Thoughts on “Dark Matter” by Michelle Paver

WARNING: THIS REVIEW CONTAINS SPOILERS FOR THE BOOK. IF YOU DO NOT WISH TO HAVE ANY FOREKNOWLEDGE OF THE CONTENTS OF THIS NOVEL, READER DISCRETION IS ADVISED. 

Summary: January 1937. 28-year-old Jack is poor, lonely and desperate to change his life. So when he’s offered the chance to join an Arctic expedition, he jumps at it. After they reach the remote, uninhabited bay where they will camp for the next year, Gruhuken, Jack feels a creeping unease.

I love books about the arctic.

It’s a bastion of cruelty set against a backdrop of incomprehensible beauty. It’s so hostile and isolated yet life miraculously persists in spite of it all.

I think that is what makes it the perfect landscape for a horror novel.

Not only are characters forced to contend with whatever supernatural entity is on their tail, the very land itself threatens their survival on a daily basis.

So how was it?

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I can’t pin-point precisely where the story lost me.

It started off strong, setting the scene and describing the hopelessness that would motivate someone like Jack to forgo all he knows to venture to no-mans-land.

Then it got dull real frigging quick.

I’m all for a slow-burning horror, but this book was a drudge to get through, which is quite an achievement when you consider it’s a meager 252 pages.

If I had to hazard a guess, I would say this novel’s greatest failing is its characters. Our supposed hero Jack in particular makes for a tedious protagonist.

Jack is supposed to be the underdog, the only lower-class citizen in a team of upper and middle-class scholars who do this sort of thing on a lark, but I couldn’t bring myself to feel sorry for him.

Jack is moody, whiny, and, frankly, he acts like a petulant child even though he’s nearly in his 30s.

“I’ve moved to my bunk because Algie is using his collapsible safari bath, and I’d rather not watch. All that wobbly, freckled flesh. His feet are the worst. They’re flat pink slabs, and the second, and third toes protrude way beyond the big toe, which I find repulsive. Gus saw me staring at them, and flushed. No doubt he’s embarrassed for his ‘best pal.’- 78 pg

70% of his narration in the first act is either devoted to giving tongue baths to Gus or berating Algie for even the slight infraction. Granted Algie is kind of a dick, but the way Jack carries on about him reminds me  too much of my high school days when girls started petty feuds with one another for no reason.

In fact, Jack’s whole demeanor is effeminate to the point of irritation. I can’t tell if it’s because he’s gay, or if the female writer struggles writing from a male perspectives.

Speaking of being gay, I thought things were going to get interesting after it became obvious that Jack was developing feelings for Gus. After all, this novel takes place prior to World War II when feelings like this were not only socially unacceptable but illegal as well. Would Gus reciprocate? Would he be disgusted? Considering they would have to live with one another for a year in confinement, this had the potential to brew some real drama. With no societal conventions to keep them apart in this world so detached from the rest of civilization, how would two Englishmen who truly love each other interact? Would their affections survive the harsh climate and high tensions of living in such an inhospitable part of the world?

Don’t worry.

These question are never answered.

Instead of developing the milk-toast character of Gus, the author gives him appendicitis so he and Algie are forced to leave the island.

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Yeah.

Really.

Bet you thought this would be one of those character-driven novels where people start off as one-dimensional cardboard cutouts but develop as the story progresses, didn’t you?

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No, instead we are held hostage by Jack for the remainder of the tale.

I admit he does become more sympathetic as the story progresses. At first he hated the canine companions they purchased for the trip, but he eventually grew to love them and appreciate them for the good-boys that they were. It’s hard to dislike someone who appreciates dogs for the amazing beings they are.

Nevertheless, I would hesitate to say Jack ever truly becomes “interesting.”  The writer had a chance with leaving him alone to delve deeper into his subconscious to see what makes him tick. Instead it’s mostly surface-level information and him making O-face over Gus.

I never felt a sense of urgency on Jack’s behalf either. In The Terror, the crew were constantly in peril, not only from the monster, but also food shortages and rampant illness. Other than been spooked, Jack is fine. Even though he is isolated, he has ample food and supplies to last him over a year. Hell, now that the rest of his expedition team is gone he actually has more. Why am I supposed to be scared again?

….Oh, yeah, there’s a ghost, I guess.

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Personally, I think the spirit’s story was over-explained. Nobody knew his name or his true origins but the fact that we have his motives explained to us kind of takes away from the dread. If they just left him as some vague, malevolent force that communicated through dreams and visions, he would have been more terrifying.

It could have been like a ghost story/mystery where Jack had to piece together what the ghost wanted and why it was there. Or better yet, it could be called into question whether or not what Jack was seeing was actually real or not. They addressed men go crazy in these parts of the world, so why not play with that?

Instead we’re spoon-fed the whole story by ye old trapper guy. It’s not even that unique of a story.

In the end, the ghost really didn’t do much anyway.

By the time he actually started raising cain, I lost interested and was reading purely for completion’s sake.

In the end, Gus dies like we knew he would due to an accident the ghost caused….somehow. I don’t know, it wasn’t explained very well.

Jack and Algie become friends after this tragic event because the story said they did, and the protagonist and his good-boy husky live some semblance of happily ever after.

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Part of me feels guilty for giving this book a poor review. After all this is Paver’s first novel for an adult audience, which might account for its lack of depth. Nevertheless, this book didn’t do anything for me. The plot had a lot of potential, it just didn’t reach it.

I’m not angry, I’m just disappointed.

