Book Reviews

The Life of Death | Book Review

“A woman came to the funeral home looking for a job as a funeral director. When I learned that her dog’s name was Rigor Mortis, I hired her.”

36695230The Life of Death is a memoir written by Ralph R. Rossell who is the owner and funeral director of the Rossell Funeral Home in Flushing (a small town near Flint, Michigan with a population of approximately 8,400 people).

In this work Rossell narrates how he got the family business, and explains terminologies in the death industry from embalmment to caskets, and everything in between. This work is autobiographical and part memoir, part-anecdotes, part non-fiction.

First and foremost I appreciated Rossell’s honesty. Knowing he is a funeral home director I expected him to try and emphasize the goodness of purchasing certain caskets or to hide the ways in which the market profits off of people’s grief. For instance, when it comes to purchasing a casket he writes an entire chapter and in it he says:

“Purchasing a casket can be stressful because it enforces the finality of life…In mortuary school, our casket-sales training course lasted about two minutes. Our instructor walked into the classroom and told us that the way to sell a casket is to go to the casket you want to sell and put your hand on it. Supposedly, this would lead the client to purchase that particular unit; that was it. Thus, the task of training a funeral director in the sale of caskets was left to the middle man: the casket salesman.”

For me personally, this way of laying out facts even if they are ‘secrets of the trade’ or ‘gimmicks’ makes me respect the writer, because I can see that he is not trying to hide anything or convince people that certain companies are better than others, or that one should be obliged to embalm etc. I refrained from looking at what his funeral home offers in terms of eco-friendly services, or options, because as a book reviewer I want to look at this work as literature and judge it only as such.

Aside from the above-mentioned, the main contents of the book brings forward something new, and I enjoyed it immensely: the community. This book is about people. Each short chapter/section focuses on a different anecdote from the 45 years Rossell has worked in the industry. He highlights the humour that can be extracted from concentrated time spent with grieving people in a stressful time. Reading this book felt like I was observing different behaviours and takes on grief, and like I was present to many funerals, which was incredibly humbling and pleasant. The ‘pleasant’ part is a personal investment in the topic, and perhaps other readers will have a different experience. I don’t want to say he puts the “fun” in “funeral” but…kind of. To clarify, he is by no means at any point disrespectful. Rossell acknowledges many times how troubling a time it is when someone passes, and how devastating it is to the remaining living people, but each funeral brings its own story. Sometimes the people don’t fit in the coffin, sometimes no one shows up, sometimes there are very strange requests made, by both the living and the dead. Each of these stories is short, and Rossell extracted the main points of what made them memorable, which makes this book a great read. As a reader I was also able to feel the small-town lifestyle, and the spirit of the small Flushing community.

I read many books on death, funerals, and the funeral industry in the last few years, but this is the first one that uses anecdotal evidence to bring forward the experience of being present at a funeral, and how the people in a small community deal with death. It was a very interesting read, and I have to say, I was quite impressed with the humour levels given the heaviness of the topic. I think when you are in this industry, you simply must have a great sense of humour, or at least be able to see it through the darkness in order to make it out yourself. I received an eARC from the publisher on Netgalley, but I am certainly going to get a hard copy of this book. I will leave you with Rossell’s own concluding words:

“And remember I am the last to let you down”

The Heart’s Invisible Furies | Review

“Maybe there were no villains in my mother’s story at all. Just men and women, trying to do their best by each other. And failing.”

“I could number more sexual partners in my history than anyone I knew but the difference between love and sex could be summed up for me in eight words: I loved Julian; I had sex with strangers.”

“A line came into my mind, something that Hannah Ardent once said about the poet Auden: that life had manifested the heart’s invisible furies on his face

33253215I don’t even know where to begin with this book. I initially took it out from the library, while following along in the text with the audiobook read by Stephen Hogan. About 90 pages in, I knew I had to buy my own copy, and when I was done I bought two for my friends. First of all, hats off to Hogan for being able to read each character in a different voice, I don’t know how he did it, but it was an exceptional audiobook.

The novel’s true life-force and heart however is John Boyne. His prose is unmatchable. With this novel Boyne went to the top of my list as a contemporary author and I am currently acquiring the backlist.

The Heart’s Invisible Furies is a bildungsroman following Cyril Avery. His birth-mother, Catherine Goggin, is ‘a fallen woman’ who cannot provide a life for him and puts him up for adoption. He is taken in by Maude and Charles Avery who remind Cyril that he’s not “a real Avery” on a daily basis. Cyril knows early on that he is not interested in women like the other boys in his immediate circle of friends, and falls deeply in love with his best friend, and roommate, Julian Woodbead. Boyne highlights the dominance of homophobia in Dublin at the time, and the hypocrisy of the Catholic church in many respects. The same priest who had violently exiled Cyril’s birth mother had fathered children to several women—that’s just one example among many. The novel follows Cyril through Amsterdam, all the way to New York during the AIDS epidemic, and then back to Ireland. The difficulties of coming out, the struggle of living a lie, and the violence and hatred directed at the LGBT community historically are shown with such dexterity in this narrative. It truly is an education, and simultaneously a heartwarming reminder of how far we’ve come. The story is told in first person by Cyril, so readers know from the very beginning that he will one day be reunited with his birth mother, and we get a chance to know his feelings, while seeing his actions often contradict them (though not by choice). I was taken aback by the way in which Boyne crafted Cyril to come across as a quiet person even though he was ‘talking’ the whole time. The dominant theme of this novel is growth, and the difficulties of being forced to lie—those lies creating pain to oneself and other innocent bystanders. It also demonstrates how, if we don’t make progress and meaningful social change, history will continue to repeat itself generation after generation.

Synopsis aside, this novel is very much character-driven. There are three incredible women in this novel. First we have Catherine Goggin, who is strong, resourceful, and self-sufficient considering all the hardships that life has thrown at her. Then, there is Maude Avery who, to me at least, reads like she is Gertrude Stein—without the freedom to be Gertrude Stein. She is constantly writing novels, shies away from fame, cares very little for her husband, and has literary circles of bohemian artists. Lastly, there is Alice Woodbead—Julian’s sister. She is by far my favourite character. Her traumas speak to all my anxieties. She is smart, has a Ph.D. in literature, studies Maude Avery exclusively (writing her biography), and she’s an Ally, or at least more understanding than others to the LGBT struggle. Cyril feels an emotional and temperamental connection to her, and as a reader, so did I. She completely charmed me and got my attention when she says to Cyril:

“I sometimes feel as if I wasn’t supposed to live among people at all. As if I would be happier on a little island somewhere, all alone with my books and some writing material for company. I could grow my own food and never have to speak to a soul.”

The novel is, of course, mostly focused on Cyril. There are many characters that come and go in his life, and the novel relies heavily on coincidence meetings, and extremely dangerous events happening at random times. Characters make “cameo” appearances creating a strong sense of dramatic irony. There are a few events however where I felt that maybe the timing was just too convenient. I’ve seen coincidences happen many times, but there are two deaths that were kind of unexplained, as if by fate’s design when the character conveniently needed it most. Two other ‘deaths’ afterwards are quite rushed, and it feels as if the author needs to get rid of them somehow to focus on Cyril’s growth as an individual instead, and he does so in a very Shakespearean way (Polonius comes to mind). Aside from that, this novel is absolute perfection and I can’t give it anything less than five perfect stars.

boyneI also love the way Boyne guides you safely out of the novel in the epilogue, and the story comes full perfect circle, leaving no question unanswered. None. None of my questions were left unanswered, and the reader gets closure with every single character and how their life turns out. It’s absolutely wonderful, which is something you need considering the heavy topics discussed. The chapters are each seven years apart which makes things really quite exciting because we get to experience only the interesting bits.

Lastly, there is Boyne’s masterful use of humour. Though the humour is much stronger in the Dublin parts, there are some lines that made me laugh out loud. Cyril is so naïve and innocent that some of his limited understanding of women, or just life, made me laugh out loud. A small example of that for instance is when one of the women at his work refers to her menstrual cycle as “aunt Jemima” coming for a visit and Cyril narrates: I don’t know who this aunt was, or where she lived, but she came to Dublin every month and stayed for a few days.

Again…. there are no words. Just a perfect book. Absolutely loved it from beginning to end. Character development is perfect, plot is very exciting, and the humour is spot on, while dealing with some of the most difficult topics, and the language is absolute perfection.

This novel came strongly recommended by James Chatham whose Booktube channel I follow quite passionately. Thank you very much James.

No Refuge but Writing | Exhibition

IMG_20180218_122302For the long weekend, I took a brief trip to NYC and explored several bookstores and the exhibition at the Morgan Library: Tennessee Williams No Refuge but Writing, hosted in the Engelhard Gallery. Only a quick glimpse demonstrated what a huge collaboration this exhibition was. Manuscripts were brought from the Harry Ransom Center, Columbia University, New York Public Library, Harvard, and many others, with the collaboration of many librarians and curators. The exhibition was made possible by generous donors, and it is exemplary work by the librarians and curators at the Morgan Library. Walking through the exhibition I felt absolutely inspired! Inspired to write, to learn, to read, to live! The way the exhibit was set up, the information provided, the research done, all was put together so well that—in my mind at least— it brought Tennessee Williams back to life.

The way my high school English courses were set up, and coincided with my theater classes, I accidentally had to read A Streetcar Named Desire about five times—not only read it, but study it, memorize it, and write several essays on it, as well as performing parts of it on stage. In undergrad I studied The Glass Menagerie, and this put me on a bit of a Williams crusade. His tragic female characters who cannot let go of an idealized past, his confrontational men who are mere bullies incapable of understanding the delicate nature of their sexuality, in addition to the intensity of the plot—are absolutely unforgettable.


Battle of Angels Playbill

The way the exhibition is set up we get glimpses into Williams’s life in chronological order. Artefacts include one of his many typewriters, keys he collected from hotels, manuscripts and first drafts of his plays, elaborate plans for some of his character development, as well some of his well-deserved awards. Because Williams wrote on the cusp of the Golden Age of Hollywood, there are many playbills from Broadway, images of Elizabeth Taylor, Vivien Leigh, and Marlon Brando, and posters/still images of these great actors playing a role in one of his many plays.


Self-Portrait, Oil Painting

Tennessee Williams’s inner life, however, was most intriguing to me. On display was a letter Williams sent to his grandfather explaining how anxious he was for receiving a grant from the Rockefeller fellowship, the ways in which he based Belle Reve (the location from which Blanche arrives—the idealized past) on a poem he wrote many years prior, the way he dissects Blanche’s character and psyche before writing her into dialogue, and his many oil paintings. This was new information to me—I had no idea Williams painted—in a style I very much admire. His painting style resembles a cross between Cezanne and Van Gogh—a form of expressionism/impressionism but with a flat brush. I remember a moment from Streetcar where he went through a lot of trouble to outline the setting by means of a painting:

“There is a picture of Van Gogh’s of a billiard-parlor at night. The kitchen now suggests that sort of lurid nocturnal brilliance, the raw colors of childhood’s spectrum. Over the yellow linoleum of the kitchen table hangs and electric bulb with a vivid green glass shade. The poker players—Stanley, Steve, Mitch and Pablo—wear colored shirts, solid blues, a purple, a red-and-white check, a light green, and they are men at the peak of their physical manhood, as coarse and direct and powerful as the primary colors.” (Streetcar Named Desire)


Typewritten draft for Streetcar

According to one of the information panels next to his drafts of Streetcar, Williams got the idea for the play when living in New Orleans with his new lover Pancho Rodriguez where he famously wrote:

“’I was and still am Blanche…[although] God knows I have a Stanley in me, too,’” drew on their tumultuous relationship for the play. This he wove together with elements from earlier poems, shorter plays, and character studies to draft and redraft The Poker Night, the immediate precursor to A Streetcar Named Desire.”

Clearly, he drew a lot from Van Gogh’s art and allowed it to guide the poker night scene which became the heart and beginning of his most famous play.


His typewriter (one of them)

Lastly, and what I found most interesting, was the way Tennessee Williams regarded writing as a kind of madness. In a diary where he noted anxieties about his play Cat on a Hot Tin Roof, which he feared was a failure, he wrote:

“I love writing too much, and to love anything too much is to feel a terror of loss: it’s a kind of madness”

Then, below the typewriter on display The Morgan Library wrote:

“Two of Williams’s most important possessions were his copy of Hart Crane’s Poems (also on view) and his typewriter. As a young man, he would write through the night, seeming to subsist on strong black coffee and creative expression alone. Even at his poorest, when his typewriter was seized by his landlady, he borrowed one. When he pawned the borrowed typewriter, he found another and promptly spent 15 cents of his last $2.00 on paper. ‘I must be mad,’ he wrote in his journal, ‘It’s all a little too much, too much.’”

It was so interesting to see it all laid out and to get so close to his handwriting, and most prized possessions. The exhibition will be on at the Morgan Library until May 13, 2018, so if at any point you find yourself in New York, try to see it if you can. If not, the exhibition has been put together in a library catalog titled Tennessee Williams No Refuge but Writing, which is available for purchase online.


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Note: all pictures above were taken by me (no flash) at the Morgan Library, and are the property of the sources listed in the opening paragraph. According to their website: “Images may be printed out for study, or downloaded for presentations, dissertations, or non-commercial websites or blogs.”

Feel Free by Zadie Smith | Review

imagesFeel Free is Zadie Smith’s most recent collection of essays published by Penguin Press. The collection as a whole feels as if Smith has poked her head out of her isolated writing chamber and is contributing to ongoing conversations. Because these essays have been written over the course of a few years, and previously published individually (for instance one is a film review of The Social Network) some come across as dated, but their essence is still ever-present and relevant. Almost every essay in here either reminded me of another essay I have read, or another speaker I heard, but of course, Smith has an elegant style, and contributes a new perspective. Some of the essays are reviews of books and movies, and her reaction to musicians like David Bowie, or Prince, or Billie Holiday. In all honesty, the musical bits were the least interesting to me. I think that if I had a chance to have a one-on-one conversation with one of my favourite authors, their musical tastes and opinions on musicians wouldn’t be of interest to me. However, Zadie Smith’s recent fictional work Swing Time is about music, and dance, and I can see that for her, this is a very important topic, so I understand why these essays are included. In others, she offers her opinion on topics that are ongoing debates like: do we need libraries? Is Facebook good for us? In the third and last category, if I had to group them, she offers answers to more personal questions relating to her own private experience when it comes to writing, journaling, ideas, and other Smith-specific details.

I would like to unpack a few of my favourite essays in this collection and record what was interesting (to me).

The first essay in the collection “Northwest London Blues” is on the importance of Willesden Library (1894) and Willesden Green Library Centre (1989), which is sprinkled with Smith’s opinions on libraries in general: whether they are still relevant, and what is their role in an individual’s life.

She writes that even though there is a kind of obsolescence to the library as we once knew it, due to the Internet’s all-encompassing information powers, she still sees a need for the space:

“Each morning I struggle to find a seat in the packed university library in which I write this, despite the fact that every single student in here could be at home in front of their MacBook browsing Google Books.”

“Libraries are not failing ‘because they are libraries.’ Neglected libraries get neglected, and this cycle, in time, provides the excuse to close them. Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay.”

“It’s not just a matter of free books. A library is a different kind of social reality (of the three-dimensional kind), which by its very existence teaches a system of values beyond the fiscal.”

Perhaps I’ve read more on libraries than most people, but to me Zadie Smith is in conversation with Neil Gaiman’s essay “Why our future depends on libraries, reading and daydreaming“ and Ray Oldenburg’s essay on “The Third Place” in his book The Great Good Place (All three essays worth your time).

The second essay in Feel Free that got my attention was “Life-Writing” in which Smith explores her relationship with journaling and keeping a personal diary.  Though the essay was quite brief, Smith explains her difficulties with keeping a journal. She writes about the ways in which intimate details of her romantic encounters feel far too personal and exposing, and how the Judy Blume character voice made her feel like she had homework, and never felt genuine. She writes:

“The dishonestly of diary-writing—this voice you put on for supposedly no one but yourself—I found that idea so depressing. I feel that life has too much artifice in it anyway without making a pretty pattern of your own most intimate thoughts.”

She then tried imitating authors like Virginia Woolf who recorded only literary happenings, which according to Smith lasted only one day because a single meeting with Jeffrey Eugenides took up twelve pages and half the night. She writes:

“Who is it for? What is this voice? Who am I trying to kid—myself? I realize that I don’t want any record of my days….when it comes to life-writing, the real, honest, diaristic, warts-and-all, the only thing I have to show for myself…is my email account.”

There’s something so honest in the way she wrote this piece that went far for me. I think we all try to do things because we’ve seen them done by others, or on T.V, or YouTube channels, and refuse to admit when something just didn’t work out for us—because it just didn’t.

Lastly, the third and by far my favourite essay in this collection was “Generation Why?” in which Zadie Smith tears apart our obsession with Facebook, reviews the film The Social Network, tries to find ‘the missing thing’ within us, and concludes with a harsh:

“It’s a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore.”

