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I think there is always a case for choosing a book based purely on the cover. This is another of those times where I’ve done precisely that - and I loved this book.
Fragile is a haunting thriller, where two young people, Nell and Joe, run away to London from their foster home after a tragic event. An event that we’re drip fed the information of as the book progresses.
Joe and Nell become separated, so Nell decides to go and knock on the door of the last place she saw him. When Dr. Robin Wilder opens the door at Starling Villa, Nell manages to talk him into employing her as his housekeeper. But all is not as it seems. Is Nell really safe here? What happened in Wales before she ran away to London with Joe? What does Dr. Wilders wife want with Nell? And where is Joe?
Nell and Joe’s backstories about their lives in care are heartbreaking. From a young age, Nell becomes the house ‘mother’, cleaner and cook. It’s a horrible life for her and so well described. Joe’s life isn’t any better.
Actually, the writing is so descriptive: people and places are described picture perfectly, and some scenes are so emotive, whilst others are really tense. The gripping finale was heartbreaking.
Sarah Hilary is a new author to me, and one that I’ll certainly look out for in future.
Fragile is a haunting thriller, where two young people, Nell and Joe, run away to London from their foster home after a tragic event. An event that we’re drip fed the information of as the book progresses.
Joe and Nell become separated, so Nell decides to go and knock on the door of the last place she saw him. When Dr. Robin Wilder opens the door at Starling Villa, Nell manages to talk him into employing her as his housekeeper. But all is not as it seems. Is Nell really safe here? What happened in Wales before she ran away to London with Joe? What does Dr. Wilders wife want with Nell? And where is Joe?
Nell and Joe’s backstories about their lives in care are heartbreaking. From a young age, Nell becomes the house ‘mother’, cleaner and cook. It’s a horrible life for her and so well described. Joe’s life isn’t any better.
Actually, the writing is so descriptive: people and places are described picture perfectly, and some scenes are so emotive, whilst others are really tense. The gripping finale was heartbreaking.
Sarah Hilary is a new author to me, and one that I’ll certainly look out for in future.
Heather Cranmer (2721 KP) created a post
Nov 27, 2022
Notes of Unspoken Words (Ruined & Relinquished #1)
7.0
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Book
The Lead Guitarist Casper loves two things—his guitar and his stepbrother, Reed. Being in a...
Contemporary MMM Rockstar Romance
ClareR (6230 KP) rated The Invisible Life of Addie LaRue in Books
May 29, 2023
Addie doesn’t want to marry and become just a wife and mother, waiting for old age and death. She wants to really live! So, on her wedding day she runs to the forest and asks the spirits there for help, just as her friend, and elderly woman, does. Addie has been warned not to make deals with the dark, but her plea for help coincides with dusk, and the wrong god/ spirit comes to her help. The deal is struck, and Addie finds herself making a deal that means for the cost of her soul, she will live for as long as she wants. It’s only afterwards that she learns that one of the conditions is that no one will remember her.
Until the day she meets Henry in present day New York.
Honestly, I don’t know why she had such a problem with the god she struck the deal with. He’s clearly rather dishy - dark, brooding, very powerful…
I’ve seen this described as Faustian, and I suppose it is. She makes a deal with a devil to live for longer. Except her deal has no time limit, or at least only the limit that she’ll give it.
I thoroughly enjoyed this. The Henry character was interesting as well, especially after his reveal.
This author has written a lot of YA apparently, and this is her first adult novel. It’s definitely worth keeping my eyes peeled for whatever she comes up with next!
Until the day she meets Henry in present day New York.
Honestly, I don’t know why she had such a problem with the god she struck the deal with. He’s clearly rather dishy - dark, brooding, very powerful…
I’ve seen this described as Faustian, and I suppose it is. She makes a deal with a devil to live for longer. Except her deal has no time limit, or at least only the limit that she’ll give it.
I thoroughly enjoyed this. The Henry character was interesting as well, especially after his reveal.
This author has written a lot of YA apparently, and this is her first adult novel. It’s definitely worth keeping my eyes peeled for whatever she comes up with next!
Gareth von Kallenbach (980 KP) rated Mid90s (2018) in Movies
Jul 2, 2019
It doesn’t take much to remember that Jonah Hill (writer and director) had already acted in one of the greatest coming-of-age movies at the age of 24. A cursory glance at Superbad shows it to be a hilarious and quotable movie. But a deeper look at the film reveals the true story. Two high school friends (Hill and Michael Cera) who realize they are drifting apart because of incoming adulthood and that they are powerless to stop it. Keeping that in mind, Hill was quoted during the production of Mid 90s as saying that coming-of-age films are cliché and what he really wanted was to make a skateboarding movie that avoided the 80s “cowabunga” tropes. The result of that focus is Mid 90s.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
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