My Thoughts on the Long Wait for “The Winds of Winter”

After the colossal wash-rag that was season 8, people are growing steadily less patient with George R.R. Martin and his slow output. 

The newest installment of  the series, The Winds of Winter, has been in the works for nearly a decade now and people are chomping at the bit for a return to normalcy. They want to go back to a time when characters’ motivations actually made sense, dialogue was well written, and events were building up to a well-deserved climax.

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Fans after season 8

It’s obvious a book series as intricate as Game of Thrones would take a significant amount of time to create. After all, it’s hard enough as a readers to keep track of all the plot threads Martin has woven over the years, I can only imagine how difficult it would be to be the one weaving the tapestry.

Many have pointed this out in defenses of Martin, claiming fans are just being entitled brats, crying for their toys. Some have even gone so far as to write songs about it, notably John Anealio’s George R. R. Martin is Not Your Bitch. 

I, myself,  have experienced multiple creative dry-spells that have prevented me from writing. I currently have an unfinished fanfiction that has been languishing in limbo since 2018. In spite of my efforts to update, as many positive reviews have been requesting me to do, I have found it difficult to write something that will satisfy the modest readership I have accumulated over the years.

Martin experiences this same sort of pressure on an infinitely higher scale. Game of Thrones is a global phenomenon now. Not only is his creation loved by millions, he himself has become a household name. He’s become so well-known people dress as him for Halloween!

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Most writers salivate over the idea of achieving such a level of notoriety, but it comes at a cost.

Can you even conceive how monumental a task it must be to complete a series that has such far-reaching acclaim?

Having said all this, you might think I’m a Martin apologist who believes he should take however long he wants to create the best book he can possibly make. Considering how disastrous the final season was, the last thing readers want is a rushed product.

………..

But 8 years is too damn long, my guy.

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I sympathize with his situation.

But come on.

8 years?

8 years?!?!

It took Tolstoy 6 years to write War and Peace, a book over 1,200 pages long, and he had 10 children.

I can see a book this crucial to the series taking 3, or 4, or even 5 years to finish.

But not over 8. 

Martin isn’t writing Thrones in between 12-hour shifts at the sheet metal factory. Writing is his full-time job. He has been in this profession since forever.

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Look, in all seriousness, the root of the issue is he knows Game of Thrones is his magnum opus.

If he cannot deliver on the pay-off he has been building up to since 1996, he will never create anything this monolithic or culturally relevant ever again.

That is a terrifying prospect for anyone to comprehend.

But Martin knows the score. He’s been in the writing bizz longer than some of us have been alive.

The defenders are right, George R. R. Martin is not our bitch.

He is a full-grown man with complete autonomy and we shouldn’t expect him to perform for our amusement like a puppet on a string.

Nevertheless, he owes us the books he promised.

We are not greedy for holding him to his end of the bargain. 

Writing is a scary profession, especially when people start noticing you. While there are more people to listen and be inspired by your work, there are also more people to please. Fandoms, while often times accepting, can also be merciless in their critiques. Trying to placate such a large crowd is daunting.

But you have to write anyway.

Some people won’t be pleased with the way Martin wraps up the series. Unfortunately, that’s art. Some will like it, others won’t.

It doesn’t have to be perfect, it just needs to be finished.

Let’s face it, David Benioff and D.B Weiss set the bar pretty damn low.

Just about anything Martin writes has a 9/10 chance of being leaps and bounds better than that shlock of an ending the show cooked up.

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Why the Aladdin Remake Is Frustrating

I was coerced into seeing the 2019 Aladdin remake by a group of friends who promised it was good. Even though I tend to be against remakes on principle, I tried to keep an open mind and allow the experience to shape me in whatever way it chose.

To be fair, Will Smith did a phenomenal job. He achieved what no one thought he could and was a powerful successor to Robin William’s Genie. Rather than attempting to replicate Genie’s character from the original, he provided his own entertaining interpretation that wowed me.

The musical numbers were all visually captivating and well choreographed, enhanced by the Middle Eastern aesthetic. I loved watching the bollywood-style dancing and listening to the gorgeous music.

This was a very attractive film….

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But it wasn’t good.

Why?

Because it exemplified all the things that make reboots and remakes so frustrating.

Reboots are notoriously guilty of scrapping plot-points that are perfectly fine and keeping ones that are arbitrary. Or, as in some cases, they will change things for the better, but won’t alter the story to accommodate the alterations they made.

The most obvious example of this in the Aladdin remake is Jasmine.

Jasmine’s character went through a major make-over with this movie. Gone was the idealistic and naive teenager, replaced by a much more worldly and tenacious young woman determined to succeed her father as sultan.

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Personally, I didn’t dislike this change. I don’t think there was anything wrong with Jasmine’s original character, but the alteration wasn’t unwelcome.

The issue was they did not adjust the story to suit this new personality makeover.

Because they made her into someone far less naive than her older counterpart, pivotal scenes no longer make sense.

In both versions of Aladdin and Jasmine’s first meeting, Jasmine steals an apple to give to a group of starving children she sees in the marketplace only to be apprehended by the proprietor. The cartoon Jasmine is so sheltered it doesn’t occur to her people have to pay for food, making her actions believable. The live-action Jasmine is way too smart to do something so mentally bankrupt and we never see her do anything this absent-mindedly dumb ever again.

Then, they change the scene where Jasmine thinks Aladdin is dead and replace it with Jasmine getting shot down by Jafar, prompting her to sing her live-action film original song Speechless. 

No joke, they spend so long on this scene.

I get that they are trying to make Jasmine her own person and everything to placate the modern feminists, but guys, the movie is called Aladdin.

