Please don't leave me behind, Captain Azalea. Skylar.
I don't care about your past. You saved my life.
Redemption should not mean abandoning the people you love, and who love you. I look at you now, up on deck, your long light, auburn hair burning in the sun, just barely brightening your sad smile. The calmest of blue skies are reflected in your eyes, long-held tears of pain hidden within. When will the dam burst, I wonder.
I wonder a lot of things about you, my beautiful, self-sacrificing captain. You are a phoenix, rising from the ashes that still cling to you. You don't brush them off.
As always when you're on duty, you have your right hand on the hilt of your sword, the Crescent Moon Sickle, in a wooden scabbard securely strapped and tied with silver rope around your waist: you are ready for anything.
For the ship Lynx Eye is your stage, and it is your job to perform more than anything else. Even survival.
It wasn't your fault, I keep telling you. The bad things, the crimes you committed as the original terror of the skies, the fearsome Sky Pirate Queen of Skulls - it was because you were possessed by an evil, vengeful spirit. There are a lot of those in the sky. You never believe it, or you never allow yourself to.
You are haunted by the horror of your memories, no matter how long you preserve a warm smile on your soft face. The hardness, the breaking, ravishing storm, the dark abyss, it all lurks inside. A destruction and rebuilding is happening, in a cycle, within you. Alone.
Harper steers on ahead. She knows the routes by now, off by heart, and by how Skylar likes her ship to set its course. Gently and steadily she goes, like a swan in a river, but swift and sharp as a shiny eagle in the sun and clouds when necessary, and sneaky, bright eyed and observant as a mother owl at night. But the mission is always the same: set a course towards redemption. It is a never ending journey; peace and war swirling and chasing and fighting each other, but are forced to coexist, like Ying and Yang. Like a hurricane. The inner and outer turmoil of a captain, carried out by a brave, loyal crew.
Redemption. That's where I was supposed to have come in.
Skylar. My pirate queen. My suffering star. My glowing, wilting twilight flower.
Please listen to me, Skylar. My Skylar.
Don't leave me.
The port draws nearer.
Sunday, 29 September 2019
Scribble #102
In a Room with a Half Open Door. There is a Party Going On in the House.
So loud, even from here. The music is just noise. At least it drowns out the sexual moans droning on from the other rooms. Now I know why parties are a popular destination for sex. They're still loud. Still excessively obnoxious.
It only serves to further rub in my face how alone I am here. You can be increasingly, terribly lonely in a house full of people, who you barely know, all putting on a show of fake fun, of drinking and getting high. Add in the blaring, deafening music in a dark, sweaty, beer-filled, claustrophobic environment, it's like the next best thing to hell.
Shows how fun these parties actually are: you have to alter yourself drastically in order to "enjoy" them.
I don't belong here. I was practically smuggled in by a pity friend. In any case, part of me wanted to see, and hear, and smell, what the fuss is about.
I have to say, I'm not impressed.
So many regretful life decisions waiting to happen.
No one had noticed me. No one ever does.
I'm not like these wastes of energy and social baggages, and I never will be.
After the last guy vomits in the sink next to where I am now, outside the back door of the kitchen, I close it. Failure to launch. Signal to abort mission. Depart all and deliver none.
What a disgusting disuse of time.
There're no beer bottles littered on my path back home.
So loud, even from here. The music is just noise. At least it drowns out the sexual moans droning on from the other rooms. Now I know why parties are a popular destination for sex. They're still loud. Still excessively obnoxious.
It only serves to further rub in my face how alone I am here. You can be increasingly, terribly lonely in a house full of people, who you barely know, all putting on a show of fake fun, of drinking and getting high. Add in the blaring, deafening music in a dark, sweaty, beer-filled, claustrophobic environment, it's like the next best thing to hell.
Shows how fun these parties actually are: you have to alter yourself drastically in order to "enjoy" them.
I don't belong here. I was practically smuggled in by a pity friend. In any case, part of me wanted to see, and hear, and smell, what the fuss is about.
I have to say, I'm not impressed.
So many regretful life decisions waiting to happen.
No one had noticed me. No one ever does.
I'm not like these wastes of energy and social baggages, and I never will be.
After the last guy vomits in the sink next to where I am now, outside the back door of the kitchen, I close it. Failure to launch. Signal to abort mission. Depart all and deliver none.
What a disgusting disuse of time.
There're no beer bottles littered on my path back home.
Scribble #101
A young girl runs and frolics in a huge, green garden with her brothers and sisters. It's like a meadow: there are fountains, butterflies, trees, swings, ladybugs, and ponds. All play, all sunshine. All blue twilight, and crescent moon.
Shopping list for My Ten-Year-Old Self:
Shout! magazine.
CD - preferably R&B.
New coat.
Pencil case.
Pencils.
Pens.
Ruler.
Cereal.
Pasta.
Cheese.
Chocolate.
Ice cream.
New cat stuff.
Bubble bath soak.
Animal Kingdom books.
Video game with brother.
Shopping list for My Ten-Year-Old Self:
Shout! magazine.
CD - preferably R&B.
New coat.
Pencil case.
Pencils.
Pens.
Ruler.
Cereal.
Pasta.
Cheese.
Chocolate.
Ice cream.
New cat stuff.
Bubble bath soak.
Animal Kingdom books.
Video game with brother.
Scribble #100
Some ideas start as dreams,
Some stories start with a dream.
One dark, stormy and spooky night,
Byron told a ghost story,
Exercising his craft,
For reading and writing,
Like Mary herself,
Exercising the task, "Now you write a ghost story."
And Mary lay, tossing and turning,
Half awake, sleeping, waking,
In that in between state of mind land.
Electrical shocks can make dead animals twitch.
What is science coming to?
Dreaming, dreaming,
A chill in the air,
A muse came to Mary that night.
The horror! The horror!
A man made entirely of dead body parts.
He looms over her bed.
She is fully awake, in fright.
Forget it, she tells herself, shivering.
Forget the fear.
The monster.
The stitches.
The sallow dead skin.
Then, why, there's her ghost story!
But not a ghost, a living corpse,
Brought to life by a scientist,
Unaware of what he has brought into the world.
The horror! The horror!
Don't shock and bloody with nature.
Mary created stories,
But never played God.
Hmm, Castle Frankenstein, thought Mary,
What an eerie name.
Some stories start with a dream.
One dark, stormy and spooky night,
Byron told a ghost story,
Exercising his craft,
For reading and writing,
Like Mary herself,
Exercising the task, "Now you write a ghost story."
And Mary lay, tossing and turning,
Half awake, sleeping, waking,
In that in between state of mind land.
Electrical shocks can make dead animals twitch.
What is science coming to?
Dreaming, dreaming,
A chill in the air,
A muse came to Mary that night.
The horror! The horror!
A man made entirely of dead body parts.
He looms over her bed.
She is fully awake, in fright.
Forget it, she tells herself, shivering.
Forget the fear.
The monster.
The stitches.
The sallow dead skin.
Then, why, there's her ghost story!
But not a ghost, a living corpse,
Brought to life by a scientist,
Unaware of what he has brought into the world.
The horror! The horror!
Don't shock and bloody with nature.
Mary created stories,
But never played God.
Hmm, Castle Frankenstein, thought Mary,
What an eerie name.
Scribble #99
It always smells clean in this neighbourhood, among these orange, brown and white brick houses with the prettiest, most well-kept gardens and trimmed hedges you've ever seen.