I’m going to hold off on the Facebook discussion and write a different entry for it, because I think she is in conversation with Jonathan Franzen’s essay “Liking is for Cowards. Go for What Hurts” (2011)– or at least he is in conversation with her, as her piece was written a year earlier.  I would like to write a proper opinion piece on it and link it HERE.

Overall I loved this collection. I think Zadie Smith is a brilliant, Wonder-Woman figure in my life, so I would 100% recommend her essay collection to you. If you doubt whether you should invest time in her long fictional works, or this collection, I strongly recommend listening to one of her commencement speeches, or her interviews—hearing her voice, and her real-life tone, helps in fully embracing her ideas and loving every minute you spend reading her works.



A Room of One’s Own | Thoughts

51oa5lhpGvL._SX338_BO1,204,203,200_When I first read A Room of One’s Own, I understood it simply as Woolf states it in her thesis that for a woman to be a person and to be a writer she must have money and a room of her own. The room I took literally as a corner in the house just for herself. Reading it now, Woolf has given me so much clarity. I kept asking myself: What are you trying to tell me Virginia? And then I found the answer in this line:

“suppose, for instance, that men were only represented in literature as the lovers of women, and were never the friends of men, soldiers, thinkers, dreamers….how literature would suffer.”

Literature has always been a mirror held up to the world and the way we see ourselves. Women never get to be individuals like: “soldiers, thinkers, [and] dreamers.” That privilege is reserved for men. They get to be Thoreau, and Rilke wandering alone by choice in youth, while women must be forced into loneliness, rather than choosing solitude. She must be forced into loneliness by means of being a girl rejected, a spinster, a widow, or a person who waits upon the return of the travelling adventurer, like Penelope. This can happen within a union as well. While Karl Marx gets to hang out with Engels and write manifestos and volumes upon volumes, Jenny has no freedom to make her own choices. In more contemporary terms, men sometimes force women to be their mothers, their caretakers, their (unpaid) prostitutes, and still pushing them into roles, without them being imposed by an institution. The “room” of one’s own, to me, is choosing to be alone, even while young, and having that choice respected, without being judged as: “are you a lesbian?” or “how could you be so selfish?” Those questions are never addressed to men, when they make the choice to be solitary. What was so wrong about Emily Dickinson, and what was so right about Henry David Thoreau?

Woolf then contrasts George Eliot (Mary Ann Evans) to Tolstoy. Woolf mentions that while Eliot was seeking this solitude by secluding herself in a cottage in the middle of nowhere to hide from the world, Tolstoy was experiencing life as a fully grown individual. She writes:

“At the same time, on the other side of Europe, there was a young man living freely with this gypsy or with that great lady; going to the wars; picking up unhindered and uncensored all that varied experience of human life which served him so splendidly later when he came to write his books. Had Tolstoy lived at the Prior in seclusion with a married lady ‘cut off from what is called the world’ however edifying the moral lesson, he could scarcely, I thought, have written War and Peace.”

This is the room Woolf speaks of. Room to grow alone without being in the shadow of a label, and without having obligations to another human.

The second portion of Woolf’s message in this text is the gender spectrum, and women trying to usurp the roles of men while resisting the ‘patriarchy.’ She writes:

“It would be a thousand pities if women wrote like men, or lived like men, or looked like men, for if two sexes are quire inadequate, considering the vastness and variety of the world, how should we manage with one only?”

She later writes:

“it is fatal to be a man or woman pure and simple; one must be woman-manly, or man-womanly…if an explorer should come back and bring world of other sexes looking through the branches of other trees at other skies, nothing would be of greater service to humanity.”

Woolf delivered this speech in 1928 and so impressive that she not only foresaw the liberation of the gender spectrum, and to see the goodness in womanly qualities in men, and manly qualities in women, but that she also grasped its importance to the ‘greater service to humanity.’

Her bottom line is this:

“There must be freedom, and there must be peace.”

Woolf delivered this speech to a women’s college in 1928, and later polished it and made it longer into what is now a print text-format of A Room of One’s Own. She delivers these messages by creating a Judith Shakespeare (a hypothetical sister of Shakespeare with the same genius but constrained by society) and four Marys, giving them each a personality and a different struggle. I had a chance to truly appreciate the style in which Woolf wrote this book, and her structure with the fictional ‘Marys.’ This is a perfect book.

The Winnowing by Vikki VanSickle

35167806This year I decided to keep up with the Red Maple awards (hosted by the Ontario Library Association) and I thought I’d read at least one of this year’s nominees. The book that intrigued me most from the list was written by Vikki VanSickle and published by Scholastic Canada Ltd. I must admit I read this in one sitting. On a personal level, this novel brought back memories of my middle-grade years where we had to read books like The Giver, and after class or during library reading time we would purposely spook ourselves out with the Goosebumps series.

The Winnowing follows protagonist Marivic Stone who lives in a small town. There’s an eeriness about the setting reminiscent of Night Vale or Stranger Things, maybe even The Twilight Zone. The general narrative is certainly contemporary and realistic, but there are strange occurrences bordering the supernatural which makes this book hard to classify. VanSickle imagines a past where post-World War II there had been an outbreak of infertility rather than a baby-boom, and in this society the medical centers tried to reverse the crisis. The ‘boomers’ born out of this procedure all have this side-effect known as the ACES which is something a teenager starts developing and must be treated for. The treatment is also known as ‘winnowing.’ If one is not ‘winnowed’ the powers from the ACES can be destructive to the individual and the community. That is all I can say without spoiling too much. Like all good novels however, The Winnowing is about much more than its speculative premise. VanSickle focuses a lot of her writing on creating the bond between Marivic and her best friend Saren, Marivic’s understanding of the past and how it fits into her present situation—particularly the actions of her own mother—and how the young of any generation must carry the burdens resulting from the mistakes done by the older generations. This burden is beyond medical, as these young children have not only been robbed of natural development and must live in perpetual fear, but they have also been robbed of the innocence and playfulness that comes with childhood.

That said, I must discuss my favourite character in this book: Gumps! Gumps is Marivic’s grandfather who is a person I wish I could hang out with all the time. He is on his own a lot, but he’s so innovative and caring. We are told in the early pages that “Gumps was a retired repairman…he still liked to keep his skills sharp by practicing on old appliances that people at the side of the road for pickup or, worse, that he had scavenged from the scrapyard.” I don’t know why but I’ve always been so drawn to people who can fix and repair, or make something out of scraps, like an old-school inventor. We need more people like this in a world where everything is treated like it’s disposable. From the get-go I was completely fascinated by Gumps and on the lookout on what he had to say, and what he was doing. I think VanSickle wrote his character so well, because she doesn’t reveal too much about him that he isn’t mysterious, but she gives us just enough to keep him very interesting. He also tackles difficult situations with humour, which is just perfect. I kept on reading just for more moments with Gumps.

This is definitely a great bonding novel and ideal for a teacher, or librarian to read to a class, or for a book club. I certainly enjoyed it, and I hope there’s more to follow. Go read it!

Kazuo Ishiguro | Nobel Lecture

36655283I’ve been accused in the past (particularly by my high school teachers) of “falling in love with the writer not their work.” This is true. I am who I am and I refuse to change this particular aspect of my reading experience. Authors need to come across as decent human beings, and people I want to spend time with because I AM spending time with them for hundreds of pages, and countless hours. If I can’t stand the way an author speaks, interacts with readers, or the way they answer public questions, and aspects of their life (i.e. finding out someone is extremely racist or sexist), I tend to find their fictional work reflects that and it bothers me for the same reasons. I was introduced to every single work (that I arrived to alone without recommendations) by finding the author first and falling in love with their personality. I watched countless Neil Gaiman, David Foster Wallace, David Mitchell, Ray Bradbury, Zadie Smith, Anne Rice etc. videos first before attempting their actual fiction. For dead writers, there are biographies. My favourite writers of the past have been men and women I’ve particularly admired for the barriers they crossed, the lives they led, and the opinions they had, or letters they exchanged.

I’m embarrassed to admit that I have not read any of Kazuo Ishiguro’s fiction (yet) because I wasn’t sure what is the essence of his writing, and what I should expect; at first I mistakenly believed he wrote only romance novels. I needed to hear Kazuo Ishiguro first. I took this morning to listen and read along in this book My Twentieth Century Evening and Other Small Breakthroughs: The Nobel Lecture and my goals of the year just changed to: I must read as much Kazuo Ishiguro as I possibly can. This man is so poised, intelligent, and well-spoken. What I love about his Nobel Lecture is that he introduces himself, gives an overview of his life, and details about how he wrote each one of his novels: what inspired him to write each one of them, what changes happened in his life, what revelations he had, and how he grew as an artist.

It was so interesting to read and hear him describe the ways in which he was inspired by music, his roots and heritage, and how a single question from a reading made him change his writing away from the isolated individual reminiscing to the meaningful  relationships between people. I also enjoyed the way he sprinkles many literary references particularly of writers who have inspired him like Forester and Proust.

Near the end of the lecture Ishiguro looks forward, and respectfully acknowledges that we must allow “the younger generation to lead us” and that:

“if we are to get the best of the writers of today and tomorrow we must be more diverse…beyond our comfort zones of elite first world countries.”

If I had to highlight what stood out to me from this summarized life and writing overview,  it would be the way Ishiguro emphasizes that inspiration can come from various formats not necessarily only books but also media like music, film, and lectures. He also notes that he wanted his works to be something that can exist only on the page, which is very intriguing.

This book is very short, but packs in it the essence and craft of Ishiguro, and if like me you haven’t read any of his works but want an introduction to an exceptional individual then give this a try.

Although of Course You End Up Becoming Yourself | D. F. Wallace

6916961I read Although of Course You End Up Becoming Yourself  about three years ago for the first time, and it was my introduction to David Foster Wallace. Back then, I highlighted profusely in this book, and took many notes about what was said by both Lipsky and Wallace. Since then, I’ve watched numerous interviews with Wallace himself, read the majority of his novels, and essays, as well as D.T. Max’s biography of DFW. Re-reading this book now, there were many things that made me question its value while taking into consideration readers’ responses. I read every written review of this book on Goodreads, and they vary immensely. Some people met David Lipsky and got the book signed being really happy with it, whilst others are absolutely furious that this book exists asserting that Lipsky is an opportunist who cashed in right after a tragedy.

This book is an edited, reduced transcript of a conversation which in real time took about three days. David Lipsky arrived at David Foster Wallace’s house right near the end of the Infinite Jest book tour in 1996. Wallace was already somewhat famous at the time, and Lipsky was conducting an interview not expecting that Wallace would invite him to stay in his house. Lipsky followed Wallace around to fast food restaurants, the mall, a friend gathering, several readings, meetings with his agent, and even to his writing classes where he was teaching at the university. Sometimes he recorded on a tape recorder, other times he was required to write down as recording devices were not permitted. Throughout, Lipsky tries to capture the essence of Wallace at that time and in his own private spaces. I think he was trying to capture what on YouTube is now “a day in the life” kind of vlog, only for a very famous author, pre-YouTube. Lipsky asks Wallace about his feelings, aspirations, how he got here. I think in a way, Lipsky being such a fan-boy for Wallace led to some interesting minutiae-type questions that we all want to know of our favourite writers. How? Why? When? What poster is on their kitchen wall? How do they spend their days? What pets do they have? The problem most readers have with Lipsky is that he didn’t publish this book, nor transcribed the conversation for publication until 2010, two years after DFW killed himself, got slightly sanctified by the Howling Fantods, and remained famous. Was he afraid that Wallace himself wouldn’t like it? If Wallace wouldn’t have allowed it to be published in his lifetime then is it unethical to publish it?


Newspaper Obituary

Here, is where most readers have found the publication somewhat problematic, in addition to the fact that Lipsky is himself a fiction writer, of works that have gotten little to no recognition. Fans accuse Lipsky of using Wallace to get some recognition, seizing the opportunity immediately after Wallace killed himself. When this ‘transcript’ book was turned into a movie (which I really liked) the Wallace estate (mainly his family members) did not want to have any affiliation with this film, because they felt it would be unfair to capture Wallace at 34, for three days, and miss out on who he really was or how he had changed and matured.

With all the above in mind, I can say that as a reader I appreciate this book. I needed it, and it’s something of interest to me. For a moment there it feels like you’re hanging out with David Foster Wallace too, and you get a glimpse into his private life, in a way that is presented by an outsider which is kind of ideal. That said, I also think readers should look at this book as: this was Wallace for three days of his life near the end of his successful book tour. Stop there. Don’t dissect further, or read any more into it. Don’t look for clues on whether or not he knew he would kill himself, or anything like beyond what is on the page. There were times I think Lipsky spends too much time on his feelings and opinions, which I frankly didn’t care much about. I also didn’t like that this work is presented as a Jack Kerouak-ish On the Road kind of book, which is really not the case mainly because the two of them were complete strangers. Lastly, while Lipsky is getting some negativity from readers for when he chose to publish this and how, I would say that it’s really quite sad for a fiction writer’s most famous and most reviewed book to be a transcript of what another more famous author said. It’s the book most people ask him to sign, with six times more the reviews than any other of his works, and there’s something heartbreaking in that. I don’t think he’s just rolling in cash right now happy he made a profit off of Wallace’s death. I think his love for Wallace and deep admiration comes through in his introduction, and in the way his conversations with Wallace were carried out (if these transcripts are true). So I look at this book as a three day conversation between a fan/journalist and a writer. If you would like to read this, it’s not time wasted, but for once I don’t recommend the audiobook, as the person cast as Wallace has the opposite of a Wallace voice. I had to return it because I could not stand it.

If you are interested in what a writer-friend of Wallace’s wrote after Wallace died, I strongly recommend this essay by Jonathan Franzen titled “Farther Away.” I think I read it over ten times and listened to it on Audible. It’s so beautiful. In fact, the audiobook for Franzen’s Farther Away is extraordinary and he reads it himself. He mixes literature, personal experience, and memories of Wallace and writes one of the most beautiful contemporary essays.

Trailer for The End of the Tour feturing Jesse Eisenberg (as Lipsky) and Jason Segal as David Foster Wallace.

Shakespeare Saved My Life | Review

14296907Shakespeare Saved My Life by Laura Bates is a re-read for me. This book made me take down lots of notes and had me wondering if I should start marking these passages and keep them safe on an online forum/reading journal. Laura Bates is a Shakespeare professor who teaches at Indiana State University. She entered a correctional facility and started a Shakespeare reading club with inmates. According to her introduction, what led her to this activity, was reading an academic paper from a famous literary scholar, who asserted that Shakespeare’s play Macbeth represented “the ipso facto valorization of transgression.” She set out to prove that “real-life transgressors would disagree.”

Bates starts off by offering inmates the soliloquy of Richard II in prison. She then asks for a written analysis. Depending on what people write, she either continues to work with them, or steps aside.  Some would participate, others would not. Over the years Shakespeare had an influence on some inmates, but none struck so hard a cord as Larry Newton. At first I thought this book focused too much on this one person but then I realized that the book is a memoir written about a person who couldn’t write it himself. I was very intrigued by what choices Bates made regarding the material she started with, and what she focused on, but I was even more interested in what Newton did with the contents of Shakespeare’s works. I got so immersed in his words that many times I forgot that he is someone who would be labelled as extremely dangerous in our society. This book made me think a lot about rehabilitation, and what it means to have committed a crime in the past, incapable to prove that you have grown as a person. I find that readers can often analyze characters on paper in all their complexity but label real humans in society so fast without giving them a chance.

I’ll give an example of something that came out of the reading group from Laura Bates and the inmates. The topic was Macbeth. I studied Macbeth many times in school and it’s one of my favourite Shakespeare plays. In class discussions, we always talk about Macbeth “becoming” a murderer and changing drastically, doing things he was never okay with before encountering the witches. But the inmates say:

“Macbeth was a killer before, they [Duncan and the society] made him into one. He was a soldier.” Before Macbeth was still killing but it was this ‘othered’ enemy, not his best friends. That was the only difference. They also paid close attention to how he killed Duncan:

 “…if Macbeth wanted to kill Duncan in the most efficient, most merciful manner, he would stab him once, through the heart…but he uses two daggers…that’s butchering”

Newton notes that in his moment of guilt Macbeth sees the dagger and the act, not the person. He relates to Macbeth and relates his crimes, explaining how he too sees the act rather than the victim, every time he thinks of it. Then there was an insight on Hamlet, which Newton calls the “prison of expectation”

“Hamlet is chasing honor for his family’s name because that is what was expected of him…His father has returned from the dead not to tell Hamlet how much he loved him, not to apologize for all the times that he worked late. He returned to make Hamlet revenge his death.”

These are just two examples of literary analysis that completely escaped me and my fellow busy students in university. Newton had only Shakespeare to work with. He had time, silence, and could focus on this one thing, while contemplating that he is never getting out, and might never discuss this with anyone else other than Ms. Bates. Many of Shakespeare’s characters are in a form of prison, whether literal or metaphorical, and most are murderers. Newton can understand all those thoughts much better than any one student in first year undergrad can even imagine. I wonder if Newton had had a richer education prior to the crime, how much would his thoughts have differed? If instead of Larry Newton it had been Dostoevsky post-solitary confinement with a larger literary corpus to compare, and philosophers to allude to, how would that differ to my reading experience of this book or to Laura Bates’s discussions?