It’s supposed to be about Aladdin.

No one cares about this stupid country.

The irony is they could have developed Jasmine and kept the central focus on the titular character at the same time. Speechless would have been much more emotionally impactful if they had kept the scene where Jafar lies to her about Aladdin’s demise. Because she stayed “speechless” an innocent and wonderful dude was murdered. Isn’t that way more emotionally investing than hearing about some random country we literally never see or learn anything about?

To make matters worse, Jasmine and Aladdin have zero chemistry in the remake and it’s  obvious why.

In the 1992 animated film, we could see why Jasmine would fall for Aladdin. He was a smexy street-wise guy with a heart of gold that filled her dull, pampered life with action and adventure.

Now that she’s a m-fing woman that actually wants the throne (unlike in the original where she outright states she has no interest in being royalty) and is perfectly capable of navigating the streets of Agrabah all on her own, why does she need Aladdin?

What does he contribute to this relationship?

That isn’t to say Jasmine is the only issue, however.

Not to put too fine a point on it, but the live-action Jafar was less intimidating than Yzma after she’d been turned into a cat.

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Yes, Jafar was a one-note villain in the original, but he was a fun one-note villain. Jonathon Freeman obviously had a blast in this role, going from underhanded and cunning to full-blown bombastic evil mastermind.

But this guy?

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I don’t know what his other credentials were but he just looked bored the whole time. His line delivery was more underwhelming than a prepubescent boy at a school play.

It’s frustrating that at one point they actually tried to make him more interesting by revealing he used to be a thief like Aladdin. If nursed enough, this could have made up for his lack of intimidation and made him a memorable villain. Instead, it’s unceremoniously dropped and we never learn anything else about his past again.

What a wasted opportunity.

Oh, remember that awesome scene where Aladdin fights Jafar as a cobra?

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Well, in this movie Aladdin and Jasmine fly away from Iago as Jafar morphs him into a large…parrot.

Yeah, instead of a giant cobra, it’s a parrot that chases them around CGI Agrabah.

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Isn’t….isn’t that so much better?

Aren’t you  impressed?!?

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I could go on in further depth if I wanted to.

I could talk about how the guy they cast as Aladdin is only a passable singer and actor.

I could talk about how unnecessary Jasmine’s handmaiden was, or why it makes no sense that Jasmine is apparently the sultan now even though her father is still alive.

But those things aren’t what bothers me most of all.

What vexes me so much about this movie is the same thing I find so offensive about every other remake:

It doesn’t need to exist. 

Tell me, apart from making money, what was ever the point of re-making Aladdin? It’s one of the most beloved animated films of all time, receiving critical and box-office success and is forever slated as one of the best films ever made.

There’s this bs comment floating around that “kids these days” don’t want to watch “old cartoons” and we have to preserve these stories for the next generation.

So…..you are telling me kids will watch cartoons that look like this-

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And this-

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And this-

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But they won’t watch something that looks like this-

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Or this-

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Or this?

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Well, let me tell you-

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There is a reason films like Aladdin and Beauty and the Beast and all the rest are considered classics.

People still watch them. 

I didn’t view most of these films when they first came out because I was either too little to comprehend the plot, or I wasn’t born yet.

My childhood favorite, Snow White, was made a whopping 49 years before I was born. I didn’t care that it was old. I liked it because I thought it was good.

It doesn’t matter that kids have iPads, or that streaming exists, or that Twitter and Instagram are a staple of modern society. These stories are strong enough to withstand the test of time.

That is what made them good in the first place.

I will no longer endorse the “fixing” of things that aren’t broken.

There are so many other stories out there that deserve funding, why should continue paying people to make crappy Xerox copies of films that have already been made and made better?

You’re welcome to keep shelling out your hard-earned dollars for stuff like this, but I prefer to sit them out from now on.

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Game of Thrones: Book 1 v. Season 1

WARNING: THE FOLLOWING CONTAINS SPOILERS FOR SEASON 1 OF GAME OF THRONES AND MINOR SPOILERS FOR THE BOOKS. 

Good news! I can consider myself a good nerd now that I have finally completed the first book in the Song of Ice and Fire series.

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That being said, I have many thoughts that I am wanting to share on the subject of both the first beloved now maligned TV series and the first book in the timeless saga written by George R. R. Martin.

In this post I won’t be going into the specifics on how the book and show differ necessarily (if you’re more interested in that, then watch this video series by The Dom). Instead, I will be discussing what I think worked best between the two in terms of story-telling.

Points to the show: 

Faces to the names 

George R. R. Martin has unquestionably made one of the most intricate fantasy worlds in existence, rivalling even the likes of J.R.R Tolkien in its density. Its packed to the hilt with lore and customs and people….

….and therein lies one of the issues in Game Of Thrones.

There are too many goddamn people. 

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I tried to read the first book before I started watching the series, but dammit if I couldn’t make it. There were just too many name to remember, too many notes that had to be taken.

It didn’t help that some of the characters had similar physical attributes, making it even more difficult keeping track of who was who.

Wait…is Jorah Mormont this old, white, bald dude, or is he that other old, white, bald dude?”

Converting the written word into a visual format allowed me to put a face to the name and has made my reading experience less confusing as a result.

Cersei

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While in some ways I appreciate the characters in the book more than in the TV show, I think Cersei proves to be an exception to this rule.

Cersei is not a POV character in the first book and so we are only able to see how she interacts with other POV characters a.ka. Sansa, Tyrion, and Ned Stark. While we do get a taste of how nasty and demented she is in the novel, we don’t see her in her more vulnerable moments like we did in the show.