I made sure to go out when it's warm and the sun is welcoming. No sound except for the occasional bird trilling and singing, and the passing car. My trainers on the smooth gravel as I walk the pavements too, if I pay attention to anything other than what might be happening through the windows in other people's houses.
A cat sitting on a windowsill here, a television on there. The sun sometimes reflects off the glass and I can't look. If I dared to I'd feel the prickly hedges at the white or brown wooden gates. Its living green blending in with a tree that has just been cut down and nailed to make a tiny fortress.
What a world, what a walk. To see my neighbours without actually having to talk to them.
I made sure to go out when it's warm and the sun is welcoming. No sound except for the occasional bird trilling and singing, and the passing car. My trainers on the smooth gravel as I walk the pavements too, if I pay attention to anything other than what might be happening through the windows in other people's houses.
A cat sitting on a windowsill here, a television on there. The sun sometimes reflects off the glass and I can't look. If I dared to I'd feel the prickly hedges at the white or brown wooden gates. Its living green blending in with a tree that has just been cut down and nailed to make a tiny fortress.
What a world, what a walk. To see my neighbours without actually having to talk to them.
Scribble #98
I walk through the marshes, the coming dawn warming my face and hair. The wind chills, my shoes and the hem of my black dress soak in the dew of this clearing, and I swear I'm wandering into a swamp. But I keep going.
Willows brush my hands. Nettles catch my dress, but I barely feel anything but the glowing sun fighting through the fresh glacial air. To have no thought, no worries, to just live in this world as it is now. I'm like a sleepwalker, like someone in a trance, under a strange enchantment.
Then a fluttering thought stumbles through, like a midnight butterfly, or a moth to a gaslight. I could be anyone right at this moment. This still, messy, stinging, wet, beautiful moment, with Gaia at the peak of her power. I could not be a doctor. I could not have two daughters. I could not be a practitioner of the craft. I could not be all of those things and more, and have to all leave it behind. Leave behind what makes me who I am.
Leave behind those I love so much I would die for them.
Above everything, I am a mother, like Gaia, and I have the two best girls in her world.
I can't leave. I won't leave.
Here in this world, as it is in this picture in time, I'll be immortal. Forget my own perspective and tricks of the mind and sad delusions; from other's viewpoints, if they were to see me now, they would see a ghost who belongs in the moss, the green, the swamp. Her shadow plays on the trees.
Here, now, anything is possible for me.
I am a--bog? Tree? Lady of the Lake? Green Witch? I will always be here, protecting my beloved.
I am Gaia.
Willows brush my hands. Nettles catch my dress, but I barely feel anything but the glowing sun fighting through the fresh glacial air. To have no thought, no worries, to just live in this world as it is now. I'm like a sleepwalker, like someone in a trance, under a strange enchantment.
Then a fluttering thought stumbles through, like a midnight butterfly, or a moth to a gaslight. I could be anyone right at this moment. This still, messy, stinging, wet, beautiful moment, with Gaia at the peak of her power. I could not be a doctor. I could not have two daughters. I could not be a practitioner of the craft. I could not be all of those things and more, and have to all leave it behind. Leave behind what makes me who I am.
Leave behind those I love so much I would die for them.
Above everything, I am a mother, like Gaia, and I have the two best girls in her world.
I can't leave. I won't leave.
Here in this world, as it is in this picture in time, I'll be immortal. Forget my own perspective and tricks of the mind and sad delusions; from other's viewpoints, if they were to see me now, they would see a ghost who belongs in the moss, the green, the swamp. Her shadow plays on the trees.
Here, now, anything is possible for me.
I am a--bog? Tree? Lady of the Lake? Green Witch? I will always be here, protecting my beloved.
I am Gaia.
Saturday, 28 September 2019
Book Review - 'The Testaments (The Handmaid's Tale #2)' by Margaret Atwood
This review can be summed up by what the other middling-to-negative reviews of 'The Testaments' have already said, and I agree with some of them.
Okay, my own thoughts it is then:
'The Testaments' has a bit of brilliance, a bit (well, a lot, actually) of mediocrity, and an undesirable amount of the side order of Huh?, WTF and Why?, all mixed into it; for a sequel to the fantastic and hugely relevant 'The Handmaid's Tale' published thirty-four years previously.
I do see what some people mean when they say that it's as if Margaret Atwood was trying to appeal to a broader mass audience, and not always succeeding. But the writing is great, quick and engaging, and the book can be read in two days tops, like over a weekend. The legacy, chronicles, and cautionary tales of 'The Handmaid's Tale' and the empire Republic of Gilead are even more relevant now than they were thirty years ago, and a continuation could be needed.
However, 'The Testaments' doesn't really add anything new to the political climate and discussions, and suffocating atmosphere, pertaining to women's reproductive rights, and their rights as human beings and not breeding stock as a whole. There isn't anything plot related about, or specifically relevant to, our current times. Does planning on how to overthrow abiding corrupt and inhumane governments count?
Issues such as abortion and older white men controlling women's rights to their own bodies are present, but they are a little too subtle, too few and far between, and placed like an afterthought with no deeper meaning behind them for my liking. It's the same with the slut shaming and victim blaming: they are arbitrary, and are not explored beyond surface level.
For a feminist book about misogyny rooted in stubborn, regressive religious dogma, 'The Testaments' contains a false rape accusation (did Gillian Flynn have a hand in writing this? Why the fuck did that have to be there?!), and copious amounts of female backstabbing and literally murderous hatred among women (we are only told about how men betray each other in order to obtain higher power and political influence as well, and then very briefly, and also it is a lot of the male characters on the side against Gilead who get the most things done in the book. Like, the women outside of Gilead are nearly as useless as the women inside it).
And it is absolutely inexcusable for a 2019 feminist text not to include POC and/or LBGTQ characters. There simply aren't any to be found - except for a nameless girl in Gilead thought to originally be from Mexico, who is removed quickly, presumably towards her torture and death, like hundreds before her, in one sentence and disappears indefinitely from the codex. What was the point of that? 'The Handmaid's Tale' could get away with its lack of inclusion and diversity because it was written in the eighties - what is Ms Atwood's excuse this time? It is a serious offense and oversight for a book about extreme oppression and history repeating itself (or just rhyming with itself, to quote one of the best lines in the book). The word "segregation" is mentioned only once, and it is in reference to the gender divide in Gilead.
Another thing that put me off in 'The Testaments' is the character inconsistencies. They all seem to change motivations and views at a drop of a hat, whenever it is convenient to the plot, and I don't think this is due to unreliable narrators and so-called forgeries of historical documents ('The Testaments' is told in written confessions and diary entries).
I had trouble keeping track of the timeline as well. Suddenly in the middle of the book the young teenage characters in Gilead are adults in their early twenties, and nothing about them changes, so they might as well still be teenagers. The effects of living in the stifling, limiting, static and fearful environment in Gilead? Eh, I neither know nor care. It is rather flimsy.
A feature that particularly irks me is one of the teenage girl narrators - I won't say who due to spoilers, plus her name keeps changing regularly and no one seems to give a damn - becoming a symbol for freedom from the evils of Gilead via infiltration set up entirely by the adults around her, so she's basically a tool with no will of her own. Sure, she lashes out and expresses opinions a lot, even in the worst, most baffling circumstances, but it has no impact on her situation whatsoever. So much for her own voice. All the while she has a little (hetero) love story in her head (what is this? A poor woman's 'The Hunger Games'?), and I'm thinking, "Your parents were just murdered. Oh yeah, remember them? I guess not, seeing as you never mention them again."
