Wednesday, June 28, 2017

Miniseries Review - Emma

Emma
Based on the book by Jane Austen
Release Date: October 4th, 11th, 18th, and 24th, 2009
Starring: Michael Gambon, Jodhi May, Robert Bathurst, Tamsin Greig, Valerie Lilley, Romola Garai, Jonny Lee Miller, Dan Fredenburgh, Poppy Miller, Blake Ritson, Veronica Roberts, Louise Dylan, Jefferson Hall, Laura Pyper, Rupert Evans, Liza Sadovy, and Christina Cole
Rating: ★★★★★
To Buy

Emma Woodhouse grew up motherless, raised by a father always expecting the worst. Yet she made the best out of what she was given and dotes on her anxious father and never strays too far from home, unlike her sister who moved an unacceptable distance, less than 15 miles away to London! Therefore Emma's little community of Highbury is her entire world and they view her as their queen. Yet one might pity those in Highbury for an active imagination like Emma's trapped in a small circle of friends they have become the beneficiaries of her schemes. Even if they don't want to be her playthings. Emma thinks she excels at matchmaking, which Mr. Knightly says isn't matchmaking so much as wishful thinking that sometimes comes true, as in the case with their respective siblings and Mr. Weston and Emma's governess Miss Taylor. She will prove him wrong though with her new project, Harriet Smith. Harriet Smith is the natural daughter of who knows whom Emma plans to marry to the Reverend Elton. But Mr. Knightly is right and she doesn't really know people well and Mr. Elton has another wife in mind, Emma herself! Trying to extricate herself from this mistake and the harm it's caused to Harriet leads Emma into more mistakes. The worst might be a lack of propriety when Mr. Weston's son, Frank Churchill, finally returns to Highbury. Emma knows that he has been marked out for her. If she were the marrying sort Frank would be whom she would marry to make everyone, except her father, happy. Therefore she is more open with her feelings, more cutting with her words, all in the pursuit of a good time with Frank. But Frank has hidden motives, reasons for his being in Highbury other than paying his respects to his new mother and his old home. If only Emma would take a moment to stop and look inward versus outward she might see the world in a whole new light.

With every prior adaptation of Emma I had strong reservations, be it an oddly healthy and robust Jane Fairfax to an overly creepy Mr. Knightly, yes I'm looking at you Andrew Davies. Though in some fairness to Andrew Davies I don't think anyone could have succeeded in doing Emma any kind of just given only ninety minutes to tell the tale. Therefore when it was announced that a new miniseries of Emma was on it's way and me having just started my blog, I went a little overboard with the blog posts about the actors and the new adaptation. With four hours there was a far higher chance of them getting it right or at least keeping in everything that needs to be there in order to be moderately faithful. Four glorious episodes, four glorious hours so that they don't relegate Mr. Woodhouse to a chair and only vaguely reference him (which once you cast Michael Gambon you'd be hard pressed to do!) And while I've enjoyed it every time I've watched it, this time it just struck me harder. I adored it. Yes, it has pacing problems with the plot not clicking until Frank Churchill and Jane Fairfax arrive, but that's the same problem the book has! In my initial review I was lenient on changes, because it's an adaptation so of course they're going to fiddle with it. The best adaptations aren't word perfect, look to the Harry Potter franchise for proof. But this time there were some little things, little shifts that got to me. All of them to do with Frank Churchill. My main gripe is actually one against all adaptations of Emma, why can't Frank be introduced just as Austen wrote it? Instead there must be some amusing confusion, some meet cute that is just wrong in my mind. In the Gwyneth Paltrow version Emma is driving a carriage!?! What nonsense is this? She would NEVER do this and her father would never allow it. But what I really objected to here was Frank being viewed as a resident of Highbury. No. This changes too much to be allowed. His father settled there long after Frank was off with the Churchills it was NEVER his home. This makes Emma and Frank's meeting some sort of predestination a lifetime in the making instead of just a few months. Frank doesn't deserve any more importance, he's full enough of himself already.