I enjoyed the ways in which Newton almost looks down on Othello for being unable to see his faults. Newton says:

“no one can make you be anything that is not already you…accepting responsibility for one’s actions is an essential first step toward rehabilitation.”

This book covers the history of Larry Newton, the context upon which Ms. Bates arrives, some problems with the prison system, and discussions on several Shakespeare plays. There are moments when Bates compares what students at the university produce from the same play to what Newton would write behind bars. I found myself almost annoyed, as if I could see the hungover student who wasn’t reflecting, or thinking hard enough on these topics, and remembered that I too was one of them.

There are too many lines in this book that are absolutely breathtaking and notes I’d like to keep, so I created a PDF with some of my favourite quotations. Don’t worry, it’s only one page. I recommend this book if you love Shakespeare and want to learn more about one person, namely Larry Newton, and his reading experience behind bars after spending ten years in solitary confinement. I will leave you with this line from Newton if you don’t get a chance to look at the PDF:

“It is an absolute magic, and the magic has little with what Shakespeare has to say. You can memorize every cool quote and be as clueless as you were before reading. So it is not Shakespeare’s offering that invokes this evolution. The secret, the magic, is YOU! Shakespeare has created an environment that allows for genuine development…Shakespeare is simply an environment that allows us to evolve without the influence of everyone else telling us what we should evolve into. Shakespeare offers a freedom from those prisons! Your mind will begin shaking the residue of other people’s ideas and begin developing understandings that are genuinely yours!…you have nothing to lose but the parts of you that do not belong anyhow”

The Private Lives of the Tudors

27904523I’ve been fascinated by the Tudors for quite some time. Judging by the abundance of books I found online so are most people. Every time I look for a new book on the topic I find so many others. Often I find that books will either be historical fiction with too much invention and dialogue that doesn’t fit the character, or being overly academic, focusing on a specific aspect of the time period (only wardrobe, only children etc), or have a dry, pedantic explanation of the late 1500s explaining only pure politics and military details.

The Private Lives of the Tudors by Tracy Borman tells the story of the Tudors from Henry VII to Elizabeth I and contextualizes them in a very humanizing way, as citizens of that time and place. Generalizations, superstitions of the time, rituals, things viewed as Royal-specific, daily and practical things like: how men viewed women at the time, practices around childbirth, etc. All these details are covered by Borman and made this book fascinating. If I could sum it up in one word it would be: details. Borman accumulated all of this information about the Tudors from accounts written by the people around them. I learned things that I won’t be able to unlearn for a long time. For instance, King Henry VIII gained so much weight in his later years and developed a leg ulcer which accumulated pus and had a wretched smell which made it very difficult for the people around him help him get dressed. He would wake up randomly and demand pudding at late hours in the night. Elizabeth I had a very problematic “relationship” with Thomas Seymour who used to be with her a lot in her early teens. Henry VIII was fixated on clothing and spent a fortune on his wardrobe. Anne Boleyn demanded that Catherine (of Aragon) give her the birthing shroud she was going to use before she (Catherine) found out she wouldn’t be able to have children–an insolent demand which was denied. The last point kind of gave me a clue as to what kind of person Anne Boleyn was without any dialogue in the ways she tried to rub salt in the wounds of others so publicly. Listing them right now, from what is memorable to me, it sounds a lot like what today would be a form of gossip, or tabloid news, but these little details bring the Tudors to life. For once I got an idea of the kind of person each of them was based on what they asked of and said to the people immediately around them.

Having been reading this book in the last week, I couldn’t help but draw parallels with today’s bestselling book: Fire and Fury by Michael Wolff. We “know” a lot about Donald Trump because we see him on T.V, we read his Tweets, etc, but the fascination with Michael Wolff’s book surrounds the details of Trump’s daily activities. For the last few nights, all the trending tidbits were things like: ‘Donald Trump eats cheeseburgers alone at night in fear of getting poisoned,’ ‘he eats them alone in his bed while watching T.V,’ ‘he has three television screens in his room,’ ‘he didn’t think he was going to win,’ ‘Melania cried upon victory and they weren’t tears of joy’ etc. Although they are small, insignificant details, they matter, and they help us characterize him.

I think Borman’s book is very important because it tells us how the people around the Tudors viewed them, and the circulating gossip of the time around them. Drawing parallels between the ways our current leaders and the details of their private lives leak into our collective psyche has helped me empathize with the people of England from that time period. I think more historians should extract minutiae because it brings history to life. What is that saying:? “The devil is in the details!” I strongly recommend this book if the Tudors interest you.


Scratch: Writers, Money, and the Art of Making a Living

29430716Manjula Martin collected essays by contemporary writers claiming to shed some light on what it means to struggle as an artist. Each writer approaches the topic in a different way. Some, like the more famous Cheryl Strayed, Jonathan Franzen, and Roxanne Gay offer their thoughts in interview format, whereas others take creative liberties to capture their history as a writer, their journey, and relationship with books. The overarching topic is: money. How much money do artists get and what does it mean? For instance, Cheryl Strayed explains that even though she received a large sum of money as an advance for Wild, it was given to her in installments. She had so much credit card debt, student loans to pay, and two small children. The art world is the only case in which sometimes people expect you to work for free in hopes that “the love of the public” and “followers” is enough compensation, as if you owe the gallery and the publishing house for being published, rather than being paid for your labour and hard work. It’s the only time when you could wake up one morning and think: today I could make zero dollars, or get a $50,000 advance, we’ll never know. It’s hard to imagine that while being on book tour, Strayed’s check bounced when trying to pay the rent.

The opening essay by Julia Fierro for instance focused on the ways in which she felt inferior to her classmates in university as well as at the Iowa Writers’ workshop. How she started hoarding and collecting books she couldn’t afford so she could stay in the ranks of her classmates, and how subsequently this resulted in her avoiding reading altogether for a while. She writes:

“My loan money moved from my bank account to my bookshelf, and not once did I stop myself, look around my apartment at the stacks of unread books–several lifetimes’ worth–and think of Jay Gatsby and his library of pristine uncut books. My fear was too loud. Fear that I was inauthentic, undeserving of a place among my mostly Ivy League–educated classmates who, it seemed, were more well-read than even the gray-haired authors who were our professors.”

Colin Dickey wrote a very interesting essay that was more historical and academic in nature. He cites a lot of Karl Marx, but begins his essay with the way in which Charles Dickens’s work got immediately tainted for him the day he found out he was paid by installment. He writes:

“once we’d been introduced to the economy of writing, everything was tainted….how to trust each word from that point on…money taints everything, why not writing too”

Roxanne Gay discusses how she remains in academic circles at universities, and teaches classes, just because they offer her a steady salary and health insurance. When she broke down her income, she discloses that less than 30% of her income comes from her writing.

I also found that this collection poked at a strange can of worms regarding the Jonathan Franzen-Oprah Winfrey conflict, back in 2001. When it comes up in the interview, and reminds readers about the conflict, some women are referenced (like Jennifer Weiner) who used social media to point out that critics rarely pay the same attention to women authors, as they do to Jonathan Franzen back when this conflict was happening. Franzen responds here with:

“well, I am a male animal, and there’s nothing I can do about that. I can’t stop writing and disappear just because someone chooses to project onto me her grievance with a million years of sexist human history”

What I found strange was that Jennifer Weiner is also one of the essays in here, and it’s written in essay/memoir format whereas Franzen’s is in interview format with the editor. The interview is by far the longest and I felt as if the editor was swooning over Franzen whereas Weiner was “left alone” as it were. In her essay, Weiner writes conversations she never thought she would have to have with herself like

“big-name critics will call your work ‘subliterary,’ and big-deal writers will sneer at the notion that your books deserve even a smidgen of attention in the New York Times…History ought to give me some context. Women’s work has always been devalued, seen as less. ‘commercial’ she asks for what she doesn’t deserve, says the privileged white man, who gets both sales and respect–as if privileged white men haven’t always been the ones to make those judgement, and those judgement haven’t always been in their favor.”

It’s an interesting fight/argument (which let’s face it, it’s about posterity), but it wasn’t why I bought this book.

As a reader interested in the “nitty-gritty of the writing profession” which is what I came to this book for, I did not find those answers here. For one Cheryl Strayed, Roxanne Gay,  Jennifer Weiner, and Jonathan Franzen are all best sellers who made money, got film deals, and some reached critical acclaim. The Franzen-Weiner “fight” was kind of central to me when I looked back.

My favourite by far was Colin Dickey. His essay actually focused on the topic. Cheryl Strayed’s article got my attention because of her success, but everyone else kind of fell through the cracks. For one, I didn’t find myself caring about authors I haven’t heard of, but if I did, I would have liked them to discuss the struggle more, rather than the details of biography. This was Spinster all over again, I got biographies I never asked for. I came to this collection looking for financial struggles, what did it mean, how much? What fees did you have to pay? Where did you live? How did you manage? One Goodreads reviewer put it best:

“the essayists tiptoe around pragmatic questions of money to instead navel-gaze about issues of privilege and class. Several of them explicitly repeat the problem this book was supposed to solve: they flatly refuse to discuss specific financial details.” – Amy Rogers 

Mary Ann Cotton — Dark Angel

31290822I recently got immersed in the world of Mary Ann Cotton, branded as “Britain’s first female serial killer.” Although Cotton being “the first” is disputed as there might have been many others before her, she is fascinating nonetheless. Martin Connolly wrote a short booklet on the town he lived in, titled The Potted History of West Auckland. After reading his work, many requested that he write a book about Mary Ann Cotton. Who was she? What do we know about her? Connolly decided to go to all of the possible sources to find out as much information as he can on Mary Ann Cotton. Connolly writes in the introduction:

“When I had brought together all my material and thoughts, I then turned to see what books on Mary Ann Cotton were being recommended. In this, two stood out, Mary Annn Cotton –Her Story and Trial by Arthur Appleton and Mary Ann cotton Dead, But not Forgotten by Tony Whitehead. Arthur’s account has some factual and date errors, but was a good read. It was on reading tony Whitehead’s book that I had a moment of wishing I had started with that particular book. In it, he had amassed a large number of images of birth, death and baptismal records. It would have saved me a great deal of time, energy and money.”

What I enjoy about Connolly’s book is that he frames the structure of Mary Ann Cotton’s life chronologically and in each sequence he tells us what we can know from the facts without interference. He doesn’t make assumptions or tell us what to believe. He collected so many pictures, certificates, and documents simply presenting them to us as images with a brief explanation of where he acquired them. After laying down the entirety of Cotton’s documented life, he presents to us her trial, documents from the trial, letters to and from Mary Ann Cotton whilst she was in jail, and accounts of the day she was hanged with all the details (including how long her body convulsed upon being hanged). After, Connolly tells us who survived Mary Ann Cotton (from people she knew and lived with), and subsequent rural stories that circulated about potential ghost sightings of Cotton. She entered English folklore for quite some time. He also gathered medical recordings of how the doctor examined the corpses to indicate that it was in fact Arsenic poisoning—which was used as ‘proof’ of her guilt. Connolly even covers a brief biography of all the men and women involved in her trial, doctor supporting evidence, and police officers involved in her arrest.arsenic

On one hand I liked being presented with facts/proof around Mary Ann Cotton’s life without biographer interference or flowery language. On the other hand, I found this work lacking in setting the atmosphere. Although Connolly makes a brief mention at the beginning that she came from a mining village with low wages, and death was aplenty; he didn’t quite set the atmosphere of the time. He jumps from one section of her life to the next without much more introduction. I would have appreciated a sensory experience, an induction into this Victorian life to try and understand. Connolly concludes with:

“was she guilty of murders? I struggle to answer this question. It would be anachronistic to try and look at the situation with a modern mind. In that period, many things were black and white in legal terms…to judge her then is difficult…I suppose I arrive at a place where I would bring in the Scottish legal judgment of ‘not proven.’”

That is a pretty dark note to end on (considering the woman was hanged).

DarkAngel_MasterpieceI read the book at the same time as watching the PBS three-episode miniseries called Dark Angel featuring Joanne Froggatt as Mary Ann Cotton. The show helped me with what the book was lacking which was atmosphere. The imagery, and the details in costumes and setting really put things in perspective.

What the show focused more on was Cotton’s seduction abilities. They presented her sexuality as being far more overt than any Victorian character I’ve encountered thus far, which made me think they appropriated a slightly modern take. The book tells us to assume she was at least charming because she managed to lock down four husbands but her seductive abilities weren’t notorious. Something missing from the show though, was the ambiguity and potential innocence that Connolly presented to us in the book. In the television program they pretty much show her carrying spoon-fulls of Arsenic into everyone’s tea, including her four husbands, lover, several step-children, her mother, and best friend. If you ‘judge’ her based on the show you ‘know’ she murdered everyone, whereas if you look at the documents and transcripts of what we actually can know….it’s pretty ambiguous, and certainly doesn’t make the case for a death penalty.

Both the book and miniseries kind of gloss over something kind of important. Mary Ann Cotton gave birth to 13 children, 11 of which died. I recently read The Light Between Oceans showing how much damage can be done to a woman’s psyche after losing a single living child, or even experience a miscarriage. To have lost eleven children she gave birth to is so much proof to me that Cotton was certainly not mentally stable. Postpartum depression alone will mess you up, let alone burying so many children of your own. The show and book gloss over it as if it was no big deal, as if it’s to be expected of the time; but even in the Victorian period the death of a child was not so simple. We have records of how much Dickens, and Darwin grieved over the loss of a single child (as fathers). Skipping over this concept to me, is kind of missing the point. I think when people read books on “serial killers” they are intrigued by character and the how they got to be that way. Skipping over the grieving process, and the bodily damage from each pregnancy and subsequent burial of tiny bodies completely hides from the readers and audience what messed this woman up so much (IF she was guilty at all). The presentation of economic circumstances of women at the time and their dependency on men really placed a contemporary feminist angle of how difficult it must have been to lack autonomy and how desperate things can really get.

So if you embark on this grim adventure I recommend reading something about the Victorian period first, and perhaps read the book alongside watching the miniseries so you have a full picture of Mary Ann Cotton. I really did enjoy this narrative altogether. The book is published by Pen and Sword, and the miniseries by PBS.


Ah, now I get that line from Chicago

Lore by Aaron Mahnke | Review


I’ve been trying to find ways to bring LORE into conversation, and on this blog several times without deviating from my main topic, unsure how, and then the book came out!  For anyone who doesn’t know the exact content of this “LORE” I will go into detail in the Book Review section. But first, I want to introduce you to all the formats LORE comes in. I’ve officially consumed LORE in every format.

  1. The Podcast

lore-logo-lightFor the month of October I binge-listened to the entire LORE Podcast (still ongoing) and caught up to the latest one. My new job allows for the listening of podcasts and audio books, so Aaron Mahnke has been my “coworker” for the last two months. Needless to say, I loved it. Every episode features a different macabre topic in which Mahnke weaves together several narratives that have been historically recorded and fit the topic. He does an excellent job, and the literary allusions, and pop-culture references are on point. One of the many reasons I adore this project is that it’s highly inter-textual.

LPJ1200S PSDThe podcast won best history podcast last year. The podcast is accompanied by music throughout and occasional commercials. New episodes are released every two weeks on Mondays. If you’re like me and late to the party just be happy. It’s a GOOD party, and you get to binge, which is awesome! The musical accompaniment is by Chad Lawson, who will soon release an album featuring the songs from LORE called A Grave Mistake. 

2. The TV Show

MV5BMjA3ODQwNzM0OF5BMl5BanBnXkFtZTgwMjY5MTczMzI@._V1_UX182_CR0,0,182,268_AL_Just as I was deep mid-podcast, on October 15, Amazon Prime Video released Season 1 of LORE which features six of the most chilling episodes. It was so much scarier seeing these tales performed with live people and seeing the settings (most are set in times different from our own). The costumes and settings really gave another dimension to these little histories. The direction of this season was excellent. The music, mixed with live demonstrations of some of these horrific things, made me far more afraid than I thought I would be (especially since I knew from the podcast how they end). Although I found some criticisms online where people dislike that Mahnke’s voice narrates throughout the show, I found his voice to be comforting when things got scary. He was the familiar constant, and I needed that.

3. The Audiobook

LOREThis was actually my favourite format of the four, which I’ll explain at length below. It maintains the ‘cleanliness’ of the book, but it also has Mahnke’s voice and some musical effects which I loved from the Podcast. I got this from Audible. Although I completely understand why in the podcasts people often take requests for placing ads throughout, it can be a little annoying while listening, but with the audio-book, it was commercial-free and the transitions between topics were so smooth. This audio-book is a reading of the book below.


4. LORE: Monstrous Creatures | Book Review

images (1)This book is made of the transcripts from the LORE Podcast mentioned above and edited in such a way that results in a very smooth transition from one tale to the next. The book itself is a mere fraction of what is to be a longer series, published by Del Rey. The second book Wicked Mortals is set for release in May of 2018 and the third book has been announced, but the cover has not been revealed.

