 |





 |
| |
 |
 |
 |
 |
|
 |
 |
Easter for a Canadian federal government employee is a wonderful holiday - four whole days without having to work. And this year, we had gorgeous sunny weather the entire time. I had planned to do all kinds of work around the house, rake the leaves that didn't get raked in the fall due to sudden snowfall, and start prepping the garden. I had planned to bike about a lot, and maybe even try an outside run if the temperature was friendly. Instead, I spent the entire weekend on the couch, hacking my lungs out. Yes, indeedy, I caught the King of Colds. It may actually be the flu. All I can say is that this is day five (yes, I'm home from work today -- I still have interestingly-coloured phlegm, so it didn't seem fair to expose my colleagues to that), and this is the first day I haven't felt like I was going to fall over when I stood up for any length of time. Which of course means I couldn't even get anything done around the house. I was pretty much restricted to lying on the couch, reading and playing video games. Which sounds great, except that it was a holiday, and the weather was nice, and I had THINGS TO DO! I did actually take my bike out on Saturday to buy some groceries. It was interesting, biking back home with my head doing cartwheels independently of my body. I think I will not do that again. I even missed out on Easter dinner, because I was way to sick to expose my friends to whatever nasty ailment I have. I really hate being sick. Well, the first day or so isn't too bad, because I can lie in bed and feel sorry for myself. But that's about all I can stand. I start to get really restless and stir-crazy, and that makes me whiney. I don't think I'm much fun to be around when I'm sick, even setting aside the hacking and snorfling. Sigh. Stupid fragile human body. Tags: real life, whining Current Mood: sick Current Music: Stars - Ageless Beauty | Powered by Last.fm
|
 |
 |
 |
 |
|
 |
 |

