And his memory of each season never fades. For three hundred seasons he has turned into a beast, his murderous rampages decimating his kingdom leaving his guard Grey as his only company. As a beast, he has no control, and murders his entire family, before coming back to himself for the final hour of the season to see the havoc he has wreaked. But at the end of the first season Rhen begins to turn into a monster, and as he does, he forgets who he is. Cursed by a sorceress to repeat the Autumn of his eighteenth year until he manages to convince a woman to fall in love with him, Rhen sees the curse as a game at first. Prince Rhen of Emberfall has been eighteen for over three hundred seasons. “I’m not going to fall in love with you,” she says.Ī Curse So Dark and Lonely by Brigid Kemmerer
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Jojo recalls a time in which he stepped on the lid of a can when his mother abandoned him at home. Jojo thinks about the salad days of the past, before Leonie, his mother, began using drugs and Michael was in prison. He sends his grandson inside to check on her, but Jojo finds that she is sleeping peacefully. Pop tells Jojo that he hears Kayla crying. Jojo is deeply affected by the brutality of the goat’s killing, and when Jojo is asked to clean out the insides of the goat’s stomach, he is overcome by the pungent smell. Jojo watches painfully as Pop wrestles the goat and then slits its throat and stomach. Pop is a father figure in Jojo’s life, since Jojo's biological father, Michael, is in prison. Jojo follows Pop as he picks an “unlucky goat” from the pasture. Careful to not wake his family, Pop, Jojo’s grandfather, asks for his grandson’s help on the farm. Jojo’s baby sister, Kayla, is also sleeping. His grandmother, Mam, is asleep in the house-she’s bed-bound due to her chemotherapy treatment. Jojo is half-Black and half-white, and he lives with his Black grandparents and his mother. The film traces the arc of Joan’s life through her own writings, and in her own voice. While her writing is fierce and exposed, Joan herself is an incredibly private person. Now we need to shoot key interviews with Patti Smith, Vanessa Redgrave, Michelle Williams, Cameron Crowe, Annie Leibovitz, Michiko Kakutani, Anna Wintour, Bret Easton Ellis, Scott Rudin, Jann Wenner, Graydon Carter, Allison Janney, Robert Silvers and Liam Neeson. “So far we have shot 60 hours of footage, primarily of Joan. The Year of Magical Thinking, Slouching Towards Bethlehem, and Play It As It Lays just a few of Didion’s works. Named for the compendium of Didion’s oeuvre, We Tell Ourselves Stories In Order to Live is the first and only documentary being made about Joan Didion, the American novelist and literary journalist. Live on Kickstarter, the film’s campaign is led by director, Griffin Dunne, who has known Didion his entire life and co-director award-winning filmmaker, Susanne Rostock. With the help of over 2,000 backers, the Joan Didian Documentary, We Tell Ourselves Stories In Order to Live, easily exceeded its modest $80K goal with over $121,800 in pledges. Despite its nominal Danish setting, the landscape has come to be seen as quintessentially English. The painting is known for its depiction of the detailed flora of the river and the riverbank, stressing the patterns of growth and decay in a natural ecosystem. Ophelia's pose-her open arms and upwards gaze-also resembles traditional portrayals of saints or martyrs, but has also been interpreted as erotic. Ophelia's death has been praised as one of the most poetically written death scenes in literature. But eventually, "her garments, heavy with their drink, / Pull'd the poor wretch from her melodious lay" down "to muddy death". Her clothes, trapping air, have allowed her to temporarily stay afloat ("Her clothes spread wide, / And, mermaid-like, awhile they bore her up."). She lies in the water singing songs, as if unaware of her danger ("incapable of her own distress"). She climbs into a willow tree overhanging a brook to dangle some from its branches, and a bough breaks beneath her. Out of her mind with grief, Ophelia has been making garlands of wildflowers. The episode depicted is not usually seen onstage, as in Shakespeare's text it exists only in Gertrude's description. John Everett Millais in 1865, by Charles Dodgson (Lewis Carroll) Ugly Love is a story of Miles and Tate Collins, two people desperately fighting against their love and the fear that comes with it. List Of Colleen Hoover Books In Order: Hopeless Seriesīooks In Order Colleen Hoover: Maybe Someday SeriesĬolleen Hoover Books Order: Never Never Series (With Co-author Tarryn Fisher)Ĭolleen Hoover List Of Books In Order: Slammed SeriesĬolleen Hoover Books In Chronological Order Short Summaries By Series