The book cover and the accompanying illustrations are made by M.S. Corley whose contribution to this work gives LORE yet another layer of talent and atmosphere. His illustrations are so morbid and simultaneously whimsical. I think the two choices for colors: the red and black, relate to the section in the book “Doing Tricks, Shifting Shapes” where Mahnke writes:

“Black and red, for a very long time, were considered bad colors, so if you wanted to describe something as evil, of course it was black or red or both.” (Mahnke, 76)

The content of LORE is made up of vignettes and separate accounts of mysterious sightings, happenings, or experiments done by humans. The range is anywhere from the supernatural to the scientific. All of them are rooted in real recordings and stories, even if at times humans just ‘claimed’ to have seen or done something. Mahnke reminds us with this work, that not too long ago oral testimony is all we really had, and that a lot of people were highly superstitious.

The way he captures these stories is in the same spirit of the Grimm Brothers. He collected and compiled tales of the macabre, but roots each firmly in historical context. I found it very useful to understand why and how certain practices were done in a particular time period. Mahnke references historical figures, other works of literature, and the sources from which one can find the details of each of these records. What I found most exciting is that he brings together stories from all over the world. We are globally united in our  fear of the unknown, death, and the unexplained and Mahnke forces readers (and listeners) to look at that aspect of our human nature. He writes:

“We fear death because it means the loss of control, the loss of purpose and freedom. Death, in the eyes of many people, robs us of our identity and replaces it with finality.”


Mahnke drawn by Corley

At the 200-year-anniversary of the Brothers Grimm, Harvard professor Maria Tatar—expert on folklore and fairy tales— mentioned that the reason fairy tales are so deeply ingrained in our society and why we love them so much is because they’ve been told and retold so many times that all the boring bits have been left out. What we get now is the final product of a story that has been edited through generations. I think Mahnke’s work captures the same effect through the refining of folklore, and the editing process that these tales have experienced simply by being tested in the format of a Podcast prior to being committed to text. Of course the stories and their content prior to Mahnke’s work on them were refined through oral storytelling. Mahnke sometimes even extends the use of ‘lore’ or ‘folklore’ and appropriates it to other unifying communal activities like sports and how we all share a common language like the “Curse of the Bambino” in baseball folklore for example. Mahnke constantly reminds us of the power of stories:

“no realm holds more explanation for the unexplainable than folklore” (65)

“Given enough time, story–like water–will leave its mark and transform a place.” (127)

I don’t know if I’ve convinced you to give LORE a try if you haven’t, or to experience it in at least one of its formats, but clearly I love it! No one asked me to write a review, this is just me writing about my love for this whole production, because in trying to explain what I love about it, I understand myself better, and what I enjoy about this kind of storytelling. An additional Lore-related video I strongly enjoyed was Aaron Mahnke’s speech here, on how he started out, and what brought LORE to the phenomenon it is today. If you have enjoyed LORE and want to try Mahnke’s other works, here are some of this other works:

Also, this is the official link to all things LORE.

The Light Between Oceans | Review


I took my time reading this book as I was buddy-reading with the host of “Take Me to the Video Store” We read about five chapters per week as suggested by the Goodreads group. We tried to borrow some questions from the group for discussion and followed their plan. I know this book is widely-read, popular, well-loved, and has even been turned into a movie with Michael Fassbender, but yet again I am late to the party. This was my first time reading it, and I enjoyed it immensely.

imagesThis novel follows Tom, a soldier in World War I who has recently obtained a job off the coast of Australia as a lighthouse  keeper on an isolated island, quite some distance from the main shore. As he spends the first six months in complete silence, all alone, upon his first visit to shore he befriends a woman named Isabel. As they correspond via snail-mail (only when boats would go to and from the island) over time the two decide they love each other and get married. Isabel joins Tom on the island and the two live in romantic honeymoon bliss, taking care of the lighthouse and livestock. Isabel gets pregnant three times and loses the baby, each when she is further and further along. The devastation of miscarriage, inability to become a mother, and concentrated loneliness break Isabel’s spirit quite rapidly. One day a boat washes up on shore. In it they find the corpse of a man, and a living baby. After much discussion, Isabel convinces Tom to break the rules, bury the man, avoid marking this event in the lighthouse log, and to let her keep the baby.  The plot takes a turn from there. We find out about the baby in the prologue, thus it is not a spoiler.

I enjoyed this book for several reasons. The first is the personal reason: how I read it. For the first time since high school I read a novel at a glacial pace. Five chapters per week is not fast, not a lot, and not how I’ve read since University started six years ago. To take it slow with a book, to think about the characters and allowing them to stay with me for eight weeks rather than one or two days was such a strange experience.

I can also see the appeal for readers (myself included). After so many books with intricate plots, exciting ‘effects,’ twists, layers upon layers of magic systems, military combat, and cliff hangers with plot twists upon plot twists it was so nice for a book to focus in on a simple setting with two main characters. I felt like time stood still and I enjoyed every minute at the lighthouse. Like Tom, I too felt like I was getting away from it all. Stedman invites you to listen to the wind and the waves, to experience the isolation and loneliness but in a way that is similar to a vacation rather than forced exile.

There are several themes explored in this novel that are worthy of discussion. The first is the effect of War on people (on an individual level and as a community). PTSD for soldiers (or Tom) is only the beginning. Isabel lost brothers, other people lost children. Reading about the characters in Isabel’s home town and how they dealt with the effects of war and loss of beloved family members opened my eyes to the varying levels of grief.

The second theme explored at large is that of motherhood. This novel follows what it means to be a mother from conception to child instruction. The horrors of miscarriage described in the early chapters, forcing Tom (a regular man who went to War) to look at the bloody mess that is pregnancy and miscarriage, particularly for Isabel who really wants a baby was a very interesting contrast. It was intriguing to see Tom become horrified at the sight and compare it to the battlefield. In addition, we see themes of nature vs. nurture, does one own a child because she gave birth or does one own one because she/he/they raised it?

This book had me asking “what is the right thing to do?” at almost every step of the way. Every moral conundrum in this novel is such a grey area, where the right thing to do is not clear and simultaneously you cannot blame any of the characters for their choices. Every action is justified, and somehow it’s not okay for everyone involved.

I loved this book, and I strongly recommend it, particularly if you are looking for something calmer. You won’t be able to forget this lighthouse.

Big Little Lies | Review & Discussion

19486412I am not going to lie, I watched the show before reading the book. There were some questions left unanswered for me, and the book supplied the answers I was looking for. I recommend both. The show was really well done. There are two changes between the text and film and they are regarding Madeline. Unfortunately I can’t really discuss them without giving things away so I will do my best to explain what this book is about. The plot revolves around three women who are very involved in their children’s lives. The three women are ‘suburban moms’ only they are in an extremely wealthy neighborhood in California. Madeline is the social glue and a feisty character who likes to get involved in people’s lives. She has an ex husband with whom she shares her older daughter, and two children with her new husband Ed (the show has only one kid). Celeste is her best friend–who used to be a lawyer but is now a stay-at-home mom taking care of her twin boys–she is absolutely gorgeous. Celeste’s life looks absolutely perfect from the outside, and she strives to maintain the perfect public perception. Her gorgeous husband, her perfect house, everything just right. We find out early on that Celeste and her husband have a problematic relationship. They abuse each other physically and sometimes it escalates–always ending in sexual intercourse. “Our dirty little secret” as Celeste puts it. The third main heroine is Jane. She is a single mom and only 24 years old. She got her son Ziggy (named after Ziggy Stardust) after a one night stand. All the women are united in that, their children go to the same school. There are other characters around like Renata the CEO business woman power mom who does it all, and other parents mentioned/interviewed who are woven in and out of the main plot, as well as Bonnie–the perfect holistic, yoga, vegan, healthy-oriented woman who is currently married to Nathan, (Madeline’s ex-husband). All the peripheral characters play a role but the main focus is on Madeline, Celeste, and Jane.

We find out early on that there has been a murder, but we don’t know who died. The parents are interviewed by the police as we go along.

What I wrote so far covers the “plot” and “characters.” What I really want to discuss is why I love this narrative. I found it to be highly empowering. Moriarty takes 5 kinds of moms: divorced sharing (used to be single) mom, career mom (Renata), Mom who used to have a career (Celeste), single mom (Jane), and Free Will non-controlling mom (Bonnie). Madeline and Renata are more ‘helicopter’ parents than the others  but Jane spends most of her time with her son too.

The different kinds of mom and womanhood portrayed by Moriarty in this novel is innovative because we often see moms portrayed as either horrible and/or absent….or this sort of “Mrs. Darling” perfect mom who sings lullabies and reads to her children. The kind of mom achievable only if you have a very supportive partner, a housekeeper, household staff, and a lot of free time. In the 21st century these are hardly achievable for an average woman with an average income. I liked that the three main women were strong together by giving each other advice, helping each other out, and were loyal to their group while simultaneously being protective over their children when it came to it.

I also like that no one in this book is “happy.” There is no perfect scenario. No one is 100% fulfilled, and the suburban, ‘rich-life’ boredom, turns into cattiness and cliques. Everyone is trying to find an outlet to fulfill their lives aside from their family and children–the helicopter parents use the children as that outlet.

I particularly admired the ways in which Moriarty depicts variations of rape and abuse. She shows what it feels like, and the subsequent ‘PTSD-like’ symptoms post-rape; how these symptoms differ, how they are handled, and how an abuser never does it just once. It’s a powerful message. Sometimes I get lost in Moriarty’s little details (school drama and children talk) I almost forget the gravity of some of the big themes embedded in the plot. Lastly, she shows the ways in which children become miniatures of their parents in the way they imitate behaviour patterns, rather than being a certain way because of genetic predispositions. Madeline’s child Chloe is a social glue just like Madeline. Ziggy is quiet but a good kid, just like Jane. Skye, Bonnie’s child, is peaceful and calm.

I think this book is certainly a perfect one for a book club because there is so much to discuss and so many details. I definitely recommend this to everyone.

Author Spotlight: Caitlin Doughty

 “The Order is about making death a part of your life. That means committing to staring down your death fears- whether it be your own death, the death of those you love, the pain of dying, the afterlife (or lack thereof), grief, corpses, bodily decomposition, or all of the above. Accepting that death itself is natural, but the death anxiety and terror of modern culture are not.” – The Order of the Good Death


“The Funeral of Shelley” by Louis Édouard Fournier

Caitlin Doughty is one of the most wonderful women I stumbled upon on YouTube, and I am so glad I did. Since I was five years old, I’ve had many encounters with death. Born and raised in Romania, open casket funerals and three-day wakes in the home are followed by so many practices that I can say I was very much involved with the handling of many human corpses from death to burial. Washing the corpse, preparing food and serving it to more than half the town, kissing the corpse’s forehead, guarding it night and day for three days, and covering all the mirrors in the house in a black shroud for the whole time the corpse is in the house were all perfectly normal requests in rural Romania. Most importantly, death was (and is) very much a part of daily conversation. In the West however, bodies are hidden and even worse: death is hardly discussed. I constantly feel like a morbid weirdo (in Canada) talking about something that had been a huge part of my childhood and the many ways in which it confronted me to question my life, and prepare for my inevitable death. When I encountered Caitlin Doughty on YouTube it was like meeting a long-lost friend.


Caitlin Doughty

Doughty was born and raised in Hawaii and after witnessing a death at the age of eight she became fascinated with the topic. She studied the medieval period at University, and after attending mortuary school, apprenticed at a crematory in Los Angeles. Becoming more and more familiar with the practices of embalming, cremation, and funeral practices in America, Doughty began to notice some red flags regarding the funeral industry. Funeral home directors taking advantage of mourning family members by pushing upon them caskets worth thousands of dollars (all to make money of course, and so the people cutting the grass don’t have to go over uneven ground), pushing embalming practices, as well as presenting these topics in a light that make the remaining family members believe it is legally enforced. Imbuing bodies with toxic chemicals, and incorporating them in non-biodegradable caskets have damaging consequences for the environment. In addition, taking bodies away and hiding them from the moment of death hardly allows the family to process the death of a loved one. Lastly, people disengaged from discussion about and around death live in a constant dread. Thinking of human remains boxed in a rigid casket six feet under as a possibility (at least for me) is really quite frightening.


Doughty’s first book

When I heard that one could be buried in a pod in fetal position organically decomposing beneath a tree–it was the first time I got excited about my death (weird to say out loud). Just the thought that with my body I could nourish the Earth, and live in a different form in a ‘Sacred Forest’ makes me happy. But not just me, ‘many’ according to Caitlin want to become trees and have an organic death in different forms. She gave two TED Talks focusing on The Corpses that Changed My Life (which in text format–with far more details–became Smoke Gets in Your Eyes and Other Lessons from the Crematory) and most recently: A Burial Practice that Nourishes the Planet which is a summary of what she now encourages: a natural burial. Caitlin herself repeats that what she is suggesting is not ‘her idea,’ ‘new,’ or ‘an invention’ because it’s a practice that has been done in different forms all over the world, and in history. She now works on advocating for an environmentally friendly burial, a burial practice that respects the wishes of the dead person, and most importantly on educating the public about their options, their rights, and the opportunities available. Doughty became the founder of The Order of the Good Death.  If you click on the title you can find more about it from the website itself, run by a large team advocating for educating the public on ‘the good death.’ There are links there that can lead you to other books written on topics like ‘death,’ or ‘ghosts’ which are academic in nature. Caitlin’s YouTube channel “Ask a Mortician” is absolute gold! In videos ranging from 4-10 minutes Doughty tackles topics like “What happened to the dead bodies on Everest?” “How is Vladimir Lenin’s Body Preserved?” or “What’s the deal with La Pascualita?” — seriously I binge-watched 5 years of YouTube in a week.

One of my favourite lines in her book is this:

“In many ways, women are death’s natural companions. Every time a woman gives birth, she is creating not only a life, but a death. Samuel Beckett wrote that women “give birth astride of a grave.” Mother Nature is indeed a real mother, creating and destroying in a constant loop.”

511i6HQoG+L._SX328_BO1,204,203,200_The support from viewers of her work for The Order of the Good Death on Patreon, and encouragement from a large number of people reading her first book, motivated Doughty to travel to several countries, and some American States to learn about their burial practices–Indonesia, Bolivia, and California among them. On October 3rd of 2017 her book From Here to Eternity was published by W. W. Norton & Company. In this book, Doughty dedicates a chapter to a different location and examines how the role of death fits into the larger conversation, how burial practices are carried through, and how/what we can learn from them.

The book is accompanied by wonderful illustrations executed to perfection by Landis Blair. His artwork is dark and highly atmospheric. Blair himself is a member of The Order of the Good Death. 


Illustration by Landis Blair

If you are fortunate enough to live in the United States, Doughty will be going on a book tour very soon, and the dates have been listed HERE. If you are near one of them I highly encourage you to go. I must emphasize that no one asked me to review this book or promote Doughty, this is what I would genuinely recommend, and what I genuinely enjoy/believe in. I am grateful that people like Doughty exist. I highly recommend her books, her YouTube channel, and her message.

I will close off as Doughty always does on her channel:

“and remember: you WILL die.” 



The Biophilia Effect | Book Review

“Everyone feels the need deep inside to be close to nature. We have roots, and they definitely did not grow in cement.” – Andres Danzer

“The biophilia effect stands for wilderness and the conception of nature, for natural beauty and aesthetics and breaking free and healing. That is what this book is about.”


51RnoLAew9L._SX331_BO1,204,203,200_Austrian writer Clemens G. Arvay wrote in this book every argument for why humans must co-exist with the natural realm.  The term ‘biophilia’ originates from Greek, meaning: ‘love of life or living systems’ and was coined by psychotherapist and philosopher Erich Fromm. Edward O. Wilson introduced the “biophilia hypothesis” claiming that it is “the human urge to affiliate with other forms of life” and that is our deeply rooted connection with nature in the web of life.

Arvay explores in this book the history of ‘biophilia’ in literature and philosophy starting with the Abbess Hildegard Von Bingen (1098-1179) who wrote “there is a power in eternity, and it is green.”

Arvay continues by incorporating medical and scientific studies which show that people who live close to a forest have stress reduced by as much as 30% living the same lifestyle as those in the cities. He writes:

“Plants heal without having to be processed….they heal us through biological communication that our immune system and unconscious understand”

He dives deeper by explaining how plants, like insects, communicate using chemical substances and we are just another cohabitant in the ecosystem benefiting from this communication.

What I enjoyed about this book was how Arvay describes nature and how he backs up each statement with a study. I never thought about the symbiotic relationship between a mushroom and tree roots for instance, and how the mushroom in turn provides the tree with water and nutrients from the soil. Arvay also presents readers with several relaxation and visualization exercises. He teaches readers how to be hyperaware when walking through a forest and take in all of the forest’s energy while telling yourself “I am a part of the woods.”

He urges readers to:

“take this visual language of your soul seriously.”

Arvay doesn’t try to sell products, services, or anything other than to encourage a love for the forest and for people to go outside and benefit from what nature has to offer. He makes an argument for the forest by presenting the history we as humans have with it, how deeply rooted our ‘biophilia’ truly is, and how we need it now more than ever.