Yet, while I was disappointed - despite having wisely kept my expectations low, and I am usually markedly adverse to sequels - I do still like the writing in 'The Testaments'. Even though the content can get melodramatic, over the top, contrived, ridiculous, inconsistent, and very predictable, with plot twists that any seasoned reader could see coming a mile off. Ms Atwood can make this world, scarily similar to our nonsensical world, somewhat believable.
Is 'The Testaments' necessary? Did it need to exist? Probably not, but anything to keep the real world conversations it represents going on in the mainstream consciousness, in the midst of the #MeToo movement, and political and government party corruption. It is like YA but containing much darker and heavier content.
Content warning for suicide, pedophilia, and sexual assault and violence towards women, including by men with guns.
I don't know. Maybe I need to reread 'The Handmaid's Tale'.
'The Testaments' - it tried, and got an average grade, I suppose.
And no I have not seen the TV series adaptation. A piece of work, but especially a book, should be able to stand on its own, as its own story.
Speaking of, if TV exists in Gilead, surely smuggled movie and series DVDs must exist there as well. Anything can get smuggled in Gilead. But any reference to pop culture, like the references to historic slavery and subjugation, is completely absent in 'The Testaments'.
*sigh* The more I think about it, the more I realise what potential was wasted.
Final Score: 2.5/5
Okay, my own thoughts it is then:
'The Testaments' has a bit of brilliance, a bit (well, a lot, actually) of mediocrity, and an undesirable amount of the side order of Huh?, WTF and Why?, all mixed into it; for a sequel to the fantastic and hugely relevant 'The Handmaid's Tale' published thirty-four years previously.
I do see what some people mean when they say that it's as if Margaret Atwood was trying to appeal to a broader mass audience, and not always succeeding. But the writing is great, quick and engaging, and the book can be read in two days tops, like over a weekend. The legacy, chronicles, and cautionary tales of 'The Handmaid's Tale' and the empire Republic of Gilead are even more relevant now than they were thirty years ago, and a continuation could be needed.
However, 'The Testaments' doesn't really add anything new to the political climate and discussions, and suffocating atmosphere, pertaining to women's reproductive rights, and their rights as human beings and not breeding stock as a whole. There isn't anything plot related about, or specifically relevant to, our current times. Does planning on how to overthrow abiding corrupt and inhumane governments count?
Issues such as abortion and older white men controlling women's rights to their own bodies are present, but they are a little too subtle, too few and far between, and placed like an afterthought with no deeper meaning behind them for my liking. It's the same with the slut shaming and victim blaming: they are arbitrary, and are not explored beyond surface level.
For a feminist book about misogyny rooted in stubborn, regressive religious dogma, 'The Testaments' contains a false rape accusation (did Gillian Flynn have a hand in writing this? Why the fuck did that have to be there?!), and copious amounts of female backstabbing and literally murderous hatred among women (we are only told about how men betray each other in order to obtain higher power and political influence as well, and then very briefly, and also it is a lot of the male characters on the side against Gilead who get the most things done in the book. Like, the women outside of Gilead are nearly as useless as the women inside it).
And it is absolutely inexcusable for a 2019 feminist text not to include POC and/or LBGTQ characters. There simply aren't any to be found - except for a nameless girl in Gilead thought to originally be from Mexico, who is removed quickly, presumably towards her torture and death, like hundreds before her, in one sentence and disappears indefinitely from the codex. What was the point of that? 'The Handmaid's Tale' could get away with its lack of inclusion and diversity because it was written in the eighties - what is Ms Atwood's excuse this time? It is a serious offense and oversight for a book about extreme oppression and history repeating itself (or just rhyming with itself, to quote one of the best lines in the book). The word "segregation" is mentioned only once, and it is in reference to the gender divide in Gilead.
Another thing that put me off in 'The Testaments' is the character inconsistencies. They all seem to change motivations and views at a drop of a hat, whenever it is convenient to the plot, and I don't think this is due to unreliable narrators and so-called forgeries of historical documents ('The Testaments' is told in written confessions and diary entries).
I had trouble keeping track of the timeline as well. Suddenly in the middle of the book the young teenage characters in Gilead are adults in their early twenties, and nothing about them changes, so they might as well still be teenagers. The effects of living in the stifling, limiting, static and fearful environment in Gilead? Eh, I neither know nor care. It is rather flimsy.
A feature that particularly irks me is one of the teenage girl narrators - I won't say who due to spoilers, plus her name keeps changing regularly and no one seems to give a damn - becoming a symbol for freedom from the evils of Gilead via infiltration set up entirely by the adults around her, so she's basically a tool with no will of her own. Sure, she lashes out and expresses opinions a lot, even in the worst, most baffling circumstances, but it has no impact on her situation whatsoever. So much for her own voice. All the while she has a little (hetero) love story in her head (what is this? A poor woman's 'The Hunger Games'?), and I'm thinking, "Your parents were just murdered. Oh yeah, remember them? I guess not, seeing as you never mention them again."
Yet, while I was disappointed - despite having wisely kept my expectations low, and I am usually markedly adverse to sequels - I do still like the writing in 'The Testaments'. Even though the content can get melodramatic, over the top, contrived, ridiculous, inconsistent, and very predictable, with plot twists that any seasoned reader could see coming a mile off. Ms Atwood can make this world, scarily similar to our nonsensical world, somewhat believable.
Is 'The Testaments' necessary? Did it need to exist? Probably not, but anything to keep the real world conversations it represents going on in the mainstream consciousness, in the midst of the #MeToo movement, and political and government party corruption. It is like YA but containing much darker and heavier content.
Content warning for suicide, pedophilia, and sexual assault and violence towards women, including by men with guns.
I don't know. Maybe I need to reread 'The Handmaid's Tale'.
'The Testaments' - it tried, and got an average grade, I suppose.
And no I have not seen the TV series adaptation. A piece of work, but especially a book, should be able to stand on its own, as its own story.
Speaking of, if TV exists in Gilead, surely smuggled movie and series DVDs must exist there as well. Anything can get smuggled in Gilead. But any reference to pop culture, like the references to historic slavery and subjugation, is completely absent in 'The Testaments'.
*sigh* The more I think about it, the more I realise what potential was wasted.
Final Score: 2.5/5
Book Review - 'Candy Pink' by Adela Turin (Writer), Nella Bosnia (Illustrator), Martin Hyams (Translator)
A very obscure Italian/French children's picture book classic, which to me seems to have been heard of only by people who have read 'Bookworm: A Memoir of Childhood Reading' by Lucy Mangan (how lucky is she to have owned so many books in her childhood?).
'Candy Pink' (or 'Sugarpink Rose' in some English translations) is one of the earliest books about gender equality made for children, in the seventies. And I think it does its job well.
In elephant country, girl elephants are segregated from boy elephants, and are only fed a diet of anemones and peonies so that they turn pink with bright eyes, and therefore pretty and desirable for marriage material for the boys. They are also given pink and fluffy clothes and accessories.
While the girls are under this social - and unhealthy - pressure, within their small fenced enclosure, the boys are free to play, run, muck about in the mud and water, and lie under trees in the open country.