There’s a scene in the first season in particular where Cersei asks Robert if there was ever a chance they could have been happy, to which Robert responds with a heartbreaking “no.”I thought this scene added more emotional depth to Cersei’s character, enabling the audience to see her as something more than just a cackling villainess.

Ned Stark 

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I love Ned Stark in both the novel and in the show. However, Sean Bean’s performance brings much more warmth to the character than existed in the book. For the life of me, I can’t recall a time where Ned laughed or cracked a smile outside of the show. I’m sure it happened, but for the most part he was ever the stoic Northerner, waiting for the next conflict to arise. In the show, there are more moments of levity and he actually lets out a chuckle or two. It makes him look more approachable and gives him sort of a Mufasa-isque quality to him.

Robb and Catelyn’s Grief

In the books, we don’t see how Robb and Catelyn react to Ned’s death immediately after they receive word of it. Instead the story flashes forward to when they arrive at Riverrun, heartbroken but not quite despondent.

In the show, however, there’s a truly  tear-jerking moment where they show Robb futilely hacking away at a tree with his sword and Catelyn going over to console him, promising they will have their revenge on the Lannisters.

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It’s a really sad scene and it shows how deeply Ned’s loss has effected them.

The Music 

This one might be considered unfair because a book can’t have audible music, but it is definitely a point in the show’s favor. The composer, Ramin Djawadi, does a fantastic job of creating atmosphere with his music. I have yet to hear a soundtrack that packs such an emotional wallop. Death scenes, action scenes, emotional scenes. He can do them all.

Those cellos have me swooning every time.

Here’s a free video on Youtube that contains some of the songs from the show. I recommend you check them out here or on Spotify.

Points to the book: 

More Lore 

One of the most obvious draw-backs of visual media is time. With each episode needing to be about 45 minutes or shorter, there isn’t nearly as much freedom to explore the world. I think the show did a pretty decent job cluing in the audience as to how Westerosi society operates, nevertheless, it was always going to be at a disadvantage compared to the book.

Point of View

There are very talented actors attached to Game of Thrones, but there is no substitute for being able to crawl into a characters mind and read their thoughts. The experience of reading is just far more intimate.

In the book, we see so much more about the world and we get small but satisfying tidbits about character’s pasts that make them all the more real. I think some of my favorite inclusions are Catelyn Stark’s ruminations on growing up in Riverrun. They were touching and added more dimension to her character, really driving home how out of control everything has gotten since her youth.

She is an outsider taken to a land much colder and harder than her childhood home. Their climate is different, their customs are different, even their gods are different. Nevertheless, she finds herself having to fight for this alien culture that she has never truly understood.

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More Fantasy

The book is pretty gritty in comparison to the traditional fantasy novel, but there is more of a nihilistic atmosphere to the show than in the book. I think this makes it more palatable for the casual viewer as fantasy tends to be an acquired taste, but I personally like the more fantastical environment the book creates.

Dany’s and Bran’s dreams in particular add a level of sinisterness and foreboding that don’t land quite as successfully in the show. We are shown the dream of Dany walking to the now destroyed remnants of King’s Landing, but there are other seriously messed up things she sees in the book. As for Bran, he has a dream towards the middle of the novel wherein  he has to learn to fly while an endless pile of bones looms below him.

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I can also appreciate the characters aren’t constantly saying “fuck” in the book. It’s not that I have a problem with the word, it just takes me out of the moment. I’m pretty sure “fuck” wasn’t a word in medieval times so when it’s used with reckless abandon in the show, it’s a bit distracting.

Aging down of characters

This might be considered a weird point in the book’s favor, but hear me out. The fact that all the kids are so much younger in the book makes the events that follow all the more tragic.

Can you imagine not even being in your teens and having all your family members murdered? Or, like in Robb’s case, having to take over for you Lord Father after he is held hostage and having thousands of people depending on you to be their leader?

To me, the aging down of the characters drives home the underlying premise of the novel: When we seek to destroy each other, we are also destroying our future a.k.a our children.

Conclusion:

So which do I think is better: the book or the TV show?

I think I’m going to give a cop-out answer and say I don’t know.

There are things I believe the TV show did better and things I believe the book did more effectively. Most of the shortcomings of either are due to their respective mediums and not necessarily a result of incompetence on either side…..

That won’t come until much later.

Normally, I can’t read the book after seeing a film or watching a TV show based on it, however, I don’t believe my having seen the show beforehand hampered my ability to enjoy the book series. In fact, the opposite is true.

So if you haven’t read the books but have seen the TV series, I recommend giving the books a read anyway. There are very well written and will hold your interest regardless if you know what will happen later on.

Sunshine Blogger Award #5

A special thanks to theorangutanlibrarian for nominating me for this award! I’m honored to be receiving it and I enjoyed making this post!

Here goes!

  1. Thank the person who nominated you and provide a link back to their blogging site.
  2. Answer the questions.
  3. Nominate 11 other bloggers and ask them 11 new questions.
  4. Notify the nominees about it by commenting on one of their blog posts.
  5. List the rules + display the sunshine blogger award logo on your site or on your post.

Where’s the best place you’ve ever been on holiday?

I’m not sure if this counts as a holiday since this was part of a study tour for college, but I would have to say the best place I have ever gone to was Ireland. There was so much natural and ancient beauty there it bewitched me from the moment we landed. My favorite place out of the trip had to be Tollymore Forest on our Game of Thrones tour where they shot a bit of the first episode. And they gave us cloaks!