But anyone who's anyone has issues with Frank Churchill, it's the fatal flaw of Emma. Therefore I should console myself with what they got oh so right, and that's the inclusion of Emma's family, the extended Woodhouse clan. They are the first to go as being "extraneous" when time is considered in most Emma adaptations. But you can't really understand anyone unless you see them with their family. Their family is who forms them and whom they either surround themselves with or run away from. To omit Emma's family is to omit a true understanding of her. I can remember actually fuming in the theater watching Gwyneth Paltrow quickly showing off her slumbering father to visitors to Hartfield because that was his only real scene. No dialogue due to being unconscious! Emma's father is the central figure in her life, the figure around which everything happens and is decided! To push him to one side is unacceptable. But then again most people would be even more surprised from the aforementioned Gwyneth Paltrow version as to the importance of Emma's elder sister Isabella and her brother-in-law, Mr. Knightly's younger brother John, and all their children. Because while Emma is set apart in her community, she has love. She has a bustling family with all its pros and cons. Nephews paying extended visits and nieces to comfort her in her old age. Which makes her situation sadder. Her love has made her make sacrifices that others, especially her sister, haven't had to make. Isabella is like a mirror image Emma. That is what Emma's life could have been. And while we have the knowledge that Emma will get her happily ever after and perhaps daringly visit the seaside, when we meet her, when we get to know her she might be the queen of the castle, but it's a sad castle with a shut-in she loves dearly, but a shut-in none the less. You feel Emma's pain, Emma's loneliness amongst the bustle and familial love. This brings a little humanity to Emma by showing her as coping bravely with the loneliness of her life by being outgoing and scheming. A lonely existence no matter how little there was to distress or vex her is still lonely.

Though to bring this all across, to show the joy in the sadness, the humor in the everyday, the right actors were needed. It must be said, Gwyneth Paltrow was too haughty, too cold, and the less said about the poultry and pervy Kate Beckinsale version the better. Romola Garai though is perfection. She brings that joy that Jennifer Ehle did to Pride and Prejudice. An infectious smile that couples well with Emma's scheming and mischievous nature. As for Jonny Lee Miller? He's the perfect balance! He himself is quite goofy with his laying about in chairs, his eye rolls, his sighs. His comedic timing is perfect. The two of them form a very good double act which makes their romance believable. Because, the thing with Mr. Knightly and Emma is that if not properly cast they come across as just a convenient not a realistic couple. They just get married because Emma doesn't what her nephew to lose out on his inheritance to a child of Harriet Smith's and well, what's good for her sister is good for her, so how about a Knightly! Here you actually believe it. Yes, there's a beautiful dance and lots of swelling music to help sell it, but what's interesting is that those aren't the moments that make my heart hurt. It's when he scolds Emma about her behavior or when she is just sitting and looking at his usual chair now empty. Their being apart or fighting or just not talking physically hurts me. And while I could easily believe Romola Garai capable of this, loving her in everything from Daniel Deronda to I Capture the Castle to The Hour to The Crimson Petal and the White, the only thing Jonny Lee Miller had in his favor was Trainspotting. But the negatives were stacked against him, Plunkett and Macleane anyone? Dark Shadows? The most boring Sherlock Holmes currently around? Yes, he was passable in Dracula 2000 and that Byron movie, but the biggest negative was that he'd been an Austen hero before. Yes, our Jonny Lee Miller was Edmund Bertram in the horrid 1999 version of Mansfield Park, which is not only a bad adaptation but it is distinguished as being one of my most hated films ever. So to have this depth, this humor, this snid perfection that would give Emma perfect happiness? A delightful surprise indeed!

Then again, this adaptation was full of surprises. Mainly because it understood that the purpose is to adapt the story, make it true in feeling if not in word. While Austen purists might say "but that's not in the book." There is nothing done in this adaptation that isn't supported by the text if not directly than in supposition! Personally I hate Austen purists, and I'm sure she would have hated them too. She wrote for fun so if you have fun reading the book or watching the adaptation I'm sure Austen would be happy. As I say again and again if you question what adaption means look at the first two Harry Potter movies which are really horrid and how slavishly Chris Columbus tried to stick to the books, then look at Harry Potter and the Prisoner of Azkaban and the mood is so perfect the film switched the franchise up a notch and made it not just viable but enjoyable, not something you just watched to pretend Harry Potter was real but you knew wasn't very good deep in your heart. Back to Austen, what struck me most in this adaptation was the visual imagery of dolls used throughout. This works so well because Emma basically treats those around her, especially Harriet Smith, as her playthings, and therefore to have doll imagery is a natural extension. This isn't something Austen would explicitly spell out but seems like something she'd love. The implications are all there, Emma's very nature makes it logical, so therefore it just makes this adaptation feel right. And it's not just Emma playing with her dolls under a table as a young girl in one of the best time lapse scenes with Miss Bates ever, it's that the dolls appear again when she's scheming about Isabella, then Mr. Elton, and then later Mr. Knightly even references them in passing. The adaptation has created a through line that is perfection. Added to this is the delightful opening credits that depict famous scenes from the book in silhouette, or, as they look to me, in paper dolls! But I wouldn't expect less from Sandy Welch who did two of my favorite miniseries ever, Jane Eyre in 2006 and North and South in 2004.