One social outcast girl elephant might be the first stepping stone towards rebellion and freedom for all girl elephants. Towards them no longer being made into safeguarded commodities in their society.
Break down the walls, the fences, the system!
The only real issue I have with 'Candy Pink' is that Daisy, the girl elephant who is different outside of her control and is supposedly the main character, isn't much of a character. She's more of a rebel placeholder. The book spends a lot of time at the beginning explaining its world and how its gender dynamics work, and then nearly halfway through we are introduced to Daisy, who tries to fit it but can't because she can't turn pink no matter how many flowers she eats, and then her parents give up and let her alone, and then she decides to walk out of her enclosure and join the boy elephants in their fun, and soon the other tenacious, scandalized-turned-frightened-turned-envious girl elephants follow her example. No one is pink anymore. And that's how an oppressive system collapses, apparently.
Is there an allegory for transgender people's experiences in here as well? Probably unintentional, but very interesting.
'Candy Pink' is more of a moral and metaphor played out than a story with characters to connect to, but it works. Anyone can read it and enjoy it and take to heart its message. Any feminist children's book, any feminist classic book, is a must-read for me, and I'm glad to know its existence, and that it holds a prominent, pink place on my bookshelf.
It absolutely needs more universal attention and recognition. Every child needs to read it.
And it's cute and contains soft and colourful illustrations.
'And ever since then, it's been hard to tell the difference between boy elephants and girl elephants.'
Happy 600th Artemis Crescent review, too.
Final Score: 4/5
'Candy Pink' (or 'Sugarpink Rose' in some English translations) is one of the earliest books about gender equality made for children, in the seventies. And I think it does its job well.
In elephant country, girl elephants are segregated from boy elephants, and are only fed a diet of anemones and peonies so that they turn pink with bright eyes, and therefore pretty and desirable for marriage material for the boys. They are also given pink and fluffy clothes and accessories.
While the girls are under this social - and unhealthy - pressure, within their small fenced enclosure, the boys are free to play, run, muck about in the mud and water, and lie under trees in the open country.
One social outcast girl elephant might be the first stepping stone towards rebellion and freedom for all girl elephants. Towards them no longer being made into safeguarded commodities in their society.
Break down the walls, the fences, the system!
The only real issue I have with 'Candy Pink' is that Daisy, the girl elephant who is different outside of her control and is supposedly the main character, isn't much of a character. She's more of a rebel placeholder. The book spends a lot of time at the beginning explaining its world and how its gender dynamics work, and then nearly halfway through we are introduced to Daisy, who tries to fit it but can't because she can't turn pink no matter how many flowers she eats, and then her parents give up and let her alone, and then she decides to walk out of her enclosure and join the boy elephants in their fun, and soon the other tenacious, scandalized-turned-frightened-turned-envious girl elephants follow her example. No one is pink anymore. And that's how an oppressive system collapses, apparently.
Is there an allegory for transgender people's experiences in here as well? Probably unintentional, but very interesting.
'Candy Pink' is more of a moral and metaphor played out than a story with characters to connect to, but it works. Anyone can read it and enjoy it and take to heart its message. Any feminist children's book, any feminist classic book, is a must-read for me, and I'm glad to know its existence, and that it holds a prominent, pink place on my bookshelf.
It absolutely needs more universal attention and recognition. Every child needs to read it.
And it's cute and contains soft and colourful illustrations.
'And ever since then, it's been hard to tell the difference between boy elephants and girl elephants.'
Happy 600th Artemis Crescent review, too.
Final Score: 4/5
Book Review - 'Molly's Family' by Nancy Garden (Writer), Sharon Wooding (Illustrator)
2024 REREAD: It's as beautiful, significant and relevant as ever. Of course I'm bloody well keeping it.
Final Score: 3.5/5
Original Review:
An LBGTQ children's picture book right off the coattails of 'Heather Has Two Mummies', from the author of 'Annie on My Mind'. 'Molly's Family' is very similar to 'Heather', and we spend more time in the kindergarten classroom with the other kids than with Molly's family itself, but the important messages about all families being different and family meaning loving one another are there.
This one explains how the femme same-sex parents came to have little Molly, as well, and why she means so much to them, and vice versa.
It also explores bullying, peer pressure and anxiety among growing, socialising toddlers. "You're different to me, and I don't like that, so I'm going to make your life harder" is hardly a way to live as an adult, much less as a child.
One hilarious review of 'Molly's Family' that I found on Amazon said that it indoctrinates children and should be banned (again). Indoctrinates them into what? Being better, kinder, more loving, tolerant and open minded people? unlike you? Do you even know what the word "indoctrinate" means? I should note that the review was only two short lines long - it was really only a flimsy complaint note.
'Molly's Family' is nice and adorable, containing a vital, timeless message. Like the teacher and the parents in it, it sets a good example to children, who are our future, after all.
Final Score: 3.5/5
Final Score: 3.5/5
Original Review:
An LBGTQ children's picture book right off the coattails of 'Heather Has Two Mummies', from the author of 'Annie on My Mind'. 'Molly's Family' is very similar to 'Heather', and we spend more time in the kindergarten classroom with the other kids than with Molly's family itself, but the important messages about all families being different and family meaning loving one another are there.
This one explains how the femme same-sex parents came to have little Molly, as well, and why she means so much to them, and vice versa.
It also explores bullying, peer pressure and anxiety among growing, socialising toddlers. "You're different to me, and I don't like that, so I'm going to make your life harder" is hardly a way to live as an adult, much less as a child.
One hilarious review of 'Molly's Family' that I found on Amazon said that it indoctrinates children and should be banned (again). Indoctrinates them into what? Being better, kinder, more loving, tolerant and open minded people? unlike you? Do you even know what the word "indoctrinate" means? I should note that the review was only two short lines long - it was really only a flimsy complaint note.
'Molly's Family' is nice and adorable, containing a vital, timeless message. Like the teacher and the parents in it, it sets a good example to children, who are our future, after all.
Final Score: 3.5/5
Book Review - 'Goodnight Mister Tom' by Michelle Magorian
2023 REREAD: I suddenly found 'Goodnight Mister Tom' to not be as well written as I had thought originally; almost from the very beginning. It's shocking, since only four years ago I had lovingly declared it to be one of the best written books I've ever read.
But there are several instances of paragraphs, and dialogue exchanges, mentioning more than one male character, and so the same male pronouns would be used to apply to them, with what they are (or were) doing and so forth, with nothing to distinguish them, not even a name, to avoid confusion between them. There were many times when I had to reread passages again, because of confusions and inconsistencies such as these. Not so effortlessly flowing and fluid, writing-wise or reading-wise.
Also I found the book to be quite long, repetitive, mundane and boring overall, with not much happening. However the characters are memorable and distinct, if inconsistent sometimes. Weird, inexplicable, random events, and many uncomfortable things, framed as small, inconsequential and worth forgetting immediately, also disturbed my enjoyment. I'm not expecting a book from the eighties to be overly PC and sensitive, but still.
Regardless, 'Goodnight Mister Tom' is on the whole a lovely and important book set in WWII. It is about love, found family, childhood, and hope in a hopeless world.