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Do you have any favorite fictional (or non fictional) libraries?

Hmmmm I suppose I would have to say the first library I ever went to. There’s nothing special about it in terms of aesthetic or book choices (apart from the modest aquarium), but it’s the first ever library I’ve ever gone to which helped foster my love of books so it will always hold a place in my heart.

What is your guiltiest pleasure read?

I suppose that would be Twilight. I haven’t read it in over ten years so I don’t know if I would still like it or not, but I still remember it fondly. I maintain to this day that it’s the most over-hated book in existence. I think I will write a post about this eventually.

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What’s your most unpopular bookish opinion?

I found The Night Circus by Erin Morgenstern incredibly boring.

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I know! I know! Dozens of friends have told me they love it, but I…I just don’t get it.

I’ve attempted to read it twice and each time I’ve been disappointed. The premise is intriguing and I liked the atmosphere, but there was too little happening for too long. I made it slightly over halfway through the second time before I gave up.

I don’t begrudge others for liking it, though.

Do you have a bookish pet peeve?

I have a few, but a deal-breaker for me is unnatural dialogue. I can deal with slow pacing, Maguffins and the like but if the characters sound like AIs that can’t pass the Turing Test I’m out. This is the reason I stopped reading The Man in The High Castle. I loved the idea behind it and was interested in where the story was going, nevertheless, the characters sounded so unrealistic and stilted that I couldn’t go on.

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Dialogue is one of the most important tools a writer has in their arsenal to convey a character’s personality and if you screw that up you might as well pack your bags and go home.

What book character gets on your last nerve?

Zoe Redbird from The House of Night series. When I read the first book in high school, I thought she was a pretty cool chick. She was nerdy (allegedly, the only evidence we have for this is her Spock hoodie), she liked Enya, she had a kick-ass name.

But then she started doing shady shit and her character took a turn for the worst around book three.

In essence, she became a Mary-Sue of the highest order; the girl literally every guy wanted to be with. People give Twilight a hard time for being a love triangle when this chick was in a frigging love pentagram.

EVERYONE IN THE BOOKS WANTED TO RIDE HER.

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Not to mention, no matter how many horrible things she did, she was always portrayed as the victim. She cheated on her boyfriend with a teacher, and when said teacher turned out to be a villain (imagine my shock), her friends berated her ex-boyfriend for giving her a hard time… for cheating on him!

Silly boy!

Everything Zoe does is right.

Everyone loves Zoe.

She’s naturally gifted in literally everything.

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It’s a shame because, from what I remember, the rest of the series was enjoyable. I just couldn’t deal with the main character anymore.

If you could wear any item of clothing from a book-what would it be?

Jamie Fraser’s kilt. No more questions.

Who could you rather kiss/marry/kill when the choices are Lord Voldemort, Sauron, and Iago?

I would kill Voldemort because there’s no way I’m waking up to that every morning. I would kiss Iago because he actually has lips and I would marry Sauron because he is the OP villain all others aspire to be.

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Sexy.

Who’s the best bookish baddie you’ve read about lately?

Most books I read don’t necessarily have a mustache twirling villain, but I suppose it would be Drood from Dan Simmon’s Drood. He’s the mysterious character which Dicken’s wrote his unfinished novel about before his death. If you’re interested in reading it, here’s a link.

Would you rather be the villain in a story of the hero? Why?

Conventional wisdom says I should choose hero because they are the victors in most stories. However, I think it might be fun to be a bad guy. Being a good person is exhausting and it’s so much easier to be an asshole. Plus villains usually equate to more complex characterizations and I’m about me some complex characters.

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Do you have any exciting reading plans?

I’m excited to be reading Love and Ruin by Paula McLain. I love, love, love The Paris Wife and her writing style so I’m pumped about this one. I also plan to tuck into My Brilliant Friend by Elena Ferrante in the near future.

My questions:

  1. What was the most transformative reading experience you have ever had?
  2. What is a book you wish someone would write?
  3. Where is somewhere you really want to go, but have only read about in a book?
  4. If you could have a book re-written, which book would it be?
  5. What is a book you dislike that everyone else loves?
  6. If you had the power to bring any mythical creature to life, which creature would it be?
  7. Where is your ideal reading spot?
  8. What is the most disappointing book you have ever read and why?
  9. What is your favorite genre of book and why?
  10. If you could make one book required reading, which book would it be and why?
  11. What is your favorite bookish ship? (noncanonical and crack-ships are acceptable answers)

I’m interested in seeing what you guys come up with!

Sofi@ A Book. A Thought. Jennifer of OutofBabel.com dysfunctionalliteracy  TheInnerWorkings TheBookRaven  Anna @ My Bookish Dreams  By Hook or By Book Nut Free Nerd Bionic Book Nerd Jedi By Knight Adventures of a Bibliophile

Spoiler-Free Thoughts on “Drood” by Dan Simmons

Summary: On June 9, 1865, while traveling by train to London with his secret mistress, 53-year-old Charles Dickens–at the height of his powers and popularity, the most famous and successful novelist in the world and perhaps in the history of the world–hurtled into a disaster that changed his life forever.

Did Dickens begin living a dark double life after the accident? Were his nightly forays into the worst slums of London and his deepening obsession with corpses, crypts, murder, opium dens, the use of lime pits to dissolve bodies, and a hidden subterranean London mere research . . . or something more terrifying?

I love Dan Simmons’ The Terror and consider it one of my favorite novels of all time so  I thought I would give this novel about Charles Dickens and the mysterious vampiric figure named Drood a stab.