Arvay is an advocate for clean eating and has written other works in the past on forgotten vegetable varieties, regional small-scale agriculture, and connecting philosophy with nature. I personally enjoyed this book, and I would recommend it to anyone who enjoys reading nature books like Thoreau’s Walden, or Muir’s Essays on Wilderness.

This book will be released in February 2018 by Sounds True Publishing.

Literary Titans Revisited | Review

“Their writing explores themes in our society…the plight of the marginalized, the environment, the difficulties of finding one’s self and place, the anxiety of getting it all wrong, the longing for love, the search for justice.” —Anne Urbancic

32841205Professor Anne Urbancic (at Victoria College, University of Toronto) assigns her first-year students to explore in depth a library’s archive, write a detailed essay, and present it to the class. One of her students, Griffin Kelly, discovered in her search a series of compact discs in the Victoria University Archive at the E.J. Pratt Library. What she found were 16 interviews conducted by Earle Toppings with some of Canada’s top novelists and poets who were leading figures in the emergence of Canadian identity in literature. Kelly brought Mr. Earle Topping—an editor turned radio host who still resided in Toronto at the time—to speak to the class. Thus began the project that has now been turned into the book Literary Titans Revisited. Urbancic called upon four students, including Griffin Kelly herself, Geoff Baillie, Amy Kalbun, Vpasha Shaik, and the E.J. Pratt Library’s leading Reader Services librarians Agatha Barc, and Colin Deinhardt to collaborate on transcribing the interviews.

Urbancic notes in the introduction that:

“While Canada prides itself on its many excellent and exceptional authors and poets… they had not often appeared on the world’s literary stages until the second half of the twentieth century.”

The topic of Canadian identity in literature is still relatively new compared to its English and American fellows, and resources on Canlit authors are still being pieced together. What Urbancic created with Literary Titans Revisited is an excellent primary source for future Canlit students. Each writer’s interview with Earle Topping is preceded by a brief introduction including biographical material, a portrait, relevant and major contributions, as well as a brief analysis of their overall influence on Canadian literature and culture. The first section ‘Prose’ includes interviews with six novelists including Margaret Laurence, Morley Callaghan, Hugh Garner, Hugh MacLennan, Mordecai Richler, and Sinclair Ross. The second section ‘Poetry’ contains the remaining ten interviews—among which are Al Purdy, Dorothy Livesay, and Irving Layton—to name a few. Lastly, the seventeenth chapter contains an interview with Earle Toppings who discloses his interviewing process, the composition of his questions, and the experience of interviewing the sixteen authors. Finding how he came up with the project and the recording devices he used at the time is an inspiring reminder of how much one can do with minimal resources.


Statue of Al Purdy in Queen’s Park (unveiled in 2008).

The authors shared personal anecdotes, life struggles, and their creative process. Some poets read aloud to Toppings some of their newly composed poems which are not necessarily the ones that later on appeared in print. When it comes to transcribing the poems, this collection stays true to the recordings rather than what was finalized in print. What I found particularly interesting was how at the moment Canadian writers were asked how some of their life experiences connect to their artwork, they began by discussing either a British or American author as an example of how that can happen. Morley Callaghann speaks of Conrad and Joyce, Hugh Garner of Fitzgerald, Hugh Maclennan of Hemingway, and Mordecai Richler of several authors like George Orwell, and Norman Mailer. While trying to find the Canadian voice, these Canadian authors were still using American and British identities as a crutch even in the late sixties.  These interviews are a clear depiction of the search for a unique voice. Simultaneously, some keep in perspective the problematic consequences of Canadian history. Urbancic emphasizes that Al Purdy for instance:

“points out in his poignantly metaphorical verses about broken indigenous art pieces that represent the plight of Canada’s First Nations.”

This book has been published by Dundurn Press and is currently available for purchase (click here) and at your public library (click here). I would recommend this work to anyone who is interested in Canadian Literature, wants to be in the presence of Canadian literary titans, and interested in aspects of the creative process. Lastly, I would hope that all libraries will have this book in their collection. This collaborative project supplemented with the editorial work of Anne Urbancic is a new excellent primary source in Canadian scholarship.

Odd Type Writers | Book Review

15811570This will be a relatively short review as most of its contents would be a ‘spoiler.’ Odd Type Writers focuses on the strange habits of famous authors. Each chapter has a different theme. For instance the topics vary from: authors who write early in the morning versus late at night, what each author’s daily word count for writing is, what preference of ink colour they have, whether they write sitting down or standing up, or how many cups of coffee they had in a day. Balzac for instance would have about fifty cups of coffee per day. This is the kind of book that makes you say a lot of “did you know…” after reading it. I wish the author went in further detail on each author and habit, but the listing at the back marks this as a “reference work” which explains its presentation and quick introductory remarks. The authors covered and the quirks they had are so vast that the amount of research Celia Blue Johnson did for this book is astounding. There are eleven pages of references/works cited at the back and most of them are from authors’ papers, personal letters, and additional secondary material. The work Johnson had to do to pick out the little quirks required hours upon hours of searching. Like I said, almost anything I say could and might be a spoiler, so I will cite a few excerpts from the back of the book that got my attention when I picked it up:

“To meet his deadlines for The Hunchback of Notre-Dame, Victor Hugo placed himself under strict house arrest, locking up all of his clothes and wearing nothing but a large gray shawl until he finished the book.”

“Friedrich Schiller kept a drawer full of rotten apples in his study. According to his wife, he couldn’t work with out that pungent odor wafting into his nose.”

“Virginia Woolf used purple ink for love letters and diary entries…in her twenties, she preferred to write while standing up.”

I would recommend this book to anyone interested in fun facts and wants to know some of the quirks and odd habits of some of their favourite authors. It made me realize that there is no blueprint for being an author. While some have a disciplined routine and a precise daily word count, or worked only when inspired and late at night like Kafka did, neither dictated who was more successful, or the better writer. For that reason I would recommend this to aspiring writers, because I think in searching for answers young writers turn to writing clubs, seminars, and notes or vlogs from other authors. This book is a reminder that if your habits don’t match those of other writers it is perfectly fine. And if you have a strange little path let it be and own it! It’s YOUR strange little path.

Johnson wrote a second book called Dancing with Mrs. Dalloway : stories of the inspiration behind great works of literature which may be of interest to you if you enjoy this one or like the sound of it.

Cheek by Jowl by Ursula K. Le Guin

“I have been asking for thirty years why most critics are afraid of dragons while most children, and many adults, are not”

“fantasy is not primitive, but primary”

6380284This book contains a series of essays on fantasy by Le Guin written in a highly assertive and critical tone. I think I will re-read this every year because it’s a little manifesto worth memorizing. The dominant essay in this collection is the central one (also the longest) focusing on animals in children’s literature and fantasy.

Le Guin begins the series of essays in debunking three stereotypes attached to fantasy like: (1) the characters are white (2) it’s a fantasy land in the middle ages (3) fantasy by definition concerns a battle between Good and Evil. She explores the reasons why some children’s literature is often in a pre-industrial setting, and how fairy tale retellings don’t necessarily mean changing the story, rather, poaching at it and getting into it.

“it interests me that most of these ‘lifelong’ children’s books are fantasies: books in which magic works, or animals speak, or the laws of physics yield to the laws of the human psyche.”

Le Guin questions what the making of fantasy really entails. For instance, a woman may turn into a troll in fantasy, but what does it really mean for a woman to turn into a troll? She compares it to “realist” literature like Flaubert’s Madame Bovary. Could one say that she has morphed into something monstrous?

Le Guin then turns her attention to the fantastic elements in other novels we consider great ‘realist’ and ‘serious’ literature like Moby Dick.

“The fantasy element of Moby Dick is Moby Dick. To include an animal as a protagonist equal with the human is—in modern terms—to write a fantasy. To include anything on equal footing with the human, as equal in importance, is to abandon realism…Melville’s white whale isn’t a real whale, he’s a beast of the imagination, like dragons or unicorns; hence Moby Dick is not an animal story, but it is a fantasy.”

In the main essay focusing on animals Le Guin examines how we used to be around animals in our earlier stages and what fantasy tries to capture:

“Animals were once more to us than meat, pests, or pets: they were fellow-creatures, colleagues, dangerous equals. We might eat them; but then, they might eat us. That is at least part of the truth of my dragons. They remind us that the human is not the universal.”

“As hunter-gatherers, our relationship to the animals was not one of using, caretaking, ownership. We were among, not above. We are a like in the food chain…each is at the service of the other. Interdependent. A community. Cheek by jowl.”

In literature we find interdependence between animals and nature, coexisting with humans in the same spaces. Lucretius’s poem On the Nature of Things shows us, Le Guin emphasizes, that “Lucretius saw no barrier between man and the rest of creation.” As we distanced ourselves from nature an animals with cities, and passed the industrial period, we separated ourselves from other species “to assert difference and dominance.”

Le Guin spends the rest of the book showing us the many ways in which fantasy as genre, found often in Children’s Literature brings us back to this imagined past where animals are integrated in society as equals. She examines Bambi, The Jungle Book, The Wind in the Willows, among many others and discusses how these points reinforce her thesis, and why they have been so successful. Le Guin uses some of her own stories and shows how she has tried to capture certain things and for what purpose.

Lastly, a part of this book that stayed with me, is Le Guin’s reaction to the Harry Potter phenomenon. Granted, this collection came out the same year as The Deathly Hallows, and didn’t examine in detail the overall effect and its subsequent ‘merchendise, Potter-world, Fantastic Beasts, and  Jack Thorne’s Cursed Child‘ but Le Guin has a bone to pick with the critics who had for years shunned fantasy and all of a sudden went along with the main crowd. Le Guin writes that she finds it normal for the public to fall in love with Rowling’s fantasy because they found something they missed out on since childhood, but she says:

“How could so many reviewers and literary critics know so little about a major field of fiction, have so little background, so few standards of comparison, that they believed a book that was typical of a tradition, indeed quite conventional, even derivative, to be a unique achievement?”

Le Guin blames the modernists, realists, and curriculum builders as well as the Edmund Wilson and his generation who labelled ‘realism’ and its various forms as the only kind of ‘serious’ literature. I love her criticism, brutal honesty, and analysis. All Cheek by Jowl has made me want to do is to read her all her essay collections and all her Science Fiction and Fantasy which is all now on my immediate TBR.

This book is one really well-written argument. The whole time I was highlighting and thinking of all the professors to whom I would like to send a copy. I think this book is perfect in how it’s written and how it delivers its argument. I was trying to think of a retort and couldn’t because her argument was that well done. Even in parts that I felt differently towards going in, I found myself converted by the end. Everyone should read this book.

Artemis by Andy Weir | Book Review

35097384Earlier this year I read The Martian by Andy Weir. Artemis is Weir’s second novel and it will be released by Crown/Archetype on November 14 this year. Weir is both blessed and cursed with The Martian being his debut novel. On one hand we all know his name and look forward to every project, and on the other, every work will be compared to The Martian which is a high standard, considering the blockbuster success that followed.

Jasmine Bashara (Jazz) is the protagonist of Artemis. She is a young, ambitious, daring woman of Saudi Arabian descent. She lives on the moon. Set in the near future, Artemis focuses on the first village that humans will have on the moon and how humans will most likely interact with it. The geography of this village is laid out on the first pages as having five domes each named after a famous astronomer. Only the wealthy can really afford to own property on the moon with a luxurious apartment, and the rest are mere employees and household staff. The five domes are mostly underground and the entire village functions as a ‘Vegas-like’ amusement location. Jazz is one of the lower class citizens and aspires to one day afford a roomier place on the moon. Her side project is smuggling contraband on the moon for rich people like Trond, who has a big request of Jazz driving the plot.


The set-up of the village on the moon

I enjoyed immensely the ways in which this moon village comes to life. There are Earth tourists getting a field guide coming and going, the whole place runs like a resort, there is smuggling and crime, and like all places the moon has its own currency known as Slugs (ğ). In this projected future the moon is reserved for the privileged and is an honor not bestowed on many. The financial situation driving Jazz to do certain things, the description of her headquarters, the occasional ‘space-related’ incidents bring Artemis to life. There are also projected inventions which amused me like the self-cleaning, reusable, self-sterilizing condom.

The book has so far received a criticism of which I am wary and I must address. The early reviews criticize Weir for not being capable of writing a female character. According to some she sounds like a 15 year old boy, or sounds exactly like Watney in The Martian with no added dimensions or changes. I felt similarly near the beginning of the novel and there are moments where she sits a certain way and a male character will say “do women know they look sexy when they sit like that” and she’d say “yeah of course that’s why we do it” and this is just one of many examples, but then I realized that I can’t pinpoint one female character in literature with this much male-like confidence. If Jazz is just what a woman with the confidence of a man looks like then you know what… I like it! She’s the female equivalent of Rothfuss’s Kvothe. She’s confident, attractive, good at what she does, and she’s not shy about it. Also, if you think about it, the moment a character is raised a lifetime on the moon surrounded by a particular kind of person, I think it’s understandable why her personality evolves this way. Why should a woman or a different background origin differentiate her talking ways, her ambitions, or her personality? I think it makes perfect sense for Jazz to be written this way given the context and her upbringing.

As for the writing, there is a secondary reason why Artemis won’t come close to The Martian, and Weir addressed it himself in an interview. He says:

“… for The Martian, I was doing it as a serial, and I posted a chapter at a time to my website, and I could get feedback from the readers right on the spot. But for Artemis, it’s more traditional. I had a publishing deal from day one. The feedback, I got from my editor, my agent, and some close friends and family members. I couldn’t post it online for a few thousand readers.”

He admits that he misses the fact-checking and feedback provided by a wider audience of readers pre-novel publication. I’ll link the entire interview here because Weir has a good sense of self-awareness when it comes to his work and he is quite humble.

Overall I enjoyed Artemis, and I look forward to sharing it with my friends come November.


The Emerald Circus | Book Review

34218720The Emerald Circus is an excellent collection of fairy tale ‘retellings’ written by Nebula Award-winning author Jane Yolen. Although I use the term “fairy tale retellings” since it is a labelled sub-genre, Yolen’s collection incorporates the retelling of more than just fairy tales. Children’s books like The Wonderful Wizard of Oz, Alice’s Adventures in Wonderland, and Peter Pan are also retold in this short story format from different perspectives, as well as Edgar Allan Poe’s “The Raven” and Emily Dickinson’s lifestyle and inspiration. The third category of retellings in this collection is of medieval legends of Camelot and Robin Hood. “The Quiet Monk” is the story of the hidden grave which supposedly had Arthur and Guinevere’s bodies in it which falls under Arthurian Retellings along with “The Confession of Brother Blaise,” and “Evian Steel.” Some of the short stories in this collection have been previously published in anthologies, or individually. For instance, “Lost Girls” the feminist retelling of Peter Pan where women riot and protest for their rights in Neverland won the Nebula Award in 1999 and has been published in Twelve Impossible Things Before Breakfast.

The Emerald Circus is a great introduction to Jane Yolen as it incorporates works from various points in her writing career. This anthology includes all the stories that haunt us past childhood and stay with us in a collective imaginary space. Arthurian Legends, Children’s Literature, and 19th Century American gothic poets share a fantastical quality that remains a point of comparison when reading contemporary literature. At the end of the collection of retellings, Yolen takes a few pages to explain how the idea for each of these stories came about. I will focus on one of her stories to give you an idea of how Yolen’s stories come through. As a big fan of Peter Pan and Neverland retellings, “Lost Girls” was the story that stayed with me most.

Yolen explains:

“I wrote ‘Lost Girls’ because I couldn’t forget the uneasy scene in which Peter Pan is weeping because he can’t re-attach his shadow. When Wendy sews it on for him, he crows and cries out ‘Oh the cleverness of me!’ As if Wendy had done nothing and he had done it all.”

Yolen’s research led her to Alison Lurie’s study of Peter Pan in a 2012 essay where she compares Peter’s existence with what we currently know of child psychology. He is easily distracted, has little understanding of the future, and lives in a world where real life and make-believe are almost the same thing. Peter might be “gay and innocent and heartless” as the last words of Peter and Wendy suggests, but according to Yolen:

“he [Peter] is also deeply self-centered and without remorse…Peter might be eternally young in his looks, but his eyes betray his real age. He has seen so much, he would have an old and narcissistic soul.”

Yolen takes this analysis and applies it to her story “Lost Girls.” In it, the main character is a young girl named Darla who has been raised by today’s Western standards of feminism and equality. As Darla reads Peter and Wendy she finds it unfair that “Wendy only did the housework in Neverland and that Peter and the boys got to fight Captain Hook.” Darla arrives in Neverland that night and Peter immediately sees her as “a regular Wendy” —as all women are interchangeable to him, in fact he refers to all the women he comes in contact with as “The Wendys.” As celebrations continue with Peter and the Lost Boys, the girls would obediently stand behind the boys “like banquet waitresses.” When Darla cannot stand being called a ‘regular Wendy’ she asks the girls why Peter refuses to call them by their actual individual names, to which the girls respond:

“Because he can’t be bothered to remember…and we can’t be bothered reminding him…it’s all right…really. He has so much else to worry about.”

