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Goddess in the Stacks (553 KP) rated Gender Outlaw: On Men, Women and the Rest of Us in Books
Jul 23, 2019
This book has one of the best forewords I've ever seen. Bornstein explains that since 1994, when the book was first published, language has changed a lot, and terms that were used regularly then, like transsexual, are highly offensive now. So she has heavily rewritten the book to change the language, but she goes on to say that language is an always-changing thing, and in five or six years this edition, too, might be offensive in the language used. Then she apologizes for that. My favorite lines are one of the last paragraphs of the foreword:
"Now, if anything you read in this book makes you feel bad or wrong or small and weak, then please know that I said something wrong. This book was written many years ago, and the culture I wrote it in is not the culture in which you're reading it. So, if you find anything to be personally insulting, please accept my apology and keep reading with the knowledge that your identity and how you express your gender are correct only when you feel they are correct."
It was a wonderful note to start the book on. I just loved "if you are offended, if this invalidates your identity, then I AM WRONG." Bornstein transitioned in the 80s, and has been an outspoken advocate of queer and trans people most of her life. She is definitely a figure in queer history that more people should read about.
The rest of the book is every bit as good as the foreword. Bornstein absolutely destroys the concept of gender in this book, dissecting it and looking at all the parts and pieces to attempt to figure out why society is so set on the binary system. She more than makes her case that gender is a spectrum, not an either/or. And not just a spectrum between "more male" and "more female" but a colorful kaleidoscope of gender expression and identity. She does not shy away from sensitive topics like surgeries and anatomy. She talks to the reader like she's your favorite outrageous aunt, sitting in the family room gossiping over heavily-spiked tea.
The formatting was occasionally confusing; she has the usual justified text, but then she has left-aligned passages (usually quotes from other people) and right-aligned passages (side-bar like content; I'm unclear if these are notes she made on the original text or what, but it generally clarifies or alters what the main text is talking about.)
I would HIGHLY recommend this book for anyone who wants to learn more about gender issues. Bornstein has an incredibly entertaining way of writing, and she loves to challenge what we think of as gender.
You can find all my reviews and more at http://goddessinthestacks.com
"Now, if anything you read in this book makes you feel bad or wrong or small and weak, then please know that I said something wrong. This book was written many years ago, and the culture I wrote it in is not the culture in which you're reading it. So, if you find anything to be personally insulting, please accept my apology and keep reading with the knowledge that your identity and how you express your gender are correct only when you feel they are correct."
It was a wonderful note to start the book on. I just loved "if you are offended, if this invalidates your identity, then I AM WRONG." Bornstein transitioned in the 80s, and has been an outspoken advocate of queer and trans people most of her life. She is definitely a figure in queer history that more people should read about.
The rest of the book is every bit as good as the foreword. Bornstein absolutely destroys the concept of gender in this book, dissecting it and looking at all the parts and pieces to attempt to figure out why society is so set on the binary system. She more than makes her case that gender is a spectrum, not an either/or. And not just a spectrum between "more male" and "more female" but a colorful kaleidoscope of gender expression and identity. She does not shy away from sensitive topics like surgeries and anatomy. She talks to the reader like she's your favorite outrageous aunt, sitting in the family room gossiping over heavily-spiked tea.
The formatting was occasionally confusing; she has the usual justified text, but then she has left-aligned passages (usually quotes from other people) and right-aligned passages (side-bar like content; I'm unclear if these are notes she made on the original text or what, but it generally clarifies or alters what the main text is talking about.)
I would HIGHLY recommend this book for anyone who wants to learn more about gender issues. Bornstein has an incredibly entertaining way of writing, and she loves to challenge what we think of as gender.
You can find all my reviews and more at http://goddessinthestacks.com
Gareth von Kallenbach (980 KP) rated Ocean’s 8 (2018) in Movies
Jul 8, 2019
For the last five plus years all Debbie Ocean (Sandra Bullock) has had to think about was how to steal a $150 million dollar necklace of the neck of a mark during the Met Gala. Why she had all that time to think about was because she was incarcerated. The plan is flawless on paper but it would have to be to pull off this caper at one of the most high profile events of the year. Meticulously thought out and every eventuality covered. Now all she needs is a crew to make it happen. She gets her right hand girl Lou (Cate Blanchett) and they set out to plan the heist. The start with getting down on her luck designer Rose Weil (Helena Bonham Carter), who must persuade the mark, socialite actress Daphne Kluger (Anne Hathaway), to wear her dress and the diamonds to the even. Then let add a fence, Tammy (Sarah Paulson), a pick-pocket, Constance (Awkwafina), diamond expert, Amita (Mindy Kaling), and a hacker, Nine Ball (Rihanna), everyone they need to make this plan happen. The plan is made, the crew is assembled and the Met Ball is days away and all they have to do is rob a highly protected necklace in a museum filled with people and more cameras than you can count.