I am starting to really worry now. It's like, as I'm getting older and thus more wary, aware, self-conscious, critical and picky, I don't like to read novels anymore, and that even rereading old favourites will become a disappointment to me - like it won't hold up, and the magic, the surprise, the passion of the first read will be gone. As the dreaded years pass, have I grown to be too attentive, too critical, too jaded, too easily bored, and cynical and disillusioned?
I will continue to reread my books, even some from only a few years ago, and hope that I will end up keeping more than giving away; that there remains a spark inside me - my heart - that will always enjoy reading.
I love to read. To read good, solid books (though I know nothing can be flawless, of course). Let that never change.
Final Score: 3.5/5
Original Review:
Well, it looks like you can actually really like - no, love - books that you were made to read at school, and even then only in snippets. Once that unpleasant, tedious, soul-of-literature-and-life-sucking experience is over and done with, try reading those sources of "study" again, without it being homework and a chore.
'Goodnight Mister Tom' is the perfect example of this for me.
I admit to remembering the nineties film adaptation more than the book before delving into this piece of my childhood, but I'm thankful to all the praise and bookworm recommendations given, persuading me to finally give the novel another chance. In it, I rediscovered a treasure, long buried and forgotten, but brought to glorious light and shine at last.
'Goodnight Mister Tom' is one of the most breathtaking, heartbreaking, brilliant, hopeful, and tearful landmarks in children's and young adult literature I have ever read. A beautiful English WWII evacuee story that explores the countryside and the voluminous examples of the human experience. Set in a desolate world teetering on the edge of total collapse, it is about childhood, what makes a family, loss, grief, change, courage, resilience, justice, moving on, growing up, and faith. It is about human nature, and how there are good, kind, friendly and tolerant people in a world that seems only full of cruelty and monsters sometimes. It is about companionship, friendship, caring for others, and the potential reached when one is allowed to be happy and free. When one is loved.
The writing is excellent and breezy - Michelle Magorian manages to make any mundane day-to -day activity deeply interesting and endearing. The colours, the country, the farms, the graveyard, the church, the weather, the clothes, the books, the drawings, the trees (fantastic growing symbolism done there), the animals, the people! The intriguing, differentiating and multidimensional characters help it along. The written word highlights the effects of child abuse so well - as well as fear, a loveless existence, and a lack of education - and I can't recall when a book has made me this close to crying buckets, especially towards the ending. Nor can I recall caring this much about practically all of the characters and their fates in a children's book in such a long time.
I must note that there is also a subtle feminist touch to this WWII novel that was written in the eighties, specifically in regards to a young girl character who wants to receive higher education, and who gets to wear boys' clothing, and go out to have fun. I will leave it at that.
Bottom line, 'Goodnight Mister Tom' is a masterpiece. A writing craftsmanship dream. An enriching, heartfelt experience. A powerful book that is beyond touching.
Read it. Love it. Study it, but maybe in your free time. Homework is neither fun nor enlightening, and the youth cannot really appreciate a story and its full meaning and messages until they're older and wiser. When teaching a class about 'Goodnight Mister Tom', say you love it and why first, then recommend it, and then talk about its merits after finishing; like in a warm, cosy book club.
Final Score: 5/5
But there are several instances of paragraphs, and dialogue exchanges, mentioning more than one male character, and so the same male pronouns would be used to apply to them, with what they are (or were) doing and so forth, with nothing to distinguish them, not even a name, to avoid confusion between them. There were many times when I had to reread passages again, because of confusions and inconsistencies such as these. Not so effortlessly flowing and fluid, writing-wise or reading-wise.
Also I found the book to be quite long, repetitive, mundane and boring overall, with not much happening. However the characters are memorable and distinct, if inconsistent sometimes. Weird, inexplicable, random events, and many uncomfortable things, framed as small, inconsequential and worth forgetting immediately, also disturbed my enjoyment. I'm not expecting a book from the eighties to be overly PC and sensitive, but still.
Regardless, 'Goodnight Mister Tom' is on the whole a lovely and important book set in WWII. It is about love, found family, childhood, and hope in a hopeless world.
I am starting to really worry now. It's like, as I'm getting older and thus more wary, aware, self-conscious, critical and picky, I don't like to read novels anymore, and that even rereading old favourites will become a disappointment to me - like it won't hold up, and the magic, the surprise, the passion of the first read will be gone. As the dreaded years pass, have I grown to be too attentive, too critical, too jaded, too easily bored, and cynical and disillusioned?
I will continue to reread my books, even some from only a few years ago, and hope that I will end up keeping more than giving away; that there remains a spark inside me - my heart - that will always enjoy reading.
I love to read. To read good, solid books (though I know nothing can be flawless, of course). Let that never change.
Final Score: 3.5/5
Original Review:
Well, it looks like you can actually really like - no, love - books that you were made to read at school, and even then only in snippets. Once that unpleasant, tedious, soul-of-literature-and-life-sucking experience is over and done with, try reading those sources of "study" again, without it being homework and a chore.
'Goodnight Mister Tom' is the perfect example of this for me.
I admit to remembering the nineties film adaptation more than the book before delving into this piece of my childhood, but I'm thankful to all the praise and bookworm recommendations given, persuading me to finally give the novel another chance. In it, I rediscovered a treasure, long buried and forgotten, but brought to glorious light and shine at last.
'Goodnight Mister Tom' is one of the most breathtaking, heartbreaking, brilliant, hopeful, and tearful landmarks in children's and young adult literature I have ever read. A beautiful English WWII evacuee story that explores the countryside and the voluminous examples of the human experience. Set in a desolate world teetering on the edge of total collapse, it is about childhood, what makes a family, loss, grief, change, courage, resilience, justice, moving on, growing up, and faith. It is about human nature, and how there are good, kind, friendly and tolerant people in a world that seems only full of cruelty and monsters sometimes. It is about companionship, friendship, caring for others, and the potential reached when one is allowed to be happy and free. When one is loved.
The writing is excellent and breezy - Michelle Magorian manages to make any mundane day-to -day activity deeply interesting and endearing. The colours, the country, the farms, the graveyard, the church, the weather, the clothes, the books, the drawings, the trees (fantastic growing symbolism done there), the animals, the people! The intriguing, differentiating and multidimensional characters help it along. The written word highlights the effects of child abuse so well - as well as fear, a loveless existence, and a lack of education - and I can't recall when a book has made me this close to crying buckets, especially towards the ending. Nor can I recall caring this much about practically all of the characters and their fates in a children's book in such a long time.
I must note that there is also a subtle feminist touch to this WWII novel that was written in the eighties, specifically in regards to a young girl character who wants to receive higher education, and who gets to wear boys' clothing, and go out to have fun. I will leave it at that.
Bottom line, 'Goodnight Mister Tom' is a masterpiece. A writing craftsmanship dream. An enriching, heartfelt experience. A powerful book that is beyond touching.
Read it. Love it. Study it, but maybe in your free time. Homework is neither fun nor enlightening, and the youth cannot really appreciate a story and its full meaning and messages until they're older and wiser. When teaching a class about 'Goodnight Mister Tom', say you love it and why first, then recommend it, and then talk about its merits after finishing; like in a warm, cosy book club.
Final Score: 5/5
Wednesday, 25 September 2019
Love and Kittens
My family will be blessed with two kittens in two weeks time. Here are the pictures I could take today. We are adopting the black and white one eating from the bowl, and the smallest of the litter, a white and brown tiddler.
Look how tiny they all are!