To sum up my thoughts:

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Based on the summary, you would think the focal point of this novel would be Dickens and his relationship with Drood.

Well….you’d be wrong.

To start, the main character of the novel is not Charles Dickens, but rather Wilkie Collins, real-life writer, contemporary of Dickens and full-time toss-pot.

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This bitch

I love flawed characters but Collins is the most tedious narrator I have ever had to sit through. And coming from someone who used to read a lot of YA, that is saying something.

It’s not enough he’s sexist even for the time period, he’s also a baby and hypocrite with virtually no positive attributes.

Scarlett O’Hara had her indomitable spirit, Holden Caulfield his relatable loneliness. But this guy? There’s nothing worth gravitating towards. When he isn’t suffering from undiagnosed schizophrenia no doubt exasperated by his rampant drug-use, he’s a boring douche-bag.

Did I mention he’s a total mama’s boy?

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As for the novel itself, it begins on a hight note when Dickens describes the train accident at Staplehurst that left dozens of people dead and Dickens alive but shaken.

The titular character of Drood, a vampiric figure with horribly mangled features and ambiguous dark powers, is brought into the picture and from there we are left to wonder who (or what) he could possibly be. Is he a vampire? Is he a human with arcane abilities? This is the perfect introduction to such a frighting figure so mired in mystery.

The problem is for a great chunk of the novel Drood is not only absent from appearance but conversation as well.

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me for half the book

The narrator abandons the hunt for Drood for long stretches at a time in favor of going through his and Dickens’ life and their respective professional careers.

While I enjoy historical fiction and learning about famous people of the past, there was at least 100 pages worth of material that should have been cut from the story.

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When the focus is on Drood and his origins, the story flourishes. When it isn’t it’s a mixed bag of mild curiosities and abject boredom.

I, personally, think the novel could have benefited from a split perspective, one following Dickens and the other Collins. That way we could have had the benefit of viewing both characters from the other’s perspective as well as thrown in a red-herring or too.

In Drood‘s defense, there is a pretty satisfying twist at the end. I had a hunch about the direction the story was going, but that didn’t stop me from being impressed by it. That being said, the drama of it was undercut by the main character’s anti-climactic response which, in turn, soured my enjoyment of it.

I guess you can’t have everything.

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I’ve been sitting on this review for a couple of weeks now because I’ve been indecisive about whether or not I like this book. While I was engrossed most of the time, there are just as many parts to this story that I don’t like.

The atmosphere is haunting and visceral as any Victorian drama should be, yet the numerous digressions and pit-stops in the plot tempted me to put it down for good.

I suppose if you twisted my arm, I would give this book at 6/10.

It wasn’t a horrible read, but I think it could have been a lot better if an editor had taken the red pen of death to it.

If you are more interested in the life of Charles Dickens (and Wilkie Collins) than the supernatural, then you will likely enjoy this book more than I did. However, if you find yourself more interested in Drood, I would suggest reading something else.

Overall I don’t regret reading Drood, nevertheless, I am hoping my next Dan Simmons book will be a bit more on-point.

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BookTube: Lost in Adaptation

I’ve noticed a worrying trend on this blog where I tend to fixate more on things that annoy or disappoint me rather than things I actually enjoy.

Perhaps it’s because it’s easier to put a finger on what I dislike than it is to articulate what brings me happiness.

Perhaps I’m just a curmudgeonly old woman trapped in the body of a twenty-something.

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Whatever the reason, I decided to give you a reprieve from my endless whinging by talking about a topic I actually enjoy: Lost in Adaptation.

Lost in Adaptation is a bookish Youtube show hosted by Dominic Noble (or The Dom) in which he compares movies to the books they are based on.

I know there are other channels on Youtube similar in concept, nevertheless, I find Lost in Adaptation to be superior for many reasons.

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Each show is meticulously researched not only in regards to the books and movies he is comparing, but also in regards to the authors of the books and the production behind the movies, providing context whenever necessary. I’m a sucker for video essays and the wealth of information he supplies in each episode is fascinating. 

It’s not just a bunch of nonsensical ranting either, each episode is coherent and divided neatly into the categories “What they didn’t change” “What they changed” and “What they left out all together.”

Lost in Adaptation is ridiculously palatable. Even people who don’t enjoy reading can get something out of listening to how different forms of media can either coalesce to form the same message, or create a completely different entity.

The Dom isn’t married to any one genre, nor is he a stickler for what qualifies as a “book.” He has made episodes on a wide variety of genres ranging from drama, to science fiction, to YA and even a graphic novel or two like the Scott Pilgrim series.

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I also appreciate the fact that these aren’t just videos of a guy sitting on a couch and complaining about movies. He actually does his best to make each episode visually interesting even when the movie clips aren’t rolling. His use of a green screen (although a bit clunky in his first attempts) has evolved tremendously over the last several years and adds a lot to his reviewing style….

And he’s English!

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I enjoy all his work, however, my personal favorite has to be his “A Dom of Ice and Fire” series where he talks about Game of Thrones and how it relates to the books, all whilst dressed as a Stark.

If you’re interested in becoming a beautiful watcher here are a few more of his videos I personally recommend and have unashamedly watched multiple times:

The Harry Potter series by J.K Rowling

Rebecca by Daphne Du Maurier

Bladerunner/ Do Androids Dream of Electric Sheep? by Philip K. Dick

Who Framed Roger Rabbit? by Gary K. Wolf  (yeah, that was a novel apparently. Who knew.