David Ross (Pleasantville, Seabiscuit) wrote and directed the most recent film in the Ocean’s storyline. It definitely is in the same mold of the male dominated Ocean’s trilogy of films. There are even cameos from the old crew and the direct link of the main character being the sister of the protagonist of those films really ties them together. There are several nods to the original films and even the music and cinematography match up pretty well. At times I would say that it tries too hard to be like those films.
The cast does a great job. The character development is really good and if successful could definitely lead to follow up films. Awkwafina, who I had not heard of before going into this film, was a real bright spot and stood out in the scenes she was in. James Corden, as insurance investigator John Frazier, was also fun. The flow and pace of the film really went along well. There were definitely fun moments, also some moments that were a little cheesy, which are to be expected. Also to be expected in heist movie are some twist and turns, which this film delivers on. It keeps you guessing until the end.
Overall this was a fun movie going experience but maybe on I would be more likely to rent than see on the big screen.
David Ross (Pleasantville, Seabiscuit) wrote and directed the most recent film in the Ocean’s storyline. It definitely is in the same mold of the male dominated Ocean’s trilogy of films. There are even cameos from the old crew and the direct link of the main character being the sister of the protagonist of those films really ties them together. There are several nods to the original films and even the music and cinematography match up pretty well. At times I would say that it tries too hard to be like those films.
The cast does a great job. The character development is really good and if successful could definitely lead to follow up films. Awkwafina, who I had not heard of before going into this film, was a real bright spot and stood out in the scenes she was in. James Corden, as insurance investigator John Frazier, was also fun. The flow and pace of the film really went along well. There were definitely fun moments, also some moments that were a little cheesy, which are to be expected. Also to be expected in heist movie are some twist and turns, which this film delivers on. It keeps you guessing until the end.
Overall this was a fun movie going experience but maybe on I would be more likely to rent than see on the big screen.
JT (287 KP) rated The Grey (2012) in Movies
Mar 10, 2020
Director Joe Carnahan has a popular back catalogue. One that is considered his best to date is Narc. Of course he helmed the bat shit crazy, guns-a-blazing Smokin Aces and who could forget for a minute the over the top and some what bonkers reboot of The A-Team.
Here, Carnahan teams up with Liam Neeson once again, although it was very nearly Bradley Cooper, but we’re glad that Neeson got the gig! Neeson plays Ottway, a crack shot with a rifle whose job it is is to keep the many oil drilling workers off the menu from the local four legged carnivores.
When the plane transporting the crew back from the end of season crashes in Alaskan no man’s land, Neeson must battle the elements and inhospitable terrain to find safety – while at the same time avoiding a rather pissed off pack of hungry wolves. If there is anyone you’d want by your side in this type of situation (Bear Grylls not present) it’s Nesson. With a few choice words for his new found friends “nobody’s going to find us….and if we don’t move we’re all fucked!” They abandon what little is left of the plane and set out into the wilderness.
This is clearly not the best idea, and it’s not long before the group are picked off one by one as the race to safety intensifies. With the Alpha male calling the shots wolf side, it’s Neeson doing the same for the humans, as he battles with his own issues as well as those around him. A few nights opening up round the fire and you realise that these men have a significant reason to want to get home alive.
Neeson is level headed and cool, but then put into a situation like this you have to be. The film, lacking in any visual landscape must use the survivors to really build the story, and Carnahan delivers enough tension to the audience to keep them on a knife edge.
The action is integrated well into the emotional side of the plot and that makes the film all the more enjoyable, as by the end you feel for each and everyone of those guys. The scenes are a little more believable, no tanks shooting down planes here. Although we do wonder if Carnahan took inspiration from Cliffhanger for one particular scene.
The Grey packs an intense punch all the way through and it will play on the heart strings as well. Neeson is the stand-out but has a solid supporting cast who don’t let him carry the burden all the way through till the end.
Here, Carnahan teams up with Liam Neeson once again, although it was very nearly Bradley Cooper, but we’re glad that Neeson got the gig! Neeson plays Ottway, a crack shot with a rifle whose job it is is to keep the many oil drilling workers off the menu from the local four legged carnivores.
When the plane transporting the crew back from the end of season crashes in Alaskan no man’s land, Neeson must battle the elements and inhospitable terrain to find safety – while at the same time avoiding a rather pissed off pack of hungry wolves. If there is anyone you’d want by your side in this type of situation (Bear Grylls not present) it’s Nesson. With a few choice words for his new found friends “nobody’s going to find us….and if we don’t move we’re all fucked!” They abandon what little is left of the plane and set out into the wilderness.
