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Lu. (Modern Faith, #1)
Lu. (Modern Faith, #1)
Beth Troy | 2017
8
8.0 (1 Ratings)
Book Rating
Where should I start…
The story of Lu was interesting. Beth Troy wrote the story in a way that made me feel like I was Lu; that I was the person going through struggles and learning to work through them. Lu is a strong character who knew what she wanted in life (or thought she did), she is a very dedicated person; someone dedicated to finding the truth, not just accepting what others tell her. Lu’s thought process was very realistic, and her thoughts were something that most of us think at one point or another in our lives, but that we very rarely voice. Beth Troy did a great job of giving voice to those thoughts and showing that there is a time for every season in life.
 I do wish that the ending of the book had been a bit different. I wanted Lu to not make the choices that she did, however, I understand that Beth Troy was showing that we all make mistakes and wrong choices in life. But that God will be there for us always, through the good choices and the bad.
I give this book 4 out of 5 stars for the frank spiritual battles, the well-developed storyline, and most of all for Lu.
*This book does contain some mild swearing, and some sexual content (nothing detailed, just implied). I do not particularly care for it, however, that stuff happens all around us. It is naïve of us to think otherwise. I relate it to how Rachel Hauck uses those elements of real life in her books to depict life without Jesus.
**I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed within are my own.
  
The Dream Weavers
The Dream Weavers
Barbara Erskine | 2021 | Fiction & Poetry, Romance, Science Fiction/Fantasy
8
8.0 (1 Ratings)
Book Rating
The Dream Weavers is an historical fiction novel, with one foot in Saxon Mercia and the other in modern day Hereford. There’s a touch of the supernatural as well - all the better to see the past with. And I loved reading it.
Simon is writing a book of Anglo-Saxon history, and starts to hear a woman calling a name outside his rented cottage. When he goes out to look, no one is there.
The cottage owner brings in her local spiritual advisor, Bea, who hopes to put the ghost outside to rest. This is only the beginning.
The timelines alternate between King Offa’s daughter, Eadburh, and Bea’s life in Hereford with her husband who is a priest at the cathedral.
I honestly didn’t think I’d enjoy this - but I really did! It uses religion without being overly religious, and the same goes for the more Pagan elements. It was a a really interesting, highly readable book. I haven’t read much about the history around King Offa’s time, so I enjoyed the opportunity to do that. It was a book that was difficult to put down - except that was done for me, as I read a stave a day on The Pigeonhole! It’s a big book, but it really didn’t feel that way. It sent me off on little internet searches as well - namely Anchorites, and what types of dogs Anglo-Saxons kept as pets (and whether they did or not!). I like a book that interests me enough to read around it!
This is definitely one for the historical fiction fans, especially those that like a bit of the magical element as well. I loved reading it!
Many thanks to The Pigeonhole, and to HarperCollins for giving me access via NetGalley for an honest review.
  
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Greg Mottola recommended The White Sheik (1952) in Movies (curated)

 
The White Sheik (1952)
The White Sheik (1952)
1952 | Comedy, Drama
(0 Ratings)
Movie Favorite

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

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Greg Mottola recommended I Vitelloni (1953) in Movies (curated)

 
I Vitelloni (1953)
I Vitelloni (1953)
1953 | Comedy, Drama
(0 Ratings)
Movie Favorite

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

Source
  
Nights of Cabiria (1957)
Nights of Cabiria (1957)
1957 | Drama
(0 Ratings)
Movie Favorite

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

Source
  
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Greg Mottola recommended 8 1/2 (1963) in Movies (curated)

 
8 1/2 (1963)
8 1/2 (1963)
1963 | International, Comedy, Drama
9.0 (2 Ratings)
Movie Favorite

"No other filmmaker’s movies have reached me as directly and deeply as Fellini’s. I’m very familiar with the criticisms that have been leveled at Fellini’s work—and they hold no sway over me. There’s far too much to say about the films on my list, so here are a few random things I love. The White Sheik: Alberto Sordi’s hilarious faux suavity while trying to seduce a naive provincial woman. I vitelloni: Franco Fabrizi’s pathetic lothario, Leopoldo Trieste’s deluded would-be writer, Alberto Sordi’s sad, daydreaming freeloader—Fellini sees all of these aimless young men with great honesty and tenderness. Nights of Cabiria: the heartbreaking final scene, a woman stripped of all physical and spiritual worth yet somehow still able to find consolation in the very innocence and joy that have been denied her. 8½: I can’t think of another black-and-white movie that has so much white. The high-contrast cinematography is breathtaking. In one flashback to childhood, Guido is being bathed and cared for by various aunts. It’s a child’s experience of maternal love that cannot be re-created in adult life—as Fellini later illustrates with a twisted version of the same scene in Guido’s absurd harem fantasy. Fellini always claimed the movie was a comedy, and I tend to agree. Amarcord: Fellini revisits the same territory as I vitelloni but in his later, color-saturated, theatrical style. It is provincial life described by a highly unreliable narrator, where the mundane transforms into the magical. A few indelible images: lonesome boys waltzing to music from a nearby grand hotel, townspeople carting their old furniture to the square for a massive bonfire, the immense luxury liner Rex, Gradisca’s sad little wedding, the floating dandelion puffs that mark the return of spring . . ."

Source