Sign up
Search
Advanced search settings

Search only in certain items:

Search results
All (642)
Content
People
Apps
Books
Orbs
Movies
Music
Podcasts
Shows
Tabletop Games
Tech
TV
Video Games
YouTube Channels
Videos
40x40

ClareR (6037 KP) rated The Confessions of Frannie Langton in Books

May 3, 2019 (Updated May 3, 2019)  
The Confessions of Frannie Langton
The Confessions of Frannie Langton
Sara Collins | 2019 | Fiction & Poetry, History & Politics, Mystery
9
9.0 (2 Ratings)
Book Rating
Frannie has grown up on a Jamaican sugar plantation as a house girl. She is a mulatto slave, and when her master, Mr Langton, is forced to return to England, she accompanies him. Although she is considered free as soon as she enters England in the 1820s, Mr Langton ‘gives’ her to a colleague and friend, Mr Benham. She becomes Mrs Benham’s abigail (companion), friend and lover. However, we first meet Frannie as she sits in Newgate prison, writing the story of her life for her solicitor, and how she came to murder Mr and Mrs Benham. Something that she can’t at all remember doing. She has a lot going against her: she’s working class, a woman, and most importantly, she’s black.
This was a captivating story. I learnt a lot about how black Jamaicans were regarded by Londoners (it’s not good), how laudanum was the ‘mother’s little helper’ of its time (although I think it was pretty much taken by anyone, male or female, who could afford it), and how black people were regarded as little more than animals.
The whodunnit element was really puzzling for me, I honestly couldn’t figure it out. I couldn’t think of Frannie as being a murderer and killing the woman she loved.
This is a really good read, and I would highly recommend it.
Many thanks to NetGalley and the publisher for the opportunity to read this wonderful book.
  
40x40

Jean-Pierre Gorin recommended Salesman (1969) in Movies (curated)

 
Salesman (1969)
Salesman (1969)
1969 | Documentary
(0 Ratings)
Movie Favorite

"In many ways the perfect double bill with Young Mr. Lincoln. Democracy in America, Part II. There is a lot of carbon dating at work in this movie (how an interior, a suit, a gesture spell class—as in middle or working—and the historic moment, 1969, in which these classes function); but this unfurling of specificity is there to give us its metaphysical sense and resonance (the essence of labor, its afferent solitude, the pathos of success). A lot has to do with the amount of space the frame encloses and how resolutely off center it chooses to remain. For all its relentless attention to the matter at hand, Salesman is never a claustrophobic film. It is a film that often goes one (or two or three) better on what a long line of American writers (from Dreiser on) have tried to pin down. Which might explain why Salesman often feels like a valentine to a time in film (and society in general) when work defined character, registering the cusp moment after which it will cease to do so. One can look at Salesman and weep when what rules as “documentary” these days comes to mind; one can—maybe naively—take the film as a perfect illustration of what the genre might still produce; one can celebrate the film as definitively proving the inanity of the dichotomy between fiction and documentary. I tend to go for the latter."

Source