This is clearly not the best idea, and it’s not long before the group are picked off one by one as the race to safety intensifies. With the Alpha male calling the shots wolf side, it’s Neeson doing the same for the humans, as he battles with his own issues as well as those around him. A few nights opening up round the fire and you realise that these men have a significant reason to want to get home alive.
Neeson is level headed and cool, but then put into a situation like this you have to be. The film, lacking in any visual landscape must use the survivors to really build the story, and Carnahan delivers enough tension to the audience to keep them on a knife edge.
The action is integrated well into the emotional side of the plot and that makes the film all the more enjoyable, as by the end you feel for each and everyone of those guys. The scenes are a little more believable, no tanks shooting down planes here. Although we do wonder if Carnahan took inspiration from Cliffhanger for one particular scene.
The Grey packs an intense punch all the way through and it will play on the heart strings as well. Neeson is the stand-out but has a solid supporting cast who don’t let him carry the burden all the way through till the end.
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Emma @ The Movies (1786 KP) rated The Girl Before in Books
Feb 21, 2021
The Girl Before has left me uncertain. I'm going to try and explain that, but having pondered it for some time I'm still not exactly sure how I feel about it.
The books is split into short chapters from one of two points of view, Emma, the previous tenant and Jane, the new tenant. This works well although took me slightly longer to get used to, not because of the characters or the story line, but because of the writing itself.
Something I noticed fairly quickly was that there are whole sections of this book where speech is basically ignored. It'll appear as you would expect it to in the writing but there are no speech marks to highlight it. At the time of reading it was horrendously annoying, having just flicked through a few pages while writing this I have noticed that all the speech marks are used in Jane's chapters and not in Emma's. I can only assume that it's meant to reflect the two different characters and their personalities, but frustrating is the only way to describe it. I constantly noticed it as I read but made no link to any reason for it until this very minute. If it is a device, I can't say it was very successful, honestly it felt more like a massive error had been made in editing.
That aside, the author has created some very engaging characters. You pick up enough about them as you progress through the book to pick up things of the upcoming story and that always entices you to read on. The book also has a lot of unsettling male characters in it. The women in comparison seem relatively normal. This could be another way to get you on board with the two leads of the book and make you protective of them. But again, that's not something I noticed until after I'd finished the book.
What is there to say about that ending? Unexpected? Overkill?
I enjoy a twist and turn as much as the next person but this book throws them at you. Kudos to the author again for crafting the story well, I did not guess all the twists that it ended up taking. Some were necessary but others seemed to just be there to have a conclusion to every piece of the story. An effort which didn't entirely feel pleasing.
It was an entertaining read, and at just over 400 pages it's easy to whizz through in a day. There's a preview at the end for Believe Me. Reading it just now I'm drawing parallels between how chapters are designed to match their character, I don't think it's for me as a style but the story itself is mildly intriguing. Hopefully it showcases some more well developed characters.
The books is split into short chapters from one of two points of view, Emma, the previous tenant and Jane, the new tenant. This works well although took me slightly longer to get used to, not because of the characters or the story line, but because of the writing itself.
Something I noticed fairly quickly was that there are whole sections of this book where speech is basically ignored. It'll appear as you would expect it to in the writing but there are no speech marks to highlight it. At the time of reading it was horrendously annoying, having just flicked through a few pages while writing this I have noticed that all the speech marks are used in Jane's chapters and not in Emma's. I can only assume that it's meant to reflect the two different characters and their personalities, but frustrating is the only way to describe it. I constantly noticed it as I read but made no link to any reason for it until this very minute. If it is a device, I can't say it was very successful, honestly it felt more like a massive error had been made in editing.
That aside, the author has created some very engaging characters. You pick up enough about them as you progress through the book to pick up things of the upcoming story and that always entices you to read on. The book also has a lot of unsettling male characters in it. The women in comparison seem relatively normal. This could be another way to get you on board with the two leads of the book and make you protective of them. But again, that's not something I noticed until after I'd finished the book.
What is there to say about that ending? Unexpected? Overkill?
I enjoy a twist and turn as much as the next person but this book throws them at you. Kudos to the author again for crafting the story well, I did not guess all the twists that it ended up taking. Some were necessary but others seemed to just be there to have a conclusion to every piece of the story. An effort which didn't entirely feel pleasing.
It was an entertaining read, and at just over 400 pages it's easy to whizz through in a day. There's a preview at the end for Believe Me. Reading it just now I'm drawing parallels between how chapters are designed to match their character, I don't think it's for me as a style but the story itself is mildly intriguing. Hopefully it showcases some more well developed characters.