The injustices present in Neverland and children’s literature are highlighted by Yolen in this story as she pinpoints examples in narratives that follow us and we enjoy without questioning. Yes, Peter Pan is about adventure and fun but who gets to have most of it, and who ends up hurt in the end as she must put up with his moods, flaws, and inability to adapt to circumstances? Innocence and living in the moment as ‘fun’ children do results in selfish behavior and unbearable cruelty to others.

This story is just an example of the kind of excellent work that Yolen accomplishes by creating alternative possibilities in this collection of retellings. Such attention to detail is present in all the stories in The Emerald Circus and it is a collection I would recommend to everyone.

Welcome to Night Vale | Review

23129410This book has been an experience for me in the last week: I read the text while listening to the audiobook, and listened to the Podcast when colouring, walking, or doing other activities.

The book is written by Joseph Fink and Jeffrey Cranor and is published by Harper Perennial.

Night Vale is a town in the middle of the ‘American’ desert that is overall peculiar. All its inhabitants are very strange. The main story follows a single mom (of a shape-shifting boy) Diane, and a pawnshop owner named Jackie. A mysterious man in a tan jacket arrives leaving behind a note with only two words on it “King City.” The memories of this man fade and all Jackie is left with is “King City.” It’s a mystery/thriller that feels very much like Twin Peaks, but with the storytelling style of The Twilight Zone. The strangeness of each character is fantastical similar to Stranger Things where it’s sci-fi but told in a realistic way, highlighting human mundane problems using the supernatural. Between the narratives there are passages that look like transcripts from the town radio show. The radio passages unite the narratives because the news applies to all citizens of Night Vale and as a reader one can get a better sense of what goes on in town and what all the characters talk about communally.


Podcast Cover

I understand that the Podcast is wildly popular and has achieved great success between 2015 and 2016. I did not get a chance to finish the Podcast so I will write my impressions of the book/audiobook.

First: if you can get the audiobook I recommend it strongly. In fact, if you must choose between the printed text and the audio, choose the audio. There are several reasons why it works better in audio format. The first reason is that in Night Vale there is a radio broadcast and the narrator who reads the radio host voice Cecil is also the one who does it in the podcast. The second reason is that this is not a ‘literary’ book, but a highly atmospheric one. The musical accompaniment and sound effects from the audiobook help enhance the setting and atmosphere. It reminded me of so many things (like the shows mentioned above) and reading it I just got an overall feeling of eeriness and mystery. The plot itself is not that exciting and the characters are not that deep, but somehow it works and it works well.

If I had to choose between its three existing formats as a narrative I would say the Podcast is the best. Although I haven’t heard it through to the end, I can tell from the few episodes that it is this narrative’s best format. The novelization incorporates some characters from the Podcast but not necessarily the best ones. There are several parts with lulls where the novel lost my interest but it does pick up again.

That said, overall I loved this book and the experience of it. I look forward to finishing all the Podcast episodes.

The book is filled with lines that left me in awe and some that just made me laugh out loud. Here are some examples of lines I found funny and some I found beautiful.

Humour extracted from Cecil’s Broadcast:

“coming up after this break, some exclusive clips from my recent three-hour interview with myself, in which I interrogated myself on my motivations, where I am in life, why I’m not in a different place in life, whose fault that is, and why I said that one embarrassing thing once.”

“If you see one of these False Police, act right away by shrugging and thinking What am I gonna do? And then seeing if anything funny is on Twitter”

“if the School Board could not promise to prevent children from learning about dangerous activities like drug use and library science at recess…”

“if you see hooded figures in the Dog Park, no you didn’t.”

Beautiful Lines

“Later she understood databases, having become the person she’d lied about being…”

“How does a person discover whether they are shy if they never have the time to meet new people?”

“There is nothing more lonely than an action taken quietly on your own, and nothing more comforting than doing that same quiet action in parallel with fellow humans doing the same action, everyone alone next to each other.”

“She left the shower as most people leave showers, clean and a little lonely”

“A person’s life is only what they do.”

Hopefully I captured some of Night Vale’s charm. I definitely recommend the Podcast, and the book/audiobook. This work will have a sequel coming out on October 17 this year with the title: It Devours! from the same authors.

The Audiobook is available through the public library with Overdrive. The ebook is also on Overdrive, and  the public library should have the printed copy in its system.

There are also two volumes of the Welcome to Night Vale podcast SCRIPTS:

  1. Mostly Void, Partially Stars
  2. The Great Glowing Coils of the Universe



Pillow Thoughts & The Road Between | Courtney Peppernell | Poetry Review

I was recently introduced to Courtney Pepernell’s works through Instagram and I requested her two poetry books that will be released later this year from Andrew McMeel Publishing: Pillow Thoughts and The Road Between—both collections will be released on August 29. Courtney Peppernell is an LGBTQ author from Sydney, Australia focusing on Young Adult novels and Poetry Collections. Keeping Long Island is her third title release, and the first under her new book brand, Pepper Books. Pepper Books is a publishing house that has just been started this year and will focus on Poetry and LGBT communities.

Pillow Thoughts

35489042This collection was first self-published on October 4th, 2016 and has recently been picked up by Andrew McMeel. Pillow Thoughts is about love. It sort of took me by surprise when I noticed that it rhymes in a ‘fun Dr. Seuss’ kind of way but the subject matter itself is deep and honest. If I had to compare I would say it’s a combination of John Keats and Dr. Seuss. It sets up this sort of innocent, whimsical-humour-seriousness from the beginning with this poem:

Before we begin, I’d like to share a story.

Once upon a time there was a jellyfish. We’ll call it


You became lost sometimes

You could be a little unsure

You tried very hard.

But sometimes it didn’t feel like enough.

I hate to spoil the ending

But you is fine

You is still here.

You is going to make it.

The references to “you is” as a trending internet meme-culture joke is preceeded by a quotation from the Chainsmokers. This lightness of “the here and now” touched with recognizable references makes Peppernell very relatable and accessible as a young emerging poet.

Throughout her collection these references occur. Peppernell places before us lines and images we’ve seen repeatedly on online forums. For instance, she alludes to the famously known Albert Camus quotation changing it slightly:

“you promised you’d never take a road that I could not follow”

The poems in this collection go through love, heartbreak, and the various kinds of dynamics that exist in a relationship between young people. Based on the language used and the style of choice I think this book is ideal for preteens and teenagers. At its core this collection has a message which to me is: you will experience all this and you will hit some serious downfalls, however you will be okay. Everything will be okay in the end.

The Road Between

35489039This collection is exploring growth, mapping the metaphorical geographical spaces in one’s life. I.e. the caves you hide in when you are afraid.

I enjoyed this collection more than the one mentioned above because it deals with various aspects of one’s life where love is a part of it rather than its center.

This collection is also filled with proverb-like sentences like:

“you are not defined by the stage you are at in life. Just because you are unsure of where you are heading doesn’t mean you don’t know who you are inside.”


The Cave

I read some reviews of Pillow Talk shaming Peppernell’s use of language and simplicity. I think we need to look at poems like Peppernell’s as: us the readers getting a glimpse into an individual’s growth and healing journey. Peppernell uses poetry as a way to understand herself growing up differently. There are many “in the closet” references throughout her poetry, or hiding in a cave for comfort. I think it was more important for Peppernell to write this collection than it is for us to read it and/or judge it. As a reader and poetry lover I find it difficult to review things that are so personal. I wish Peppenell did more with the language, and played around with the structure. I also think some poems shouldn’t have been incorporated in the collection as they distract from the whole. However, I am happy these collections exist and I’m very excited to see what Peppernell will release in her newly created LGBT-focused poetry publishing house. Overall I enjoyed The Road Between more than Pillow Thoughts and both strongly reminded me of Rupi Kaur’s Milk and Honeyso if you enjoyed that collection perhaps give Peppernell a try.

Again if I were to recommend this to readers I would direct this to a younger audience perhaps ages 12-16.

Plank’s Law | Book Review

imagesLast month I reviewed a poetry collection Thin Places by Leslie Choyce which will be released July 29. I received Plank’s Law from LibraryThing Early Reviewers and Netgalley in exchange for an honest review.

This story follows a teenage boy named Trevor who has lived a sheltered life and now has only one year left to live. He has been diagnosed with Huntington’s disease when he was 10 years old and it has recently aggravated. In a moment of reflection he finds himself on the side of a cliff imagining that he would just jump when an elderly man named ‘Plank’ stops him and starts talking to him. Trevor is having a Hamletesque experience, he says:

 “I think about doing things, but that’s about it.”

Plank tells Trevor that there are two parts to ‘Plank’s Law’ or his own way of living. The first is: “just live” and the second: “Brains don’t count. Imagination is what counts.” Trevor thinks about what Plank has said, and creates a list of all the things he wants to do. As an adult I had to take a step back and understand his choices as a young teenage boy because I don’t think “to drive a Lamborghini” and “get arrested” would be on my bucket list.

Trevor has many moments of reflection where he narrates about his family, and makes various lists like: the primary bucket list, secondary smaller goals, the many factors that shaped his life, and lists about people he meets. As a character his is a little different. He broods a bit more than he does activity, refuses to take too many chances, is intrigued by religion and thinks of himself as a Buddhist and Christian, and loves to watch Sci-Fi films. Trevor’s life changes even more-so when he meets a girl named Sara. Every time he feels lost he revisits the elderly man Plank and is set straight by Plank’s matter-of-fact attitude about life.

The book has a good message and a good premise but I found the vocabulary to be a bit simplistic, especially for its intended audience. There’s also a lot of telling and not enough showing. The first 50 pages are filled with “but before I move on let me tell you about my mom…my dad…my grandpop.” This is a bit too much because no one does this even in real life, you find things out as you go along. This book also contains a lot of profane language especially when Plank needs to come across as a ‘cranky old man’: a lot of “bullshit” and “fuck offs.” Those components irked me a little as a reader.

What I did enjoy was the premise. It’s a good message to stop overthinking, to prioritize imagination, to just live, and take each moment in your stride. There are some great lines scattered through the book from time to time like: “the best parts of your life are the ones you share with someone else.” I also enjoyed the ending in that it wasn’t a cartoon ending, nor was it world-shattering. It was just right and realistic. I prefer realistic endings so hats off in that respect. I also appreciated that Choyce decided to shed some light on Huntington’s disease because I’ve rarely encountered it in young adult fiction. If I were to recommend this book, I would hand it to people who are having a bit of a crisis and need some perspective (teens and adults alike).

The book will be published in September by Orca Book publishers.

Gork, the Teenage Dragon | Book Review

“For inside my scale green chest, there beats a grotesquely large and sensitive heart.”

32766443I hope this book gets turned into a children’s cartoon series because I would watch it with a lot of passion. Gork: the Teenage Dragon, is Gabe Hudson’s debut middle-grade fantasy novel. The narrative follows a dragon named Gork who, you guessed it, is a teenager. What’s particularly charming about this novel is its snappy humour. Gork narrates his story and in the first chapter he establishes himself as:

“My first name is Gork, my middle name is The, and my last name is Terrible, and like I said, I’m a dragon, plus I’m a poet”

But not before criticizing Beowulf and Tolkien to no end for their bad portrayal of dragons. He says:

“Mr. Tolkien was a real low-hearted sonuvabitch.”

Gork is in high school at WarWings Military Academy where he is a little different than the other dragons. He is afraid of heights, and really does have a large heart. His nickname is: Weak Sauce. His main purpose in this novel is to find himself a queen, for if he fails to do so he will become a slave forever.

Maybe I read Spinster, and All the Single Ladies too closely together this year and only in the last month, but this ‘despair’ that young Gork has throughout this novel really resembled for me the pressures society put on women in the past. You must find a husband or be ridiculed as a ‘spinster’ or enslaved in various other forms. I hope I’m not reading incorrectly into this children’s book, but this is the first time I’ve read a book where the male character is forced, nay, obliged and in ardent despair to find himself a partner. While other books have shown this dynamic from a male perspective, never with such urgency, and I’ve personally never encountered it in children’s literature. Well done Gabe Hudson!

Politics aside, I must return to the humour. This book is so funny. I found it funny as an adult who is quite in love with dragons and I wonder how the children would take this same humour. There’s something in his voice that echoes Lemony Snicket for me, though his publishers insist that it’s ‘Harry Potter meets Hitchhiker’s Guide to the Galaxy.’ Either way, I suggest we, the readers, allow Hudson to have his own voice through Gork. I also enjoyed the ways he doesn’t shy away from swearing a little bit (never vulgar though). Highly recommend! I would also suggest that parents read this book aloud to their children, or librarians to their students at circle reading time. It’s a great bonding book! I look forward to Hudson’s future novels.

This book is scheduled for publication on July 11, from Knopf Publishing Group.

Matter & Desire | Book Review

“love is the principle of a fulfilling equilibrium between the individual and the whole”

34956703Matter and Desire is not a book about navigating in nature, an analysis of the natural realm, nor a biology book in any way shape or form. I read this text as a love letter to nature. Andreas Weber is a German academic, and scholar who holds degrees in Marine Biology and Cultural Studies. In this text he explores the ways in which humanity, unity with the larger ecosystem, and love as experience connect with nature and all things around us. In the foreword John Elder writes:

“He [Weber] focuses throughout on the ways in which sensory contact with our fellow creatures, as well as with air and water, light and gravity, can deepen our capacity to identify with all of life.”

Weber connects our psychology and experience of nature with ecology, as well as acknowledging writers before him who have managed to do so successfully—like John Muir for instance. In fact, Weber brings together philosophers and writers from Antiquity to present merging their writings with contemporary anthropocenic discussions, exploring how our human identity ties in to nature.

Weber begins his book by defining ‘eros’ as he will use it in the entire text as well as a brief history of the word itself. He writes:

“The Eros of matter counterbalances the physicists’ basic assumption that ‘entropy’ in the universe is constantly increasing, meaning that everything in the cosmos is trending toward a uniform condition of the lowest thinkable level of energy. Fires burn out. Life-forms die. Our bodies break down. Even the sun will collapse someday.”

He brings together all the components of this experience: touch, desire, and death as well as separating the contextual experience of nature in terms of relativity between ‘I,’ ‘you,’ and ‘we.’  Weber also explores the poetic imagination, poetic materialism, philosophy, psychology, and freedom and the ways they fit into the discussion of desire and nature, as well as the many conversations sparked by each separate field.

This entire text is so well written and almost every line is quotable. Here’s an example:

“the feeling of the soul in ascent is the feeling that the desire for aliveness that fills the cosmos to the point of overflowing is being realized.”

Weber also includes in each section of his work an anecdote from his personal experience and relates it to the topic discussed in a theoretical way examining how it applies.

This work is a love letter to nature, and it is first and foremost an academic text. I would recommend this to readers who enjoy Carl Jung, Thoreau, Octavio Paz, Albert Camus, Jean-Paul Sartre, John Muir, Sigmund Freud, and Classical Mythology, as well as new emerging discussions about the Anthropocene. This work is demanding of its readers but it is worth the effort because it’s extremely rewarding. Every line is so well written and beautiful. This will no doubt become a crucial text on nature in future literary discussions.

This book will be released on August 3rd from Chelsea Green Publishing.

Drinks with Dead Poets | Book Review

“Every word, phrase or sentence spoken by the literary figures in this book is drawn verbatim from their letters, diaries, journals, or essays.” – Preface

33011553The main character is a professor by the name of “Glyn Maxwell” (name of Author) who finds himself in a dream-like, quaint, rustic, village school. There’s a pub, a church, all like in the old days. He must teach a semester-long course on poetry.  He is charismatic, funny, and passionate–a bit like Mr. Keating from Dead Poets Society.

He is given this syllabus to teach: “Reading List for Elective Poetry Module” featuring a week on each one of these poets: Keats, Dickinson, Hopkins, Brontes, Coleridge. Poe (on Halloween), Clare, Yeats, Whitman, Browning, Byron.

Each lesson feels like you, the reader, are present in a small seminar at University where the students can freely joke with the professor and also become fully engaged with the material—and the professor is passionate, and charismatic as he decomposes poems, discusses the poet(s), and asks thought-provoking questions. The lecture is followed by a vivid ‘hallucination’ or imagining that the narrator is meeting the poet in discussion. This whole book is a dream-like state. The dead poets talk to the narrator, get invited to class where they are publicly interviewed and they share anecdotes. They also explore parts of this town like the library, or pub. I enjoy the ways in which the whole text is full of literary references. For example if a student jokes a bit too much the teacher announces that ‘Yorrick’ is in the class. Simultaneously it merges the past with the present. Students for instance pick up that Bob Dylan songs have Poe references, as do Hitchcock films. I was more intrigued by the poets I genuinely like (Dickinson, Poe, and Whitman) because I was curious what Maxwell would do with them, and what new things I might learn about them. I found there were many funny parts, like when the narrator/author tries to write a letter to Walt Whitman but he just can’t get it right, because it sounds too much like something a teenage fan-girl would write, so he crumples up every draft thanking his lucky stars he didn’t ‘send it.’