The Hitchhiker’s Guide to the Galaxy by Douglas Adams

Dagon by H.P Lovecraft 

The Witches by Roald Dahl 

I’ve only listed a few here, but there are so many more and they are all so good.

What are you still doing here?

Go! 

Go, I say, and watch for yourselves!

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Black Mirror: Season Five Thoughts

SPOILER ALERT FOR SEASON FIVE OF BLACK MIRROR

I consider Black Mirror to be one of the greatest sci-fi shows ever made. Its portrayal of the effect technology has on the human psyche has made for some of the most insightful and realistic stories I have ever come across.

It has the ability to both haunt and inspire in equal measure, doling out some harsh truths about the fallibility of man all while creating interesting storylines and environments that will have you reeling for days.

That being said, this season was some serious meh.

While other episodes have shaken me to the core and left me soaking in the bathtub for hours in contemplation, this seasons helpings of dystopian doom lacked some serious flavor.

Let’s start with Striking Vipers. 

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When I heard this episode was going to be about virtual reality, I wasn’t impressed. Yes, the thought of virtual reality escalating in quality to the point of being on-par with reality is an intriguing concept in theory, however, it’s one that has been played out in most forms of media. I wasn’t sure what else they could possibly add to the conversation given the bevy of other stories that have explored this very topic.

Then the two heterosexual males started boning each other.

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As the story unfolded I experienced that familiar sense of foreboding that pervades all episodes of Black Mirror, the burdensome knowledge that shit is about to hit the fan and there will be nothing but wreck and ruin that awaits all involved.

Dany was going to lose his marriage. Karl might be experiencing  gender dysphoria (this wasn’t explored in as much depth as I was hoping). I had to pause and consider what the writer was trying to convey. Are we who we are only if we are in a certain body? If we existed in another body would we truly be ourselves, or do our souls merely adapt to the vessel that they are placed in?

At first, it’s merely a means of achieving a sexual high, that is until Karl accidentally says the “l-word” which presents them with an ultimate question. Are their virtual reality feelings real?

They seek a resolution to this conundrum, yet the answer isn’t as clean-cut as they think.

I don’t take issue with the ambiguity of Karl and Dany’s feelings for each other. The problem I have with this episode is that they get away with their adulterous acts completely unscathed.

Karl and Dany have a love affair that goes on for ages and there are essentially no consequences. Dany stays married to his beautiful wife with a baby on the way and Karl is still living the bachelor life without a care in the world

I’m not opposed to a happy ending (especially in a show with such a dark, nihilistic tone), but the ending doesn’t feel deserved. There should be at least some negative repercussions to emerge from this.

Dany’s wife should have left him or he should have left her. Maybe Karl could have gone to Dany’s house on a whim and confessed his undying love to Dany only for Dany reject him out of principle, thus ending their friendship and leaving both of them feeling hollow and miserable.

Either one of these would have better than just letting them have their cake and eat it too.

A story devoid of consequences is one devoid of meaning.

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The next episode Smithereens was the best in the bunch, in my opinion. It was fast-paced, topical, and  provided the sort of thought-provoking commentary on social media I have come to expect from this show.

This episode’s greatest strength is there is no villain. The alleged antagonist is just a broken man; a victim of his own careless mistakes.

What makes it all so terrible is how relatable his situation is. He lost the person he loved most in the world because he was addicted to his phone. Like he tearfully explains to the founder of Smithereens, he killed his fiance over a cat photo.

These sorts of tragedies occur all the time and will continue to happen as long as social media is there to distract us.

It looks at social media companies and their drive to make their wares all the more addictive, subconsciously persuading us to risk our own lives and the lives of those we care about just so we don’t have to be bored for a few minutes.

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My thoughts on this episode summarized

As a side-note, the use of Can’t Take My Eyes Off You by Franki Valli playing over b-footage of pedestrians habitually looking at their phones was genius. Black Mirror has always been clever with their choice of easter-eggs and foreshadowing and this inclusion was just superb.

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I liked Rachel, Jack and Ashely Too the least as it started with a fascinating premise only to degenerate into a mad-cap after-school special.

In the first act, we are introduced to Rachel, a lonely high school girl that is developing a quasi-obsessive relationship with her Ashley O doll, depending on it for self-validation and friendship. Meanwhile the real Ashley O is spiraling into an existential crisis that is leading her down a path of self-destruction. It’s a fascinating juxtaposition between the flowery fiction that is the Ashley sprite and the genuine article which is much bleaker and provides inspiring commentary on the entertainment industry.

For some reason I can’t possible understand, the second half completely drops this and becomes incompatible with the pre-existing message. It was like this episode was written by two different people who couldn’t agree on what the point of the story was supposed to be. 

Why build up the episode to be about a lonely, teenager girl who is developing an unhealthy dependency on a piece of tech if you’re just going to bench her in the end? The issue they introduced in the beginning of the episode never gets resolved. Does Rachel ever find the confidence to stand on her own? Does she find a way to believe in herself enough to overcome her loneliness? We don’t know. But here’s Miley Cyrus crowd surfing!

I didn’t care if Ashley O regained consciousness (they never explained how that happened btw), I wasn’t invested in her. I wanted to know what would become of Rachel if this dependency continued and the implications this would have on her developing mind.

Lonely people seeking companionship in technology is a real issue that should be talked about and makes an interesting story.

This was just predictable and, frankly, stupid.

If I was a creative writing teacher, I would give this a C. It’s watchable but it could have been so much more than it was.

The same could be said for most of the season. It had good ideas but it was not nearly as good as its predecessor.