 |
| |
 |
 |
 |
 |
|
 |
 |
18, 19. "The Stratford Man" - Ink and Steel, Hell and Earth (Elizabeth Bear) Bear's "Stratfod Man" duology is lovely and satisfying. It's about how poetry influences the world -- literally. In it, Faerie and the "real" world are inextricably tied together, and poets are the heroes who keep them both well. But it's really a pair of books about love, in all of its myriad forms. Our protagonist is Cristofer Marley, described in the dramatis personae as "dead. To begin with." (to my unending amusement. Did I mention these books are funny? Because they're full of wonderful little bits like that, to leaven the tragedy appropriately.) Marley's a poet and a spy and an elf-knight, and, most of all, a man who just needs to be loved. Bear gleefully mines the history and poetry of the time for explanations both completely plausible and utterly impossible -- I'm particularly fond of her complete explanation of the object(s) of Shakespeare's sonnets, and of her nod to the "real authorship" of his plays. Oh, and let's not forget the wonderful emotionally cathartic sex scenes. Even if they were a little embarrassing to read in public. ***** 20. The Electric Church (Jeff Somers) In a relentlessly horrible future world, where there's not so much a gap between rich and poor as a Grand Canyon, and where living to thirty makes you an old man, the electric church offers eternal life... as long as you're willing to let them put your brain into a robotic body so that you can become a Monk. It's a creepy, well-realized environment, although I found it a little on the unrelentingly depressing side. The absence of hope is part of the point, but when it's coupled with a fast-moving caper plot, it's a little hard on the soul. The plot moves along at good pace, with plenty of dramatic confrontations and explosions, and culminating in an assemblage of Revelations. It's got something of the tone of a summer blockbuster with extra grit for credibility, which isn't usually my thing, although it does explain the complete disregard for human life. And the near-complete absence of female characters. This griping aside, it is a good story. And if it were more up my alley, I'd probably call it a great one. **** 21. The Mysteries (Lisa Tuttle) This is a lovely example of the "fairy tale in the modern world" genre that I love so much. I really liked the way the fairy tale mysteries were handled, and the point of view was very nicely done. It was very nice to have the protagonist not be the young prince/princess for a change, and I enjoyed seeing real-world emotions and effects, handled in a realistic way. The interweaving of historical disappearances and mysteries was a nice touch, too. I'm not usually a fan of unresolved endings, but the not-quite-resolution in this case actually fit the book's theme quite well -- leaving a little (non-supernatural) mystery and open-endedness. Even if I do still want to know what happened. **** 22. Yarn Harlot: the Secret Life of a Knitter (Stephanie Pearl-McPhee) A collection of vignettes about knitters and knitting, this is a sweet and amusing little book. It's not much more than a trifle, but it doesn't try to be anything more than that. It's very entertaining, and is pretty much guaranteed to make you smile. It also leaves no doubt at all that Stephanie Pearl-MacPhee is a little bit crazy, although not in a bad way. **** 23. Watchmen (Alan Moore and Dave Gibbons) It's surprising how well Watchmen holds up after all these years. **** 24. Justinian (H.N. Turtletaub) I was quite pleasantly surprised at how well this worked as a novel. It's an as-historically-accurate-as- possible account of the life of Justinian II of the Byzantine ("Roman") Empire, and while he certainly had an, ahem, eventful life, too often this kind of story gets bogged down in the history. Especially when it's written by someone who identifies primarily as a historian, as in this case. But this book actually works. It even uses the hackneyed "book within a book" trick to surprisingly good effect. It's quite unsettling to watch the initially mostly-sympathetic (although certainly arrogant) character of Justinian descend into an almost moustache-twirling bad guy, even if you can understand how it would happen. Applause to Turtletaub for pulling the whole thing off. **** 25, 26, 27. King's Dragon, Prince of Dogs, the Burning Stone (Kate Elliott) The first three books of a Big Fat Fantasy series set in an alternate Europe. And yet, it's not quite as conventional as that description would lead you to expect. The religion is centered around a dual God, with the female half being dominant to varying degrees. There are competing species which resemble humanity but aren't human -- the "elves" who were thought to have disappeared long ago, and the "rock children" of the North. I wonder how the Scandinavians would feel about the transformation of "Vikings" into half-dragons...? There's clearly been a lot of world-building done here, and it is a world populated by widely varying cultures which have resemblences to those of our world without being immediately mappable. The role of women in society is particularly interesting, as is the way slavery is handled. The individual characters are interesting and well-drawn, and even the apparently "bad" characters are sympathetically portrayed. Good and bad are not as clear-cut as they at first appear, although there's no doubt where our sympathy is meant to rest. I could ask for more racial diversity and/or some acknoweldgement of sexual orientation, but it is set in an alternative medieval Europe, so I'm probably being a bit unreasonable. Still. Overall, I have to say that the series is (so far) a very enjoyable read, complex and interesting, with lots of plot threads going on, but not so complex as to be difficult to follow. **** 28. Shadow Gate (Kate Elliott) It's probably impossible for me not to compare this to Elliott's other series, since I'm reading it at the same time, and the upshot is that this is a slightly more mature work, with a more original setting and a better handling of some of the complaints I had with the Crown of Stars series. Racial diversity is helped by the setting being primarily in cultures where white skin is effectively unknown. This second volume adds an overtly lesbian character whose sexuality is not the most important thing about her. Also, I'm a sucker for the giant eagles. They're just cool. As are the winged horses. Yes, I read a lot of Mercedes Lackey as an adolescent. So sue me. In this volume we find out a little bit more about the Guardians, and about what's been happening to them. We also learn more about the army and its generals, and get some background on previously-introduced characters. It's all quite well-handled, and I find myself waiting with anticipation for the next volume. Kate Elliott gets credit for having rekindled my affection for traditional Epic Fantasy. ***** ( Previously, on _Kiri reads too much_... )Tags: books Current Mood: hungry
|
 |
 |
 |
 |
|
 |
 |