Some of the people included feel a bit like caricatures and it's a bit too dated now to be of huge interest. My feelings/assessments of it: Although this book lacks the white-knuckled fondness I've come to expect in books about cities, it covers a lot of ground and is pleasantly peppy. It covers power tunnels, the Underground, sunken rivers, sewers, pipes, passages, tunnels, crypts, and cellars. London under London is a tour of some of those tunnels, written around the turn of the Millenium. They bring power and water, they take away waste, they house the dead, they offer a hiding place of last resort. One place this is especially apparent is in the network of tunnels that lie beneath the city. Shrug.Ī summary of the book: London has a tendency to tear up its past and use the pieces to assemble something new, blurring together the ancient and the modern, the natural and the manmade. Richard Trench and Ellis Hillman, London under London (1984) Of all the corporeal functions that underground infrastructures support, the sewers and the removal of waste remain the most ‘invisible’ and unrecognised in the representation of the modern city. Where I heard about it/who suggested it: I found it in the car park at my friend's flat. I also found it entertaining for a Mr Trench to write this book.Ĭontext of reading: Read after new year, hungover and in need of something simple. The reason I read it: After reading Peter Ackroyd's London Under two years ago, I've been fascinated by what lies beneath this city and never turn down a chance to learn more about it. Quality of the content/organisation/research: 4 a fascinating exploration of the future."- New York Times “ Feed is a proper thriller with zombies.” - SFX McGuire has crafted a masterpiece of suspense with engaging, appealing characters who conduct a soul-shredding examination of what's true and what's reported."― Publishers Weekly (Starred Review) "It's a novel with as much brains as heart, and both are filling and delicious."― The A. The truth will out, even if it kills them. Now, twenty years after the Rising, Georgia and Shaun Mason are on the trail of the biggest story of their lives-the dark conspiracy behind the infected. The infection spread, virus blocks taking over bodies and minds with one, unstoppable command: FEED. But in doing so we created something new, something terrible that no one could stop. Feed is an electrifying and critically acclaimed novel of a world a half-step from our own that the New York Times calls “Astonishing” - a novel of zombies, geeks, politics, social media, and the virus that runs through them all - from New York Times bestseller Mira Grant. Only through reading her grandmother’s old diary is Rukhsana able to gain some much needed perspective. They immediately whisk Rukhsana off to Bangladesh, where she is thrown headfirst into a world of arranged marriages and tradition. Her parents are devastated being gay may as well be a death sentence in the Bengali community. Luckily, only a few more months stand between her carefully monitored life in Seattle and her new life at Caltech, where she can pursue her dream of becoming an engineer.īut when her parents catch her kissing her girlfriend Ariana, all of Rukhsana’s plans fall apart. She rolls her eyes instead of screaming when they blatantly favor her brother and she dresses conservatively at home, saving her crop tops and makeup for parties her parents don’t know about. Seventeen-year-old Rukhsana Ali tries her hardest to live up to her conservative Muslim parents’ expectations, but lately she’s finding that harder and harder to do. Rooney Mara took on the role - and earned an Oscar nod - in the American adaptation of “The Girl with the Dragon Tattoo,” and Claire Foy portrayed her in “The Girl in the Spider’s Web. The Swedish film trilogy based the first three books of the series, “The Girl with the Dragon Tattoo,” “The Girl Who Played with Fire,” and “The Girl Who Kicked the Hornets’ Nest,” features, respectively, Noomi Rapace and Tehilla Blad as Lisbeth as an adult and child. A survivor of abuse with a passion for exacting vengeance on men who are abusive to women, Lisbeth’s story is timely, but the character’s creation pre-dated the rise of the #MeToo movement. The show will bring back “the iconic and much-loved character Lisbeth Salander and place her in today’s world – with a new setting, new characters, and a new story that will resonate with fans of the original and thrill a whole new generation,” according to Amazon. Deadline reports Amazon is developing “Girl With the Dragon Tattoo,” a series centering around the the brilliant hacker and vigilante.Ī co-production between Amazon Studios and Left Bank Pictures, in association with Sony Pictures TV, the project will be based on Stieg Larsson’s best-selling Millennium series. Based on Stieg Larssons literary phenomenon and featuring an Award winning breakthrough performance by Noomi Rapace, the trilogy follows the unlikely. Lisbeth Salander is coming to the small screen. Many had been working the ‘double shift’ of work and child-rearing while their men were away. After the war, women were tired of deprivation and austerity. The film of Cinderella, which came out in 1950, she says, encapsulates everything about the mood of the era, being ‘all about dreams’. So it serves rather well as background to Frizzell’s analysis.Īs the subtitle indicates, Dyhouse begins and ends with Disney. Fairy stories and novels certainly come into it, but so does academic research and feminist theory of various kinds. Although I wasn’t entirely wrong, as this is certainly part of the story, it’s actually about social transformations, being an interesting and thorough exploration of the ways in which women’s views of themselves and their function in the world has changed over the generations since WW2. I’d enjoyed Dyhouse’s Hearththrobs a few years ago (review h ere}, so when I requested a copy of Love Lives (subtitled ‘From Cinderella to Frozen’) I imagined it was going to be about fictional stories and the way they describe relationships. I recently read Nell Frizzell’s The Panic Years (review here), which describes the quandary faced by young women today who feel forced to choose between a career and motherhood. It’s probably a common experience among people who read a lot that sometimes two books will overlap in unexpected ways. |