Yet this review can't all be glowing... there is a flaw. Now it's time for my rant against PBS. PBS, you treat your British shows and by extension your viewers like shit. You hack the shows up, aka "edit for time" and speed up the frame rate so that you can show more ads for cruises no one watching the show will ever go on. As a viewer you can only see the "original UK broadcast" by buying your DVDs. And it's your DVDs I want to talk about, in particular THIS DVD. How could you release such a wonderful show with such a sub-par release? The transfer is abysmal! What the fuck is with this transfer! I mean, seriously, WHAT THE FUCK! It's grainy and horrid. The first fifteen minutes was me trying to come to terms with having actually paid money for something that was barely a step above a bootleg VHS tape you'd buy of some lost Doctor Who episode or Red Dwarf special at a science fiction convention. The first disc has a constantly flickering weird green bar in the lower right corner of the screen. Plus there was some weird shift that made the right edge of the screen vibrate on both discs. I thought, well, it's not Blu Ray so now that I'm into Blu Ray I could upgrade, but guess what? There is no upgrade! This is the only version they released in this piss poor quality. I'm not joking when I say that the winter scenes looked like they were from a nature documentary from the 70s. I expected some Brit with out sized specs and corduroys to appear screen left and start talking about the mating habits of some birds or fluffy field vermin. I mean, I don't want to piss on PBS, they offer so much, but compared to how the channel used to be, with lovely long intros to these shows that were well researched and presented versus Alan Cumming just coming on at the beginning of only one episode of Wallander to complain about how dull and dark he was? I mean, yes, I agree about his bitching about Wallander, but I could at least use a little more Alan! Masterpiece No Longer Theatre isn't even repeated and where are the lovely old British comedies on late at night? All that is gone and instead we have shitty overprice DVDs and edited sped up shows. Not cool PBS. Not cool at all. So while I adore this miniseries, just stream it, don't give them money for this shitty treatment of their consumers.

Monday, June 26, 2017

Tuesday Tomorrow

Murder on Black Swan Lane by Andrea Penrose
Published by: Kensington
Publication Date: June 27th, 2017
Format: Hardcover, 304 Pages
To Buy

The official patter:
"In Regency London, an unconventional scientist and a fearless female artist form an unlikely alliance to expose unspeakable evil...

The Earl of Wrexford possesses a brilliant scientific mind, but boredom and pride lead him to reckless behavior. He does not suffer fools gladly. So when pompous, pious Reverend Josiah Holworthy publicly condemns him for debauchery, Wrexford unsheathes his rapier-sharp wit and strikes back. As their war of words escalates, London’s most popular satirical cartoonist, A.J. Quill, skewers them both. But then the clergyman is found slain in a church—his face burned by chemicals, his throat slashed ear to ear—and Wrexford finds himself the chief suspect.

An artist in her own right, Charlotte Sloane has secretly slipped into the persona of her late husband, using his nom de plume A.J. Quill. When Wrexford discovers her true identity, she fears it will be her undoing. But he has a proposal—use her sources to unveil the clergyman’s clandestine involvement in questionable scientific practices, and unmask the real murderer. Soon Lord Wrexford and the mysterious Mrs. Sloane plunge into a dangerous shadow world hidden among London’s intellectual enclaves to trap a cunning adversary—before they fall victim to the next experiment in villainy..."

Even if the blurb didn't make me go YAS, as does the author, Lauren Willig's recommendation makes this a must read.

The Witchwood Crown by Tad Williams
Published by: DAW
Publication Date: June 27th, 2017
Format: Hardcover, 736 Pages
To Buy

The official patter:
"The Dragonbone Chair, the first volume of Memory, Sorrow, and Thorn, was published in hardcover in October, 1988, launching the series that was to become one of the seminal works of modern epic fantasy. Many of today’s top-selling fantasy authors, from Patrick Rothfuss to George R. R. Martin to Christopher Paolini credit Tad with being the inspiration for their own series.