 |
| |
 |
 |
 |
 |
|
 |
 |
Last night, we had "auditions" for people who want to sing solos with the choir. They're not really auditions, as the whole point of the choir is to be inclusive and welcoming and encouraging, so it's more of a "let me hear you sing" kind of thing, so that the director can, in her words, "match the right voice with the right song". In the old days (the previous director), everybody who wanted to sing a solo would get one (although this often meant having two or three soloists per song). The "new" director (she's now been there almost a year, so she's not so new anymore) puts more emphasis on the choral parts, so there have been fewer solos (also, she tends to spend more time working on fewer songs, so the repertoire's a bit smaller). All this to say that not everybody who "auditions" will sing a solo, although we are assured that it is based on "song matching", not singing ability. I think she believes that this is true, although inevitably those with more singing ability/training seem likely to "match" more songs. Or perhaps that's my cynicism talking. Anyway! The point of this babbling is to say that I screwed up my courage and sang the audition. Now, I am not actually very comfortable singing in public. I am completely comfortable playing my flute in public, even in a solo context, but singing is different. For starters, there's not actually having an instrument, which is surprisingly disconcerting for someone who's used to having an instrument to play. But perhaps more to the point, I have pretty much zero confidence in my singing ability. This is probably largely the fault of my first-grade teacher, Madame M--. I can trace my insecurity in performing contexts right back to our first-grade Christmas concert/show/thing (it was a catholic school, so yes, it was a Christmas show!). One of the songs we were singing was "Rudolph the Red-Nosed Reindeer". I was the only kid in the entire class who had ever heard the first bit before, the part that goes "You know Dasher and Dancer and Prancer and Vixen...." (I think we had it in a songbook or something -- I'm not sure why I knew it, but I've always known lots of songs that other people don't know). So Madame M-- said, "okay, you can sing that bit as a solo". I was so excited! I was going to have a solo! And then... I was prone to colds as a kid, and had pretty severe allergies. So I had sinus issues a lot of the time. I *think* this is probably what prompted Madame M--'s decision, the fact that I sounded like I had a cold. But all that really matters for the story is that, after I had had some time (a few days, a few weeks, I don't know) to be excited that I! Had! A! Solo!, at one of our practices, she asked another girl to sing it. This other girl didn't even know the words, but she certainly had a nice voice. I was devastated. I've never sung in public since (except as part of a choir, or when playing Rock Band with a small group of friends). But last night I did. Well, that's not quite true. I sang a similar "audition" last Spring, trying to get past my first-grade issues. But I'd underestimated how anxious I was, I think, or I hadn't braced myself enough or something, and it wasn't a great performance. Last night, though, was much better. I was still really really nervous, but I was able to get past it enough to sing properly. And it sounded pretty good, even to me. And the director went out of her way to let me know how good it sounded, how much better than the last time. Now, admittedly, that was just singing for a small group of people. And it doesn't mean I'll get an actual solo. But I still feel like I achieved something: I metaphorically told Madame M-- to stuff it. Tags: childhood traumas, music, real life Current Mood: accomplished
|
 |
 |
 |
 |
|
 |
 |

 |
| |
 |
 |
 |
 |
|
 |
 |
Well, okay, not inevitably. But the balance of probabilities is that it's just not going to be any good. Let's start with the obvious. The movie is based on a much-beloved graphic novel, a graphic novel that's regularly pointed to as one of the most important graphic novels ever written. There's just no way a movie, any movie, can live up to that. And it's a graphic novel that's very much wedded to the graphic storytelling format. Not only are its characters and plots inextricably wedded to comics culture, its every panel draws attention to itself as a graphic novel. The promo materials for the movie have gone to great lengths to demonstrate how faithful the look of the movie is to the look of the comic -- but no matter how closely you try to match shot to panel, it's still not the same thing. That famous opening page -- it evokes the idea of a slow pulling-back shot, but it's NOT a slow pulling-back shot. And the slow pulling-back shot they'll probably use in the movie just isn't going to have the same effect. Similarly, the story is, in a lot of ways, about comics. Comics are embedded into it. There's no way that can be captured on film -- nor should it be. Let's not forget that Terry Gilliam pronounced this book "unfilmable". And he should know. Fundamentally, I think the problem is that, based on the evidence of the promo materials (not to mention Snyder's previous work), what we're going to get in this movie is an attempt to slavishly re-create a comic book on the screen. Only with more explosions (there are probably insufficient explosions in the original book, mass carnage notwithstanding). And there's just no way that can work, not with this book. It's certainly going to be pretty. But when the best I can think of to say is "it's pretty," that's... not really a positive review. Also, I'm really uneasy about the rumoured addition of an explicit sex scene. WTF is that supposed to accomplish? (see above, re: explosions, I guess) The only way a movie version of Watchmen could possibly work, in my opinion, would be to re-imagine it as a commentary on movie superheroes -- use the advantages, disadvantages, and conventions of the movie genre, and draw attention to the filmed nature of the work in the same way that the book drew attention to the conventions of the graphic novel. That could work -- maybe. At the very least, it would be ambitious and interesting. And an interesting failure would be worth seeing. Watchmen is going to make huge amounts of money, there's no question. And I'll be going to see it opening weekend, because how can I not? (Yes, that's why it's going to make huge amounts of money. I know, I know.) But it's not going to be good. There's just no way it can be. Besides, if I convince myself it's going to suck, then even a mediocre work will be a pleasant surprise... Tags: culturejam, media, movies Current Mood: pensive
|
 |
 |
 |
 |
|
 |
 |



|
 |
|
 |