Dammit, are there no British based programs that haven’t let me down?

 

The Tragic Tale of My Reading Slump

The other day I went to Barnes and Noble and the unthinkable happened…

I didn’t buy a book.

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No, really.

I went to the bookstore and I didn’t purchase any books. Not even one that I thought looked cool but knew deep in my soul I would never read….a.k.a a quarter of the books currently in my possession.

I went home with nothing.

Nada.

Zilch.

Once or twice my attention was stolen by an intriguing premise but ultimately I would place them back on the shelf, forgotten.

I couldn’t figure it out.

I have been a reader my whole life. Why was I suddenly feeling so indifferent to literature. Why couldn’t I experience the same level of excitement that I normally feel while lurking around a bookstore? Why did I feel so apathetic about the whole enterprise?

I’ve given it some thought and I think I have come up with a semi-rational explanation for my sudden reading slump.

This will seem like a shallow and potentially absurd complaint but…it felt like every book I came across was trying too hard to change my life.

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When I read the dust jacket of all these lovingly crafted tales, most of them were imploring me to let them teach me about the human condition or understanding life and love and….I wasn’t interested.

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That was it. That was the problem.

I didn’t want to be molded into a better human being.

I didn’t want to have my world-view reshaped. I didn’t want to have all the ills of the world revealed to me or have some nihilistic hippies wax poetic about the futility of existence.

I wanted to have fun reading.

That’s not to say I never like a transformative reading experience or that books with poignant messages don’t have their place, but every so often I just want to read. 

I want to retreat into a fictional world for a couple of hours and have it not mean anything. 

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I want to laugh and cheer and get excited purely for the sake of it and not because it “starts a conversation” or “it’s bringing awareness to something” but because it brings me joy. Maybe I will forget about it later on in life since it gave me no permanent message to cling to, but it will have brightened my day, or week, or even month.

Is that so wrong?

Am I a pleb for having a desire to escape from the intellectual questions of our time in favor of placing a metaphorical ice-pack upon my throbbing nerves?

If it is, maybe I don’t want to be right.

Hell, I didn’t become a reader because I was interested in changing the world. I did it because it allowed me access to worlds I would otherwise have no entrance to, meet people I normally couldn’t.

Not every reading experience has to be meaningful.

Sometimes all I need is a vacation from reality.

If any of you have recommendations for a good read I am all ears.

 

 

The “Batwoman” Trailer is Kind of Awful

I would be lying if I said I had high hopes for Batwoman, but if this trailer is any indication as to what we should expect from this show…wow.

Wow.

Not only did it lower my expectations, but it buried them in the Earth’s crust.

To start, I have no problem with the main character being a woman. Nor do I mind her being an out-of-the-closet lesbian in an inter-racial relationship.

This whole project, however, looks like a giant cringe-fest from start to finish.

The most obvious problem is that they are using the same technique Marvel did to cultivate interest in the Captain Marvel movie, i.e obsess over the main character’s gender.

Sadly, it makes even those trailers look subtle in comparison.

Don’t believe me? Take a shot for every time the word “woman” is uttered in this three minute trailer. If you aren’t currently having your chest pumped, you cheated.

Literally the first time we see her in full Batman regalia the music screams at us “I’M A WOMAAAAAAAAAAAN!”

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But the cringe doesn’t end there. I had to pause the video after this “snappy” little exchange between Batwoman and a nameless character in the Batcave because I was so gob-smacked by its awfulness.

Batwoman: I need you to fix this suit.

Not-Alfred: The suit is literal perfection.

Batwoman: It will be. When it fits a woman.

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What does that even mean?

She just found out her cousin is Batman (yeah, we’re doing that shit again) and she already thinks she can do a better job of being the Dark Knight than him because…why exactly?

Oh right.

She’s a woman.

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Then, of course, there is the most aneurysm-inducing line in the whole trailer. While she’s kicking ass on the rooftops a little girl spies her from below and cries “it’s Batman!”

Batwoman says, “They think I’m him. I’m not about to let a man take credit for a woman’s work.”

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Uh…excuse me ma’am, but didn’t you steal Batman’s hideout, his costume, his equipment, his man-servant, and basically his whole identity?

Batman might have had stupid amounts of money at his disposal but he still had to learn to fight, maintain pique physical condition, become ridiculously knowledgeable in every field known to man, and make sacrifice after sacrifice to get where he was. Bat-hoe swooped down, stole all his shit, and then flew off into the night.

If anyone is getting credit for shit they didn’t do, it’s her.

I don’t have an issue with a woman taking up Batman’s mantle, but it would seem to me she has zero respect for the cowl. She basically just stepped into his shoes to show “a man” how it’s done. Because that’s all she sees him as, an evil ciss male.

Nevermind that he was cracking supervillain skulls before she was in her cradle, he’s male, therefore he isn’t nearly as good as her.

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The trailer in a nutshell

TL;DR as a woman, I like seeing women in lead roles. But you cannot carry an entire show based on what is between a character’s legs.

I don’t care.

Most audiences don’t care.

We want a good story with interesting characters.

It’s that simple.

The sad thing is, if you cut out the anti-male garbage, I could see this being a watchable action show. It’s an interesting concept that opens up possibilities for a lot of story-lines. How would a woman handle being the Dark Knight? Would she face the same struggles that Bruce Wayne experienced? Would the public react differently?

The problem is it seems to be much more interested in pandering to “woke” culture than telling a captivating narrative. You can do both, you know. It is possible to show the strengths of women without constantly crapping on men. Ever heard of Wonder Woman?

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