My two future precious little girls! More photos (plus names) coming soon, of course 😻😻😺😸🐈
Look how tiny they all are!
My two future precious little girls! More photos (plus names) coming soon, of course 😻😻😺😸🐈
Saturday, 21 September 2019
Book Review - 'Fireweed' by Jill Paton Walsh
An interesting angle and look out of thousands to take towards the Second World War, set in 1940, mainly in London, during the Blitz. It is well written, if infodumpy and overly descriptive, particularly for a younger audience in the sixties.
But the main character's casual misogyny, huge entitlement issues, and black hole-sized lack of common sense and self-preservation skills kept me from liking 'Fireweed'.
Seriously, "Bill" (we never know his real name) demands of his female partner, Julie, also a homeless teenage runaway, whom he barely knows, to make him a cup of tea, after they've just arrived in his own house, where there is a fucking big unexploded bomb right in the kitchen they are in, right over the sink. Of course she relents, with no protest, literally risking her life to make him tea, just because he says so. I don't care that he sparingly acknowledges how monstrous his words and actions are - it is in his first person narration only, and it doesn't excuse him of anything. Who the fuck does this whiny, selfish kid think he is?
When Bill, in a single paragraph, casually mentions in passing that the bomb went off shortly after he and Julie left his house, it is practically played for laughs. I don't know what to think of this.
Bill's relationship with Julie is uncomfortable to read about. He's abusive, controlling, clingy, and has rage issues - how many times does he "snap" at Julie? His protecting her has resulted in him bruising her. She's a "strong independent spitfire" of a girl, who is actually a domesticated scaredy cat who cries a lot, doesn't do anything without Bill's permission, and later on stays put in shelters making tea and dinner while Bill goes outside into the danger. Julie is a damsel for him to rescue, in more ways than one, and blatantly a wife and mother in training. She's even sexualised by a shopkeeper boy who is much younger than she is. This is never commented on. Disgusting.
And I know Bill will grow up to be a wife beater, judging by, well, everything, but especially that ending.
So the stiff, stale 20th century gender roles and dynamics have not made 'Fireweed' age well for me. Suddenly the war and deaths are not the only horrifying things in it. The sexism, to put it extremely lightly, is creepy, and towards a girl so young.
'Fireweed' is also basically a WWII version of 'Ashfall' by Mike Mullin, only with less action.
I couldn't connect to the story or its characters at all. Sorry, I tried.
Final Score: 2/5
But the main character's casual misogyny, huge entitlement issues, and black hole-sized lack of common sense and self-preservation skills kept me from liking 'Fireweed'.
Seriously, "Bill" (we never know his real name) demands of his female partner, Julie, also a homeless teenage runaway, whom he barely knows, to make him a cup of tea, after they've just arrived in his own house, where there is a fucking big unexploded bomb right in the kitchen they are in, right over the sink. Of course she relents, with no protest, literally risking her life to make him tea, just because he says so. I don't care that he sparingly acknowledges how monstrous his words and actions are - it is in his first person narration only, and it doesn't excuse him of anything. Who the fuck does this whiny, selfish kid think he is?
When Bill, in a single paragraph, casually mentions in passing that the bomb went off shortly after he and Julie left his house, it is practically played for laughs. I don't know what to think of this.
Bill's relationship with Julie is uncomfortable to read about. He's abusive, controlling, clingy, and has rage issues - how many times does he "snap" at Julie? His protecting her has resulted in him bruising her. She's a "strong independent spitfire" of a girl, who is actually a domesticated scaredy cat who cries a lot, doesn't do anything without Bill's permission, and later on stays put in shelters making tea and dinner while Bill goes outside into the danger. Julie is a damsel for him to rescue, in more ways than one, and blatantly a wife and mother in training. She's even sexualised by a shopkeeper boy who is much younger than she is. This is never commented on. Disgusting.
And I know Bill will grow up to be a wife beater, judging by, well, everything, but especially that ending.
So the stiff, stale 20th century gender roles and dynamics have not made 'Fireweed' age well for me. Suddenly the war and deaths are not the only horrifying things in it. The sexism, to put it extremely lightly, is creepy, and towards a girl so young.
'Fireweed' is also basically a WWII version of 'Ashfall' by Mike Mullin, only with less action.
I couldn't connect to the story or its characters at all. Sorry, I tried.
Final Score: 2/5
Graphic Novel Review - 'The Tea Dragon Festival' by Kay O'Neill
Back in the world of Tea Dragons, and everything is as calm, comforting, charming, lush, lovely and magical as ever.
Kay O'Neill writes and draws enchantment. They have mastered colourful, diverse, egalitarian, and peaceful fantasy graphic novels for everyone. For a new, progressive generation.
In 'The Tea Dragon Festival', we have:
• A young POC, nonbinary protagonist - Rinn the herbalist and cook.
• A proud clan dragon who can change into a more human form, who is trying to find himself and make up for lost time - Aedhan, who kind of reminds me of Inuyasha.
• A deep, platonic friendship between Rinn and Aedhan.
• A deaf, POC side character - Lesa, also a cook. This book is big on sign language awareness and resources.
• A grandmother and a little sister. Female-led communities matter.
• The return of Erik and Hesekiel! They are younger here, and Erik is Rinn's travelling, cocky uncle with a sword. I love picturing Hesekiel as having an experienced wise man's voice with a twinkle in his eye.
• Humans and anthropomorphic people coexisting in peace. They are a thriving, wonderful community with a culture and heritage to be proud of, who love and care for each other. Once again, there are no antagonists.
• A message about home and belonging, where people love you and let you do what you love.
• A woman wearing a hijab in the background.
• Another background character who looks like Link from 'The Legend of Zelda: Breath of the Wild'.
• Creative magical creature designs in honour of Studio Ghibli. I want plushies of them!
• Speaking of, there is a lone train which comes once a week to this spiritual world full of dragons.
• Oh and of course, Tea Dragons (Dracona Domestica)! Wild, pesky, but lovable and adorable Tea Dragons!
There is more - oh so much more - but I don't wish to spoil the magic.
Except for one more thing which deserves to be spotlighted from the heavens: Aedhan's dragon race (Dracona Major) can shift from one sex to another whenever they want, if they work at it. Any dragon can be genderfluid. Rinn says how lovely that is.
You can practically smell and taste all the vibrant nature on every page in 'The Tea Dragon Festival', and hear the sweet music, and the humming and singing in the wind. It transcends graphic novel form: it is a gentle breeze blooming with all the colours and hues of the rainbow and other prisms. A relaxing time of having a cup of tea with the people you love and connect with.
Another triumph. How do you do it, Kay O'Neill?
Final Score: 5/5
Kay O'Neill writes and draws enchantment. They have mastered colourful, diverse, egalitarian, and peaceful fantasy graphic novels for everyone. For a new, progressive generation.
In 'The Tea Dragon Festival', we have:
• A young POC, nonbinary protagonist - Rinn the herbalist and cook.
• A proud clan dragon who can change into a more human form, who is trying to find himself and make up for lost time - Aedhan, who kind of reminds me of Inuyasha.
• A deep, platonic friendship between Rinn and Aedhan.
• A deaf, POC side character - Lesa, also a cook. This book is big on sign language awareness and resources.
• A grandmother and a little sister. Female-led communities matter.
• The return of Erik and Hesekiel! They are younger here, and Erik is Rinn's travelling, cocky uncle with a sword. I love picturing Hesekiel as having an experienced wise man's voice with a twinkle in his eye.