Now, twenty-four years after the conclusion of Memory, Sorrow, and Thorn, Tad returns to his beloved universe and characters with The Witchwood Crown, the first novel in the long-awaited sequel trilogy, The Last King of Osten Ard.

More than thirty years have passed since the events of the earlier novels, and the world has reached a critical turning point once again. The realm is threatened by divisive forces, even as old allies are lost, and others are lured down darker paths. Perhaps most terrifying of all, the Norns—the long-vanquished elvish foe—are stirring once again, preparing to reclaim the mortal-ruled lands that once were theirs..."

A new starting off point or a return to a favorite land, depending on your point of view. 

Midnight Jewel by Richelle Mead
Published by: Razorbill
Publication Date: June 27th, 2017
Format: Hardcover, 416 Pages
To Buy

The official patter:
"Mira is not like the other Glittering Court girls. She is a war refugee, cast out of her home country and thrust into another, where she has learned to fight against the many injustices around her. For some, the Glittering Court offers a chance at a life they’ve only ever dreamed of, one of luxury, glamour, and leisure. But for Mira, it’s simply a means to an end. In the new world, she plans to earn off her marriage contract price, and finally be free.

Mira pitches herself as an asset to one of the passengers on board the ship: the sardonic and aloof Grant Elliot, whom she’s discovered is a spy for the prestigious McGraw Agency—and her ticket to buying her freedom. His cover blown, Grant has little choice but to take her on. Mira applies herself by day, learning the etiquette and customs that will help to earn her anonymity. By night, she dons a mask and slips into the city, fighting injustice and corruption on her own terms—and impressing Grant with her extraordinary abilities and insights into a brewing rebellion. But the rebellion isn’t all they’re fighting...

Neither of them can ignore the attraction burning between them—an attraction so powerful, it threatens to unravel everything Mira’s worked so hard for. With freedom finally within her grasp, can Mira risk it all for love?"

Yeah, I didn't love the first book to warrant me reading this one. So could someone read it and tell me what happens? 

Seven Stones to Stand or Fall by Diana Gabaldon
Published by: Delacorte Press
Publication Date: June 27th, 2017
Format: Hardcover, 544 Pages
To Buy

The official patter:
"A magnificent collection of Outlander short fiction—including two never-before-published novellas—featuring Jamie Fraser, Lord John Grey, Master Raymond, and many more, from #1 New York Times bestselling author Diana Gabaldon.

“The Custom of the Army” begins with Lord John Grey being shocked by an electric eel and ends at the Battle of Quebec. Then comes “The Space Between,” where it is revealed that the Comte St. Germain is not dead, Master Raymond appears, and a widowed young wine dealer escorts a would-be novice to a convent in Paris. In “A Plague of Zombies,” Lord John unexpectedly becomes military governor of Jamaica when the original governor is gnawed by what probably wasn’t a giant rat. “A Leaf on the Wind of All Hallows” is the moving story of Roger MacKenzie’s parents during World War II. In “Virgins,” Jamie Fraser, aged nineteen, and Ian Murray, aged twenty, become mercenaries in France, no matter that neither has yet bedded a lass or killed a man. But they’re trying. . . . “A Fugitive Green” is the story of Lord John’s elder brother, Hal, and a seventeen-year-old rare book dealer with a sideline in theft, forgery, and blackmail. And finally, in “Besieged,” Lord John learns that his mother is in Havana—and that the British Navy is on their way to lay siege to the city.

Filling in mesmerizing chapters in the lives of characters readers have followed over the course of thousands of pages, Gabaldon’s genius is on full display throughout this must-have collection."

Your temporary cure for the Droughtlander.

The Furthest Station by Ben Aaronovitch
Published by: Subterranean Press
Publication Date: June 27th, 2017
Format: Hardcover, 144 Pages
To Buy

The official patter:
"There have been ghosts on the London Underground, sad, harmless spectres whose presence does little more than give a frisson to travelling and boost tourism. But now there's a rash of sightings on the Metropolitan Line and these ghosts are frightening, aggressive and seem to be looking for something.

