performance.

I did find it hard to relate to, and couldn’t quite find the stillness within myself to just go with it. Its pace made me jittery to do something more exciting, and it wasn’t quite as transcendingly beautiful as I’d been led to believe. Saying that, I appreciated the skill of Ozu’s camera work, in framing and capturing delicate scenes and moments. I also learned the phrase “tatami cam”, which describes the low angle he often uses to demonstrate humility and respect. A gentle tale with great resonance regarding our responsibilities to others and our own repressed desires. Most interesting in how it contrasts with western cinema of the same time.