• Humans and anthropomorphic people coexisting in peace. They are a thriving, wonderful community with a culture and heritage to be proud of, who love and care for each other. Once again, there are no antagonists.
• A message about home and belonging, where people love you and let you do what you love.
• A woman wearing a hijab in the background.
• Another background character who looks like Link from 'The Legend of Zelda: Breath of the Wild'.
• Creative magical creature designs in honour of Studio Ghibli. I want plushies of them!
• Speaking of, there is a lone train which comes once a week to this spiritual world full of dragons.
• Oh and of course, Tea Dragons (Dracona Domestica)! Wild, pesky, but lovable and adorable Tea Dragons!
There is more - oh so much more - but I don't wish to spoil the magic.
Except for one more thing which deserves to be spotlighted from the heavens: Aedhan's dragon race (Dracona Major) can shift from one sex to another whenever they want, if they work at it. Any dragon can be genderfluid. Rinn says how lovely that is.
You can practically smell and taste all the vibrant nature on every page in 'The Tea Dragon Festival', and hear the sweet music, and the humming and singing in the wind. It transcends graphic novel form: it is a gentle breeze blooming with all the colours and hues of the rainbow and other prisms. A relaxing time of having a cup of tea with the people you love and connect with.
Another triumph. How do you do it, Kay O'Neill?
Final Score: 5/5
Scribble #97
Abuse is someone making someone else's life worse by being with them, but the abuser will insist that it is for the best, for the victim's "own good". Abusers find fault with everything about their victim's character, and will let them know in the most negative ways, to make them change to suit the abuser's own idealised, less-than image; to be mocked, dismissed, ignored, and insulted even more, to satisfy the abuser's fragile ego. Abusers drain their victims, suck the life out of them, beat the happiness out of them little by little, often subtly. Shifting the blame from oneself onto the victim about everything is a common red flag. Making excuses, time and time again, denial, lies, deception, gaslighting, twisting words, bringing up the victim's past mistakes, not listening, contradicting: these are also in the abuser's arsenal.
The victim's pain, misery, fear, low self-esteem, self-doubt and submissiveness nourishes the perpetrator. Via their twisted logic anyone made to feel weaker than them, by them, will also be made to need them to survive. Fear and codependence go hand in hand.
Because it's for the abuser's own sense of self-worth and validation in existence. If no one - better a unified community - will try to stop them, they will keep doing it.
Abusers feed their victims poison and will endlessly call it ambrosia. They will destroy them, mold them into their own fantasy images, kill the victim's independence, by any means.
This toxic power struggle - abuse, bullying caused by selfishness and self-validation - can exist anywhere, in any context. Not just in romantic and sexual relationships, but in families, in friendships, in schools, workplaces, and in politics.
When the day comes when a person can say, "I'm gay", to anyone and the universal response is, "And?", we have done our job.
The victim's pain, misery, fear, low self-esteem, self-doubt and submissiveness nourishes the perpetrator. Via their twisted logic anyone made to feel weaker than them, by them, will also be made to need them to survive. Fear and codependence go hand in hand.
Because it's for the abuser's own sense of self-worth and validation in existence. If no one - better a unified community - will try to stop them, they will keep doing it.
Abusers feed their victims poison and will endlessly call it ambrosia. They will destroy them, mold them into their own fantasy images, kill the victim's independence, by any means.
This toxic power struggle - abuse, bullying caused by selfishness and self-validation - can exist anywhere, in any context. Not just in romantic and sexual relationships, but in families, in friendships, in schools, workplaces, and in politics.
When the day comes when a person can say, "I'm gay", to anyone and the universal response is, "And?", we have done our job.
Graphic Novel Review - 'Woman World' by Aminder Dhaliwal
2023 EDIT:
Reread: An oddly charming and funny comic. There is a little more trans inclusivity than I remember, though it is perhaps too subtle, and it would have been better if someone turned out to be a trans man, and another nonbinary. More of that representation would have been great.
A comedy, and a thought-provoking, uplifting, hopeful "dystopia". Still a keeper.
Final Score: 4/5
Original Review:
How will women cope if all men die out?
Just fine, as it turns out.
'Woman World' is an absolutely hilarious anecdotal feminist comic. There are no male characters at all after the first several pages, where, further in the future, we see the fallout of the extinction of men due to a genetic disorder - leading to a fairly utopian society of human women getting along splendidly and trying their best.
In a world where the patriarchy no longer exists for real, women can love and support one another freely. Have some laughs, spend time together however they want, say what's on their minds and talk long and express themselves to their fullest, and get work done; without men interrupting them, criticising them, demeaning them, patronising them, harassing them, threatening them, abusing them, dictating their lives, making them feel small, taking up their space, and turning them against each other; turning them into competition, into "bitches", and their own worst enemy.
In 'Woman World', we witness the benefits of allowing people to be selfless, kind and caring toward others. So, without the stifling, unhealthy micro-and-macroaggressions of the patriarchy, women will be good at building a society; they will be productive; they will work; they will prosper; to make life better for other people. No wars, no greed, no ego, no entitlement, no narcissism, no pettiness, no cruelty, no discrimination - women get shit done. Like simple, proper healthcare, and bodily and reproductive rights.
Looks certainly don't matter in this world.
It's also great to see a premise like this where sperm banks are acknowledged, and they are put to use.
The women and girls of Woman World - in their area of Beyonce's Thighs - are diverse and LBGTQ. Though the one issue I have is that transgender people are mentioned in only one story, and then it is never brought up again. This is problematic as well as highly noticeable since, when discussing gender and sex through the modern lens, the trans and nonbinary communities must be considered. Because we know now that there are more genders than the straight line binary of male and female, and that there are limitless ways to be male and female, or neither. Also the coded African doctor from another village has no name; she's called "Doctor".
The art is reminiscent of 'Adventure Time' and 'Steven Universe'. Soft, cartoony and lovely for a comedy graphic novel.
'Woman World' is very funny, clever, introspective, subversive, and adorable. One of my favourite recurring plots is with the grandmother, the last of her generation to have known men, and her little hyperactive granddaughter, who believes that mankind, nay all of 21st century culture, is represented in 'Paul Blart: Mall Cop' (to be fair, she might not be wrong). Of course there is so much more featured in this package, but I won't dare spoil any more of the fun.
It's smashing. Prepare to laugh, and think.
Final Score: 4/5
Reread: An oddly charming and funny comic. There is a little more trans inclusivity than I remember, though it is perhaps too subtle, and it would have been better if someone turned out to be a trans man, and another nonbinary. More of that representation would have been great.
A comedy, and a thought-provoking, uplifting, hopeful "dystopia". Still a keeper.
Final Score: 4/5
Original Review:
How will women cope if all men die out?
Just fine, as it turns out.
'Woman World' is an absolutely hilarious anecdotal feminist comic. There are no male characters at all after the first several pages, where, further in the future, we see the fallout of the extinction of men due to a genetic disorder - leading to a fairly utopian society of human women getting along splendidly and trying their best.
In a world where the patriarchy no longer exists for real, women can love and support one another freely. Have some laughs, spend time together however they want, say what's on their minds and talk long and express themselves to their fullest, and get work done; without men interrupting them, criticising them, demeaning them, patronising them, harassing them, threatening them, abusing them, dictating their lives, making them feel small, taking up their space, and turning them against each other; turning them into competition, into "bitches", and their own worst enemy.