Enter PC Peter Grant junior member of the Metropolitan Police's Special Assessment unit a.k.a. The Folly a.k.a. the only police officers whose official duties include ghost hunting. Together with Jaget Kumar, his counterpart at the British Transport Police, he must brave the terrifying the crush of London's rush hour to find the source of the ghosts."

Thank the Powers That Be that Subterranean Press used artwork that matches the rest of the series and not something horrid, like usual.

Cocoa Beach by Beatriz Williams
Published by: William Morrow
Publication Date: June 27th, 2017
Format: Hardcover, 384 Pages
To Buy

The official patter:
"The New York Times bestselling author of A Certain Age transports readers to sunny Florida in this lush and enthralling historical novel—an enchanting blend of love, suspense, betrayal, and redemption set among the rumrunners and scoundrels of Prohibition-era Cocoa Beach.

Burdened by a dark family secret, Virginia Fortescue flees her oppressive home in New York City for the battlefields of World War I France. While an ambulance driver for the Red Cross, she meets a charismatic British army surgeon whose persistent charm opens her heart to the possibility of love. As the war rages, Virginia falls into a passionate affair with the dashing Captain Simon Fitzwilliam, only to discover that his past has its own dark secrets—secrets that will damage their eventual marriage and propel her back across the Atlantic to the sister and father she left behind.

Five years later, in the early days of Prohibition, the newly widowed Virginia Fitzwilliam arrives in the tropical boomtown of Cocoa Beach, Florida, to settle her husband’s estate. Despite the evidence, Virginia does not believe Simon perished in the fire that destroyed the seaside home he built for her and their young daughter. Separated from her husband since the early days of their marriage, the headstrong Virginia plans to uncover the truth, for the sake of the daughter Simon never met.

Simon’s brother and sister welcome her with open arms and introduce her to a dazzling new world of citrus groves, white beaches, bootleggers, and Prohibition agents. But Virginia senses a predatory presence lurking beneath the irresistible, hedonistic surface of this coastal oasis. The more she learns about Simon and his mysterious business interests, the more she fears that the dangers that surrounded Simon now threaten her and their daughter’s life as well."

Anyone else come to the conclusion that Beatriz Williams has to be about five people to write this many books? Oh wait, maybe she's like a female Stephen King!

Friday, June 23, 2017

Book Review - Jane Austen's Emma

Sense and Sensibility by Jane Austen
Published by: Max Press
Publication Date: 1815
Format: Hardcover, 240 Pages
Rating: ★★★★★
To Buy (different edition than one reviewed)

Emma Woodhouse is the center of her world. Looked upon by all in her small community as the perfect woman, the doting daughter, the ideal future wife. Yet little do they realize that she is the spider at the center of a web thinking everyone is there for her amusement. They are mere playthings to her and she has just lost her most favorite toy. Her governess Miss Taylor has married and become Mrs. Weston, thus constricting Emma's household to just her and her father and the occasional visits from Mr. Knightly. Therefore, despite Mr. Knightly's stern warnings, Emma finds herself a new favorite to play matchmaker with. Harriet Smith is a nobody, her parents having given her away. Emma has fanciful notions of whom Harriet's parents could be and therefore eschews Harriet marrying the kind farmer Robert Martin and sets Harriet on the path to conjugal bliss with the vicar Mr. Elton. But Mr. Elton is a social climber and fancies that he is worthy of Emma's hand. Once aware of her mistake you'd think that Emma would have taken the hint and stopped her matchmaking, but she soldiers on. Mr. Weston's son, Frank Churchill soon arrives on the scene to pay his respects to his new mother, and while first marked out for Emma, Emma soon thinks that happy is the man who changes Emma for Harriet. In all her ploys Emma never really sees that she is being callous and her jokes are at the expense of others, such as the poor Miss Bates and her niece Jane Fairfax, and have real world consequences. She lives in a bubble that desperately needs to be burst, and no matter how hard Mr. Knightly tries he can't seem to get through to Emma. In fact it's her favorite new toy, Harriet, who wields the needle and pops the bubble, opening Emma's eyes while also taking the shine off herself. Will Emma be able to fix what her childish games have wrought? Or will she lose her happily ever after?