Here are some of my favourite lines

Keats Lecture:

“poems that stay stay because the body feels them”

Dickinson Lecture:

“You can’t teach Emily Dickinson, you can’t write like her either. You no more have to write in her stanzas than you have to write limericks or clerihews. But you do have to absorb that she wrote about everything else she could think of—herself, others, life, death, God, Time, being here, being gone—in little quatrains shaped like hymns, rhymed or half rhymed, mostly four beats then three beats, four, three, stanza-break, and she barely left her bedroom…what you owe to such a poet is a true pause for thought.”

The visit to the library (with Emily):

“There are old books on every stall, twelve stalls, volumes and volumes, and great swathes of canvas thrown back behind the hardwood frames as if to protect them when needed.”

(A draft) Letter to Whitman:

“There’s more Life than there is Art, your poems seem to say, and the glory is in the reach, the stretch, the straining ever upwards like plant-life in the sunshine.”

I really enjoyed this book, and it really comes across as a work of passion. I wish I would have spread it out and read the poet alongside each chapter so that it feels like a real course. One can see that the author is well-versed and well-acquainted with the poets he teaches. The whole work felt like a love letter to these poets. I hope that if this work gets worked into an audiobook there will be more voices for each student and they find suitable voice actors for the dead poets because the whole work is mostly in dialogue and it would be fascinating to experience it that way—something like the way they recorded Lincoln in the Bardo. I thought it was well written, and captures the poets spot on because as the preface mentions the words, the attempt to reconstruct them, and capture their spirit comes from the poets’ archives and is probably as close as we will ever get to them.

I strongly recommend this book to readers who enjoy poetry, have liked studying poetry, want to learn any more about the poets listed, and who like 19th century literature from the Western Canon. Again, the feeling I had reading this was akin to sitting in a University lecture taught by a great professor…and that is a very pleasant feeling.

The book is scheduled to be published in August by Pegasus Books. Click here for link.

The Excursionist | Book Review

33973204The Excursionist was released today.

Book advertisements need to stop comparing new coming books to old ‘successful’ ones because it’s damaging to the emerging author. Readers automatically come to the book with an exact expectation, and I found that so far on Goodreads the book has received somewhere between 2-3 stars simply because readers’ expectations were not met. The first line in every one of its ads is as follows: “The anti-Eat Pray Love – A darkly comic novel about travel.” My mind automatically went to cynical of: ‘travelogue,’ ‘self-discovery’ or in a way convince us that traveling isn’t all that it’s hyped up to be. I wanted wanderlust travelers to be exposed for being as empty as the rest of us (just for a different take on it). I’m angry as a reader for two reasons: one that the ads for this book let J.D. Sumner down, and two: that readers (who should know better) changed their answers on Goodreads. I tracked some of the linked reviews and they gave this book 4 or 5 stars and as soon as they got on Goodreads and saw some cranky first reviewers changed their answers to 2-3 stars. Stand by your first instinct and trust your own opinion!

So here’s what this book is actually about:

The main character, Jack Kaganagh, wants to visit 100 countries so that he may enter the Travelers’ Century Club all before he turns 45. His fiancé had been an enthusiast for traveling and they had gone on some adventures together, yet recently his fiancé has disappeared, in fact everything about her has an aura of strangeness around it. For his final choices of destinations he has chosen to go to the ‘Coronation Islands’ which are between Madagascar and Sri Lanka: Placentia, Kilrush, and Fulgary. Although there is a Coronation Island near Australia, the locations Kaganagh travels to are fictional.

Sumner begins the novel with this lovely quotation from When The Going Was Good by Evelyn Waugh:

“at the age of thirty-five one needs to go to the moon or some such place, to recapture the excitement with which one first landed at Calais.”

However, the quotation starting part two, is much more suited to our main character:

“I am free of all prejudices. I hate everyone equally.” – W.C. Fields

3fb1b6fd6fcdc12d5085b3aac5cc715cThe novel isn’t dark and comic but the main character is. I found it easier to imagine someone like Dr. House to be on this trip (seriously, House even said: “It’s nothing personal, I don’t like anybody” in Season 1).

A cranky, cynical person, who has had so many life experiences that he’s resistant to many things and won’t take too much attitude from people. He’s obviously privileged (100 countries by 45) and an Englishman. I do think this book is a critique of the people who travel for traveling’s sake rather than feeling drawn to true adventure. Traveling to tick of check marks, or put notches down – or share it on social media for others to know and see that you have done it is not the same as fully enjoying the place and having a real adventure. Jack spends his mornings sleeping in, and taking interim naps, he reads the preface to another author’s book In Placentia (also fictional) and falls asleep. He just wants to get to that 100 Countries club. Jack is not enjoying anything, he’s clearly depressed from losing his fiancé and adventure buddy. He kind of reminded me of the Cohen Brothers’ film Inside Llewyn Davies. I also think there are opportunities to read closer into the names he gives places, books, and authors.

J.D. Sumner graduated from The Oscar Wilde Centre, Trinity College Dublin and has a Ph.D. in Satirical Travel Writing from Royal Holloway College, University of London. His thesis explores the history of British travel writing and examines how the literature of exploration, which initially presented itself as factual, evolved into the fictional use of travel writing.

I for one enjoyed his constructions. This story has so many layers and there are so many “books” that Jack is reading that don’t exist. I liked it.

I recommend this book to people who are fans of studying travel literature and can see past an “easy” read. This is NOT a real travelogue, or a ‘finding yourself’ kind of story.

Ewan Pendle and the White Wraith | Book Review

covShaun Hume is a young emerging author with a unique voice. He is Australian-born and has self-published three works, Ewan Pendle and the White Wraith, The Girl in the Blue Shoes, and Tightrope Walker. All three works involve elements of speculative fiction, however, Ewan Pendle and the White Wraith is the only work that is written for a younger audience—perhaps 10 to 12 years old. Hume shares his writing experience and process in his literary blog which can be found here. One particular line that got my attention in his blog made me want to read Ewan Pendle and the White Wraith (2013):

“Writing can be an emotive and immersive experience sometimes. And when the scene is set right, there’s no greater thing to do than be lost in the world of one’s creations”

Ewan Pendle is a strange boy. He is an orphan who has been through numerous foster families—so much so the parents might as well be named John and Jane Doe—which funny enough they are. What sets Pendle apart is that he has vivid visions and can see monsters. Because he sees such creatures, he is labelled many things under the umbrella of ‘weird’ and must suffer the consequences by being bullied, and thrown around various families. The confusion of not knowing who he is, and his strangeness, is soon explained as he finds that he is part of an ancient peoples, the Lenitnes, who can see the truth. The monsters that regular people cannot see are actually there and the rest of the world is ignorant to their existence. He is then taken in a school called the Firedrake Lyceum where he learns the ways of the monstrous creatures he sees with other children just like him. Ewan is told in ‘orientation’:

“Firedrake Lyceum is a place where other Lenitnes children such as yourself go to learn to develop that gift, as well as how to put it to best use. The monsters you have been seeing are called Creatures. We as Lenitnes have been charged, for thousands of years, with the task of protecting other humans from these Creatures. And as the situation may arise, to protect the Creatures from some humans as well.”

Ewan befriends Mathilde and Enid and together they solve the ‘case’ of the White Wraith—threatening the royal family.

As mentioned above, this book is self-published, thus there will be instances of evident lack of editorial work. However, I found that it was very easy to read and the plot and characterization make up for that several times over. On Goodreads and Amazon, this work is labeled as “an antidote for Post-Potter Depression.” I myself missed out on the Potter fandom growing up, though I did thoroughly enjoy the series as an adult. I can see this label being both useful and problematic for an emerging author like Hume. In a way it’s a flattering comparison, and simultaneously it raises expectations where the reader approaches the work with a skeptical eye. I would urge readers who try Hume’s work to refrain from such expectations. As a person who has read both later in life I found the two works to be different in pleasant ways, and I think there is room for both works to exist. That said, the work contains magical creatures, and fantastical elements one may find in any other works post and pre-Potter like The Magicians, The Inheritance Cycle, or Wizard’s Hall. I was personally reminded of the children’s film ParaNorman. I would recommend this book to children around ages 10-12. Hume’s closing remarks give readers something to look forward to. He writes:

“If any of you fine and well-dressed people out there are keen to hear more of Ewan, Enid, Mathilde, and all the rest, then you may be pleased to know that the second volume of this monstrous tale (of which you have been witness to just the first part of ) is planned, and so are others”

This book is available for purchase on Amazon in both digital and paperback format and on Kobo in eFormat.

Other Resources on Ewan Pendle and the White Wraith:

Scion of the Fox | Book Review

34014624Scion of the Fox is a YA Fantasy Novel following Roan, who is an orphan with few memories of her parents. Roan is a lone-soul in an empowering way—to be honest it’s someone I would have loved to have as a friend in high school. She enjoys her time alone, she is a big fan of Wuthering Heights, and she sometimes talks to a stone menagerie made up of animals. Her grandmother, Cecilia, is a mysterious Fae-like, world-traveler (who kind of reminded me of Moana’s grandmother). Roan’s grandmother falls into a deep coma, whilst traveling, and her final wishes among being brought to Winnipeg no matter what state she is in, also included being preserved ‘alive’ until she expires on her own, and that her next of kin must reside in her home. I don’t want to spoil too much but I will say that this book is very much in tune with nature, mysticism, and spirituality. Roan cheats death as she is aided by a fox spirit and this leads to a series of fantastical events. The fox, and the moths are reoccurring symbols throughout this book. I thought this book was well-written and it got my attention immediately. The main character is well-rounded and likable, and I must add that it’s refreshing to read a YA novel that does not have a romantic relationship (or lack of) at its core. It deals with ancestry, battles, family traditions and history, and is very much entwined with the natural realm. This book is heavy with symbolism and I love the ‘Canadianness’ of it. I don’t generally read YA fantasy but this book got my attention and I thoroughly enjoyed it. I look forward to the next two books as this is the first in a trilogy.

I would recommend it to anyone who likes young adult fiction and the elements listed above. On Goodreads the synopsis portion compares this book to American Gods and Princess Mononoke which I think is an apt comparison. Other words that come to mind is ‘fae-like,’ ‘gothic,’ and ‘sublime’ sprinkled with ‘Canadian.’

The author, S.M. Beiko (Samantha Mary) is from Winnipeg Manitoba. Her first novel, a young adult fantasy set in rural Manitoba called The Lake and the Library, was nominated for the Manitoba Book Award for Best First Book, as well as the 2014 Aurora Award. Scion of the Fox is the first book in what will be a trilogy. ECW press will release one book per year. This first book will be out on October 17, 2017 and is currently available for pre-order.


How to Read Nature | Book Review


cover of bookThis year I started my reading journey with an attempt to learn more about nature. I ended up picking Tristan Gooley’s book The Lost Art of Reading Nature’s Signs, for which I wrote a very passionate review at the beginning of April. I also got a hold of Gooley’s book How to Read Water which has been on my TBR for a while but I got the chance to browse through it. Naturally I requested How to Read Nature as soon as I was notified that it will be published this year on August 22. I came to this book with knowledge of Gooley’s previous works and having watched a few lectures of his on YouTube. Gooley is a natural navigator and teaches classes on navigating through nature. This book read like being in one of his classes and receiving an introduction to the course. His previous works are much more detailed and go in-depth for each topic like navigating the sky, understanding fungi, trees, reading water (which has its own 400 page book) etc. I think this book will become the best place to start with Gooley’s works and an important starting place for readers of nature books.

This book very much resembles a course syllabus and gives readers a glimpse into each topic with exercises attached. Gooley focuses in this book on building a relationship with nature and the ways in which every person can begin to do so in a world that is very much detached from the natural realm. It’s almost as if Gooley is a relationship therapist here to fix the miscommunication between us and nature. He writes:

“a connection with nature allows us to see the roots that sustain and explain everything around us.”

He focuses on Maslow’s pyramid of needs and points to how lacking our society is in its foundation: physical needs. We take better care of everything else on the pyramid and neglect the most important one of all.

I learned a lot from this book about colour and time. Tristan Gooley spends a long time in this book focusing on the senses, colours, and timekeeping. One small example is the way he talks about plants:

“plants react to colours…if we are dressed in blue we can change the way a plant grows, while if we wear red we will influence its timekeeping”

What I particularly enjoyed is that the book is accompanied by images and exercises (which go hand in hand) helping the reader act on each section and practice. At the end of the book Gooley also provides readers with a bibliography of other nature books they can read on the topics he covers in this book. My reading list just grew ten-fold.

Many thanks to The Experiment for sending me an ARC. You can now purchase this book here.



Of Men and Women | Book Review

pearl s buck

Pearl S. Buck

Pearl S. Buck (1892-1973) was a bestselling author of fiction and nonfiction, celebrated particularly for the ground-breaking depictions of rural life in China. He best work The Good Earth which is a trilogy, received the Pulitzer Prize in 1931, and in 1938 she received the Nobel Prize in Literature for her body of work, making her the first American woman to do so. She spent most of her life in China (Zhenjiang) because her parents were Presbyterian missionaries. She was educated in the U.S. at Randolph-Macon Women’s College, then returned to China, married John Lossing Buck and moved to Nanking.

Her novels dealt with the Chinese Cultural Revolution, the changes in the East post-WWII, and rural China. In 1934 Buck left China to be near her daughter who was mentally ill and hospitalized in New Jersey. In her later years Buck started engaging in philanthropic projects. Because there were practices rendering mixed-raced children unadoptable—in particular, orphans from the war—she founded Welcome House in 1949, the first international, interracial adoption agency in the United States. She died in 1973 from lung cancer in Vermont. The Chinese government objected to Buck’s portrayal of the country’s rural poverty, and in 1972, banned Buck from returning to China.

front cover buckOf Men and Women is a series of essays that Pearl S. Buck wrote and published in 1941 where she examined the differences in relationships between men and women in China versus the United States. She writes:

“Very early, therefore, I perceived that women together led a life of their own”

“In China the home was not what it is in our country, a thing apart from men’s lives except when they return to it for food and sleep. The real life of the nation went on in the home.”

She explores the set-up of the Chinese household that would often include “three-four generations under connecting roofs” versus the American lifestyle where only the nuclear family would be found living under the same roof. Children would then grow up not knowing just one household leader/alpha, but have a multi-generational experience.

She then turns her attention to the different ways women were educated in the East versus the West. In China “women handed down to women a vast lore of history, custom, ritual, and practical knowledge which educated them and made them a part of the great national whole.”

Buck asks in this series of essays one essential question:

“Why do so many American women seem not happy in being women when they have the freedom to make what they will of themselves? And why do women and men not enjoy each other more in my country?”

Although Buck emphasises that despite everything she prefers the American way over any other, and thinks the progress done in the West is one to strive for, she noted that American women, while educated, free, and supported, were still viewed as a separate entity from men, and there was still a miscommunication between the two. Buck examines how relationships between men and women are different in every country, and it’s that difference that makes it a nation of its own. She writes that a traveler should examine how in every country men and women feel towards each other or “the reality of that country has escaped him.”

“For no human being was created to be solitary, and when it is cut off by doubt and distrust and lack of understanding from the other to whom instinctively it turns, whom nature has created for it, then strange stops and blocks and ills are inescapable.”

In the epilogue Buck writes that it has been thirty years since she wrote this book (in preparation for a newer edition back in 1971). She writes that the China she spoke of “is no more…how changed! Communism rules, and Communism has totally altered the relationship between Chinese men and women.”

Thus, I would urge the reader to remember, when reading this collection, that these essays were written in 1941, reprinted with an added epilogue in 1971, and then reprinted now in 2017 for this brand new edition. In the interim, China, and America have changed drastically.

The collection includes a brief biographical note and several images taken from Pearl S. Buck’s archive.

Many thanks to Open Road Integrated Media for sending me this work for review. This electronic edition will be published on June 27, and is currently available for pre-order on Amazon. Open Road Integrated Media focuses on publishing ebook editions of older works of literature and nonfiction.

*The biographical note at the top is a paraphrasing of the biographical note in the text.

Hunger by Roxane Gay | Book Review

22813605“This is a memoir of my body”

Hunger is my first Roxane Gay book and my introduction to the author. She emphasises in the first chapters that this book is not a diet book, or a self-help book.  This book does not justify morbid obesity as healthy, nor does it provide excuses as to why the author is not thin. Gay definitely emphasises the great shame that comes with being overweight from the pressures of society and beauty standards, to the health distresses, and the many side-effects of being obese. The author specifies that this book is a memoir or a history of her body. Alongside, she writes reflections and thoughts she has had about weight in general. As I was taking notes for this review, I kept wondering: how could I possibly criticise a book that is the history of a person’s body? It feels awfully personal,  especially when the author is so pleasant and such great company. The best I can do is tell you what it’s about.

Roxane Gay discusses in the early portions of the book the most traumatic event of her life (and body) where she was physically violated by a group of young boys at the tender age of twelve. The humiliation and trauma alone resulted in her silence for years to follow. The shattering experience and undoing of her world would have been subject to discussion. It would be her word against theirs—she would have to experience the judgement passed on women who come forward as rape victims as they are immediately questioned, doubted, and accused of lying. Women who step forward to report a crime, and instead of being aided, supported, and promised justice, they are discussed as if their testimony is debatable. Gay writes that even “the medical community is not particularly interested in taking the pain of women seriously.”