In 'Woman World', we witness the benefits of allowing people to be selfless, kind and caring toward others. So, without the stifling, unhealthy micro-and-macroaggressions of the patriarchy, women will be good at building a society; they will be productive; they will work; they will prosper; to make life better for other people. No wars, no greed, no ego, no entitlement, no narcissism, no pettiness, no cruelty, no discrimination - women get shit done. Like simple, proper healthcare, and bodily and reproductive rights.
Looks certainly don't matter in this world.
It's also great to see a premise like this where sperm banks are acknowledged, and they are put to use.
The women and girls of Woman World - in their area of Beyonce's Thighs - are diverse and LBGTQ. Though the one issue I have is that transgender people are mentioned in only one story, and then it is never brought up again. This is problematic as well as highly noticeable since, when discussing gender and sex through the modern lens, the trans and nonbinary communities must be considered. Because we know now that there are more genders than the straight line binary of male and female, and that there are limitless ways to be male and female, or neither. Also the coded African doctor from another village has no name; she's called "Doctor".
The art is reminiscent of 'Adventure Time' and 'Steven Universe'. Soft, cartoony and lovely for a comedy graphic novel.
'Woman World' is very funny, clever, introspective, subversive, and adorable. One of my favourite recurring plots is with the grandmother, the last of her generation to have known men, and her little hyperactive granddaughter, who believes that mankind, nay all of 21st century culture, is represented in 'Paul Blart: Mall Cop' (to be fair, she might not be wrong). Of course there is so much more featured in this package, but I won't dare spoil any more of the fun.
It's smashing. Prepare to laugh, and think.
Final Score: 4/5
Manga Review - 'I Married My Best Friend to Shut My Parents Up' by Naoko Kodama
"First comes marriage - then comes love!"
A surprisingly decent and sweet standalone yuri manga, that isn't trashy, het gazey or highly inappropriate concerning consent issues. I guess it helps that it's from 2018-19.
'I Married My Best Friend to Shut My Parents Up' is self-explanatory, yet its title is only the start of it. It is about the growth and confidence boost of Machi Morimoto, a young independent woman in Japan, who is just going through the motions of being smart and relatively successful in her office career at her male-dominated workplace. But since a woman without a man is a failure in society and at life, apparently, her male colleagues, but especially her demanding and controlling parents, keep pestering her to get married (in her colleagues' case, probably as an excuse to fire her, since they believe that career and family can't coexist for women, but never for men for some reason).
She's sick of it. Sick of failing to please everyone, no matter what she does.
The solution? Machi's friend, Hana Agaya, who has been in love with her since school, suggests that she marry her; in a civil partnership, so that Machi's parents will finally back off.
The introverted Machi, who used to live alone, can barely handle this sudden and unconventional change to her mundane life and routine. The happy, upbeat artist Hana is her exact opposite; how will "senpai" cope with living with her? But, slowly, surely, the sham marriage may bloom into something more meaningful, helpful, and enlightening, as Machi learns to come out of her shell... as well as the closet.
(Sorry, couldn't resist.)
Take that, patriarchy!
'I Married My Best Friend' sounds like a bad rom com, or just a hideously tasteless and unfunny comedy. But it isn't. The manga tackles issues of sexism in the workplace, patriarchal ideas of marriage, academic pressure on children bordering on abuse, and homophobia. Small but vital details in an otherwise light, simple opposites-attract love story. For love and support - and consent - are very important values to live by.
Everything here, plus the positive, personal growth of the ordinary woman protagonist trapped in a patriarchal society, is worth highlighting and reading about. It is the 21st century, after all.
Yeah, there could have been a lot more, but oh well. It's nice, bold yet unpretentious throughout, and I'll praise standalone books any day.
Also included is the alternate universe story 'Anaerobic Love'.
'I Married My Best Friend to Shut My Parents Up' - I recommend it to anyone, including people who like 'Girl Friends' by Milk Morinaga, and who don't usually like yuri.
Final Score: 3.5/5
A surprisingly decent and sweet standalone yuri manga, that isn't trashy, het gazey or highly inappropriate concerning consent issues. I guess it helps that it's from 2018-19.
'I Married My Best Friend to Shut My Parents Up' is self-explanatory, yet its title is only the start of it. It is about the growth and confidence boost of Machi Morimoto, a young independent woman in Japan, who is just going through the motions of being smart and relatively successful in her office career at her male-dominated workplace. But since a woman without a man is a failure in society and at life, apparently, her male colleagues, but especially her demanding and controlling parents, keep pestering her to get married (in her colleagues' case, probably as an excuse to fire her, since they believe that career and family can't coexist for women, but never for men for some reason).
She's sick of it. Sick of failing to please everyone, no matter what she does.
The solution? Machi's friend, Hana Agaya, who has been in love with her since school, suggests that she marry her; in a civil partnership, so that Machi's parents will finally back off.
The introverted Machi, who used to live alone, can barely handle this sudden and unconventional change to her mundane life and routine. The happy, upbeat artist Hana is her exact opposite; how will "senpai" cope with living with her? But, slowly, surely, the sham marriage may bloom into something more meaningful, helpful, and enlightening, as Machi learns to come out of her shell... as well as the closet.
(Sorry, couldn't resist.)
Take that, patriarchy!
'I Married My Best Friend' sounds like a bad rom com, or just a hideously tasteless and unfunny comedy. But it isn't. The manga tackles issues of sexism in the workplace, patriarchal ideas of marriage, academic pressure on children bordering on abuse, and homophobia. Small but vital details in an otherwise light, simple opposites-attract love story. For love and support - and consent - are very important values to live by.
Everything here, plus the positive, personal growth of the ordinary woman protagonist trapped in a patriarchal society, is worth highlighting and reading about. It is the 21st century, after all.
Yeah, there could have been a lot more, but oh well. It's nice, bold yet unpretentious throughout, and I'll praise standalone books any day.
Also included is the alternate universe story 'Anaerobic Love'.
'I Married My Best Friend to Shut My Parents Up' - I recommend it to anyone, including people who like 'Girl Friends' by Milk Morinaga, and who don't usually like yuri.
Final Score: 3.5/5
Book Review - 'Fierce Fairytales: & Other Stories to Stir Your Soul' by Nikita Gill
Fairy tales deconstructed, Disney Princesses deconstructed, fairy tale and Disney villains deconstructed, feminism, abuse, trauma, the meaning of wolves, LBGTQ content, race and misogynoir issues, eating disorders, advice, childhood, fancies, independence, inner strength, self-love, growth, life, the meaning of the universe. 'Fierce Fairytales: & Other Stories to Stir Your Soul' has it all; in lyrical, breathtaking poetry form.
HERE are tales to read to your children at bedtime.
Nikita Gill's best, most creative, clever, vibrant, stunning, articulate, and timeless poetry collection.
All stories contain a seed of truth. And transcendent beauty from within. And healing.
Nice little illustrations, too.
Love it, love it, love it.
Final Score: 5/5
HERE are tales to read to your children at bedtime.
Nikita Gill's best, most creative, clever, vibrant, stunning, articulate, and timeless poetry collection.
All stories contain a seed of truth. And transcendent beauty from within. And healing.
Nice little illustrations, too.
Love it, love it, love it.
Final Score: 5/5
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