What follows is a series of chapters focusing on the struggles Gay had with weight as she used her body as its own fortress. She writes:

 “I could become more solid, stronger, safer…if I was undesirable, I could keep more hurt away.”

She describes the experience akin to being trapped in a cage where you are safe, but cannot move freely.

“The frustrating thing about cages is that you’re trapped but you can see exactly what you want”

For years the author struggled with trying to become conventionally attractive, and simultaneously trying to protect herself. What I found particularly uplifting was her description of the refuge she found in books. Certain books she said “offered a vocabulary” for her to understand what happened to her and gave her the knowledge/relief that being raped was not her fault.

She also focuses several chapters critiquing television shows like The Biggest Loser, and Revenge Bodies, the conversations in the medical community, and the way society as a whole perceives overweight bodies in discussion, books, and mainstream media.

Most importantly, she writes about her family and the people around her who claimed that they only bring the topic of weight up on a constant basis because they ‘care about her.’ No one focused on her Ph.D., on her books, or on her successes.

“I became resentful that the only thing anyone ever wanted to focus on was my body…People project assumed narratives onto your body and are not at all interested in the truth of your body…your body is the subject of public discourse.”

What I find particularly interesting is that Roxane Gay took the history of her body and critiqued the people who put her body in public discourse, under observation and discussion, as if it was a text, and in the process, she wrote this book which is in itself a text.

I hope that people who read this book don’t go in with a closed mind, and prepared to judge. I hope readers come to this text willing to understand the story of one person’s body.

I would also recommend two non-fiction companion books to this:

9780195049961The first is a philosophy-heavy text by Elaine Scarry called The Body in Pain – in this book Scarry writes an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces that confront it: literary, political, medical, religious. It particularly focuses on how physical pain destroys language, and how every individual experiences pain differently on a personal level, where pain can never be shared, described, or conveyed in its entirety.


The second is Dr. Gabor Mate’s book In the Realm of Hungry Ghosts. He is the first doctor who worked with heroin addicts, alcoholics, and overweight people and asked the question: why don’t doctors take a moment to understand WHY some people are more susceptible to addiction than others.

I found that Roxane Gay’s personal narrative in Hunger provided the most perfect story to support the philosophy-heavy Scarry book, and the medical book by Gabor Mate.

Many thanks to Harper for sending an ARC for early review. Hunger will be published on June 13, and is available for pre-order on Amazon.

Roxane Gay’s other Works:

Links to Some of Roxane Gay’s Lectures:

Travels with Charley | Review and Notes

“When I was very young and the urge to be someplace else was on me, I was assured by mature people that maturity would cure this itch…I fear the disease is incurable.”


Front Cover of Edition I read

Have you ever thought “I love Steinbeck! I wish I could hang out with him!” If you have, then: READ. THIS. BOOK. This journal/travelogue work is John Steinbeck’s account of his travels across the United States in the 1960s, with his dog Charley, in a trailer that he names the Rocinante (after Don Quixote’s horse). He describes what he sees, records interactions with different people he meets on the way, and this book is filled with reflective notes on what he thought of certain situation and how they relate to other instances in life or giving his opinion on his immediate reaction. There are a few literary references, and there instances of simple humour (i.e. getting stopped at the Canadian border for “dog reasons”).

Screen shot 2013-02-24 at 6.26.08 AM
Steinbeck and Charley

I kept thinking that if anyone other than Steinbeck wrote the same travelogue it wouldn’t be that interesting. Although it’s not as high of a thrill as later written travelogues which are now quite popular, this book is interesting BECAUSE it’s Steinbeck. It seems a lot more relaxed than reading Krakauer’s Into The Wild for instance, or Cheryl Strayed’s Wild. I recommend it to anyone who enjoys travel literature, travelogues, journals/diaries, and those who love Steinbeck and his work because in the end it just feels like you’re hanging out with him and his dog. Interestingly enough, in 2014 Bill Steigerwald dedicated a lot of time to “exposing” Steinbeck as a fraud for this book and labelled this travelogue as a “fictionalized non-fiction” in his book Dogging Steinbeck. He elaborates on his issues with Steinbeck’s work in his blog.


Regardless, I enjoyed Steinbeck’s work and I thought I would share with you some of my favourite lines:

We find after years of struggle that we do not take a trip; a trip takes us (page 4)

I saw in their eyes something I was to see over and over in every part of the nation—a burning desire to go, to move, to get under way, anyplace, away from any Here. They spoke quietly of how they wanted to go someday, to move about, free and unanchored, not toward something but away from something (page 10)

It was like starting to write a novel. When I face the desolate impossibility of writing fie hundred pages a sick sense of failure falls on me and I know I can never do it. This happens every time. then gradually I write one page and then another. One day’s work is all I can permit myself to contemplate and I eliminate the possibility of ever finishing (page 23)

Humans had perhaps a million years to get used to fire as a thing and as an idea. Between the time a man got his fingers burned on a lighting-struck tree until another man carried some inside a cave and found it kept him warm, maybe a hundred thousand years, and from there to the blast furnaces of Detroit – how long?…for man has to have feelings and then words before he can come close to thought and, in the past at least, that has taken a long time (page 32)

I was born lost and take no pleasure in being found (page 70)

Edition of book I read is the Bantam Pathfinder Edition and Viking Press, 1961.


Peter Darling | A Book Review


When it comes to analyzing Peter and Wendy, Peter is often interpreted as Wendy; the two characters being one and the same. Peter is seen as a symbolic or metaphorical way of dealing with issues regarding adulthood and growing up.  Wendy herself is forced to by her father, and she approaches this dilemma by escaping mentally to a separate space where she can work out her issues. In the original play the actor playing Wendy’s father would also play Hook as a continuation of the ongoing confrontation. Although there can be much read through a Freudian lens, a practical explanation is that the two characters never meet and so it would be an efficient use of the actor, rather than hiring another one. However, I much prefer the former. Jen Campbell discusses this in more detail on her YouTube channel (certainly worth watching).


Front cover designed by Natasha Snow

I am a huge Peter Pan fan, and as a result have watched almost every possible adaptation, and am working my way through reading retellings. Austin Chant’s Peter Darling is by far one of my favourite retellings. In his novel Chant shows how Peter and Wendy are one and the same. Peter Pan returns to Neverland as a grown man after he had chosen to grow up ten years prior, back in London, as Wendy. Chant captures the voices of the Lost Boys particularly well, (the dialogue is absolutely perfect) and most importantly he captures the spirit of Neverland. I have read some retellings that lost the essence of those characters while trying to achieve a different goal through plot, but Chant kept them all in tact as if Barrie is just continuing on. I loved how well-preserved they are through dialogue and interactions.

Chant writes the character as Peter as a trans individual who had been born Wendy. This new added dimension told through the metaphor that exists in Peter Pan is one of the best ways to create a means by which anyone can begin to listen, and understand the trans narrative. Chant adds a layer of depth to these characters that deals with identity, losing and finding oneself, and struggle for power and asserting oneself in places that were theirs to begin with (in Peter’s case: Neverland). Here are some examples of dialogue that stuck with me:

[Ernest:] I knew…I was different somehow…I had to get away from my family. They kept saying there was something wrong with me. In Neverland, nobody cares about that. You can be free.”

“I know what you mean,” Peter said without thinking (page 30)

“It hit him again that his skin didn’t belong to him, that he was a puppeteer moving a stranger’s body. That was playing a character, while the real, lonely, frightened Peter was buried inside him…. I’m here to fight. I’m a boy.” (page 47)

This Peter Pan however, is very pro-fighting and pro-war. He arrives in Neverland driven to take his place back as leader almost immediately, and wants to fight the pirates even though there has been a ten year peace treaty on the island. He sees pirates as one dimensional and is constantly in the mood for a fight. My interpretation is that this is a result of years spent among regular people and growing up back in London. Before Pan was a playful fighter whereas now he just wants to fight with an anger-driven passion.

There is a romantic/sexual dynamic between Hook and Pan which others find distracting, based on some reviews I browsed, however, I thought it worked really well with this retelling. I didn’t know I’d love that but I did. I always thought there was a strange sort of tension or sexual energy between Hook and Wendy (even more apparent in film adaptations like Hogan’s), and if Wendy is Peter, then it makes perfect sense.

The author, Austin Chant, identifies himself as “a bitter millennial, decent chef, and a queer, trans writer of romance and speculative fiction.” He co-hosts the Hopeless Romantic, a podcast dedicated to LGBTQIA love stories, and the art of writing romance. I look forward to his next books, and I recommend this one to anyone who enjoys retellings, Peter Pan, or just wants to look at Pan from a different angle.

The Whydah: A Pirate Ship Feared, Wrecked & Found | Book Review

“When a ship sinks, it becomes a time capsule”



Front Cover to the Hardcover Copy, top right image/illustration taken from Daniel Defoe’s history of Pirates

I received The Whydah, A Pirate Ship Feared, Wrecked & Found by Martin W. Sandler from Early Reviewers on LibraryThing. This book is printed by Candlewick Press and is part of the Junior Library Guild Selection. Although it’s intended for children (ages 8-14 or “middle grade”) I found this book fascinating and very informative. It revived the love I used to have for this topic and I read it in one sitting. Pirates have fascinated me for so long and I know that 14 year-old me would have loved to have this book. Mentions of “pieces of eight,” and The Pearl, brought back good memories, and just in time for the fifth film which came out this summer (though a different Pearl, it’s the ambiance that matters). I would recommend that every school library for 6th to 8th graders get a copy of this book. For that matter, I would recommend it for high school libraries as well.


Map of Caribbean

Sandler has woven a beautiful timeline of the Whydah in this book. By focusing on one ship he dives into the details of every aspect of piracy. He begins by following our main Captain pirate: Samuel Bellamy, to whom he refers to as Robin Hood of the seas, and the history of the ship he hijacks: The Whydah. He reminds the reader that this was a time of unrestrained murder, robbery, and kidnapping and that the true stories of pirate cruelty shocked the population throughout the 1700s. He explains the Articles of Agreement (among pirates) from the notorious pirate Captain Bartholomew Roberts, and my personal favourite fun fact that the “Jolly Roger” is the name of the flag for pirates not a ship’s name (though we may know it as such because of Treasure Island and Peter and Wendy). The history of the “Jolly Roger” is fascinating and he explains why and how the flag got its name. Sandler also goes into the details of torture methods on board, punishments, as well as the good parts of pirate atmosphere on the ship such as theatrical sketches put together by the crew, and facing the wrath of the sea as well as critical weather conditions (i.e. storms, wind etc.)



The second half of the book focuses on the wreck of the Whydah and the importance of each artifact which was retrieved in 1984. The Whydah was the first sunken pirate ship ever to be found and excavated, and these findings validated what were before just stories. I guess dead men tell some tales!

The details of each artifact, its history, and importance are absolutely fascinating and throughout Sandler debunks many pirate myths.

I highly recommend this book to anyone who loves the history of ‘Pirates’ and ‘Piracy.’ The book is so beautiful, it has many illustrations, and (perhaps this is just my copy) the newly printed copy smells amazing. Again, this is aimed at a younger audience, but as an adult I got a lot from it, and it delivered what its title promised it would. Lastly, on a personal note, it revived my love and passion for Pirate History.

The Lost Art of Reading Nature’s Signs | Book Review

“I do not go walking with the purpose of staying within a world of perfect safety and comfort. Personally, I would rather die walking than die of boredom reading about how to walk safely.” –Tristan Gooley, xi


I don’t remember how I came across Tristan Gooley. It must have been through YouTube or an online reference, but somehow I was led to buy this book and his second work on Kindle. I’ve always wanted to be able to navigate through the natural realm and know exactly where I’m going. This idea kept coming back every time I remembered My Side of the Mountain, Hatchet, Robinson Crusoe, John Locke’s character on LOST, or Ron Swanson of Parks and Rec. I re-read Walden a few times and enjoyed that Nature-savvy protagonist so much and realized that as much as I like hearing about nature and surviving in it, I myself know nothing about it. I knew how to use several teas and herbs, some essential oils, but that’s pretty much it. The trigger was reading Into the Wild by Jon Krakauer where for the first time I realized that my idealized and romanticized notion of nature has a dark side. So I turned to Gooley.

lost artThis book is a ‘how-to’ manual but told with the storytelling skills of Thoreau. He takes breaks through the instructions to share anecdotes or personal stories of how that specific skill has helped him in navigating or explains how it would have come in handy to know before. Some of his stories really keep you on the edge of your seat.

“Sense and thought, observation and deduction, this simple two-step process is the key to transforming a walk from mind-numbing to synapse-tingling.”

The first four chapters focus on getting grounded and sorted (the latter used in this book as an acronym: Shape Overall character Routes Tracks Edges Detail). He discusses the ground, soil, trees, and plants as ways to find your bearings during the day. Chapters 5 and 6 focus on Mosses, Algae, Fungi, and Lichens (my personal favourite) as well as rocks and wildflowers (to a botanist or geologist this may be elementary but here we are learning how to navigate using clues from them). Lastly, chapters 7 through 11 focus on navigating the sky and weather. He writes about constellations to look out for, alignments, the sun, moon, and general sky details that can help you navigate if you are lost at night.

After reading this I found myself sounding like a know-it-all scout:

“did you know that grey soil is usually wetter than the red to yellow shades and is often a symptom of leaching?”

“did you know that where there is limestone we also sometimes find holes, caves, and stone pillars?”

This book made me feel like Sherlock Holmes outside. And here is where things get interesting. What makes Gooley different for me, is that he takes into consideration the things we have like GPS, and the metropolis, and synthesizes the two with nature. This way you don’t feel like you’re reading an 1800s manual, rather it feels very present and in tune with our days, our hobbies, and the tools we have at our disposal. For instance, chapter one begins with the explanation of smelling smoke on a cold morning (in the city!). I always thought something was on fire, but Gooley then explains that it’s the effect of temperature inversion and that “the smoke from factories and home fires gets trapped near the ground and spreads along under the warmer layer, giving the air a musty whiff of smoke.”

This book for me is a solid 5 stars in the non-fiction realm because it delivers what it promises in the title and it’s told with such great skill. There are sprinkles of science (i.e. Latin Linnaean terminology and classification) but it’s carefully placed among many practical, ‘how-to’ passages, and personal anecdotes. Gooley has five other books out: The Natural Navigator, The Natural Explorer, How to Connect with Nature, The Walker’s Guide to Outdoor Clues and Signs and How to Read Water.

The book is printed by The Experiment in New York, and the illustrations within the book as well as the front cover are done by Neil Gower. Gooley can be found at


Book Covers for Gooley’s works with the exception of The Walker’s Guide.

At The Speed of Light – Simon Morden | Book Review

AtsoLcover3.5 I’ve received an Early Reviewers copy of Simon Morden’s 2017 novella At the Speed of Light from LibraryThing. This is a NewCon Press novella that is about 115 pages and can be read in one sitting. The main character, Corbyn, is slipping through two levels of consciousness as he fully awakens realizing that he had fallen asleep at the wheel of his spaceship with the foot on the accelerator traveling for years at the speed of light. His state brings him on the outskirts of space, outside of the bounds of human knowledge or the universe and along he finds different kinds of consciousness/characters. I was hooked in the beginning stages pre-awakening as Morden explored certain anxieties of the human condition. The discussion of anxiety dreams, derealisation, and questioning reality altogether is a topic that highly fascinates me. The novella however takes a very ‘hard sci-fi’ turn halfway through which threw me off especially in terminology. I’ll give you examples: “cross-referenced hibernation,’ ‘pre-defined range of stimuli,’ ‘semi-crystalline matrix,’ and ‘astrogation data.’ Maybe I’m a little bit too early on in my science-fiction reading journey to judge this novella too harshly, but I would have really liked to understand what those things meant. The novella would have done much better (for me) if it had more reflections, tapped into what made humans human that is different/unique, and it could have worked wonderfully through Corbyn’s character having been more 3-Dimentional. I realized halfway through that I didn’t care that much about the protagonist because nothing humanizing about him was shared.

There are some nice lines like:

“not as close as his superstructure, not as far as infinity” or “are dreams that you don’t remember less real?”

Good question. It reminded me of Neil Gaiman’s “…tales and dreams are the shadow-truths that will endure.” The first 30 pages and the last two pages tap into Corbyn’s philosophical side, particularly on what it is that makes the human consciousness and I think I preferred that to the engineering manual that was everything in between. I will re-read this in the future after I read more sci-fi and see if I feel the same way. I would recommend this to people who know they like sci-fi and technology, with a machine/mechanical orientation and not character-driven. I am also fascinated by Simon Morden; his background in Geophysics contributed greatly to his work and I look forward to reading his longer works particularly his Metrozone series that is set in post-apocalyptic London, for which he recently received the Philip K. Dick Award (2011).

The cover on this novella is fantastic. There are four NewCon Press novellas released and the artist worked on all of them. The name however was not released online.