Of all Austen's books Emma was the one I was most worried about rereading. Emma is actually the Austen book I have reread most recently before this year and it was because of that experience I was leery. It was during that February that Emma and I developed a loathing for each other. I'm sure it was mutual. She lumped me in with the Misses Bateses of the world and I thought she was a spoiled brat who needed to be taught a lesson. We parted. Not amicably. Yet here I am daring to reread her adventures in manipulating her small group of "friends." I have decided to refrain from passing judgment on her and she isn't allowed to comment on me. I think it's led to a far more pleasurable experience for us both. Though there are things I can't help but question on every reading of this book... mainly the Mr. Knightly/Emma age gap. I totally agree with Andrew Davies that having a man sixteen years older than you saying he first loved you when you were thirteen is more than a little icky. If Mr. Knightly had just refrained from saying that and a few other lines he wouldn't have come across as the Humbert Humbert of his day. Because really, when you think of it, a sixteen year age difference isn't that creepy. In fact there's far more than sixteen years between Marianne Dashwood and Colonel Brandon, and there's eighteen between me and Colin Firth, not that I've counted that often... But what I found interesting this time is that this creep factor wasn't so much there for me anymore. Perhaps it's because I have found far bigger creeps in this book, I'm sorry Frank Churchill, you're an irredeemable psychopath. Or perhaps it's because I see why Emma falls for Mr. Knightly. It's not his superiority above all others, it's the fact that Emma has Daddy issues. Serious Daddy issues. Issues that lead her to basically marry her "other" father. Are we to blame Mr. Knightly for taking advantage of the situation and forming Emma into the perfect woman? Or should we just say Emma needs therapy? My vote is for therapy.

As to why Emma so desperately needs therapy lets look to her treatment of Harriet. Now I'm not talking about controlling Harriet's expectations and romantic inclinations, which just shows that Emma is a bully, it's how she drops her like a hot potato as soon as Mr. Knightly comes between them. She's all for raising Harriet up and helping her find a better place in the world until Harriet targets that which Emma wants and then she literally can not get rid of Harriet fast enough sending her off to London. While distancing herself from this tangled situation might be expected, her throwing shade on Harriet isn't. All the previous objections as to "playing" with Harriet from Mr. Knightly are instantly seen. Emma raising Harriet above her station is odious. Harriet must remain in the muck where she belongs! Harriet is the lowest of the low. Woe betide anyone who ever liked or respected Harriet. She is now unclean and must away to her farmer never to be seen again. EXCUSE ME!?! This was Emma's protege, her best friend, her favorite toy, and she would destroy her like this? At least Mr. Knightly got Harriet back on track with her farmer, but Emma would have been happy if it had all disappeared. What confuses me most though is what is Austen saying about class in this instance? Time and time again her books have shown the plucky yet poor heroine rise above her station to find true love. Yet here she seems to be saying that love must be found within your station. Or at least if you're Harriet. Harriet seems to be a weird case removed from all that is Austen. Is it because of her unknown parentage? Because to an outsider Jane Fairfax is in much the same situation but somehow because of "old family ties" she's exempt and allowed to rise up. So the point of the book was to teach Emma what? That people have their place and she should grow up and follow the rules of the world around her? That everything is fine now that Harriet is back in her place, luckily with her own happily ever after? It seems antithesis to all Austen that came before or after. Where's the humor?

Because with Northanger Abbey we can clearly see that Austen wasn't one to pass up a good joke or a chance to parody. We see this again in Emma, though not quite so obviously. Literature is rife with orphans. It seems that you literally can't be a hero or heroine without losing one or both of your parents. Dickens would heartily embrace this at the end of the century in the most dramatic ways possible. In fact it's become such a trope that even Disney does it. And who, when a child, didn't daydream that they were off on an adventure and not a thought was given to the idea of parents living or dead? Yet Austen wanted to mess with this a little, just as she messed with the heroine archetype. It really wasn't until Thackeray and Vanity Fair thirty-three years later that we had a novel purposefully written sans heroine, but with Emma Woodhouse Austen came close. To muddy the heroine waters Emma isn't the only orphan, having lost her mother and then having lost Miss Taylor to marriage. In fact Emma, Harriet, Jane, AND Frank are all orphans. Jane and Harriet are in fact far closer to traditional Austen heroines than Emma herself is. It's like Austen wanted to take things to the farthest extreme possible. I mean yes, looking back now at the life expectancy and health care then available it's not surprising that many people were without a parent, but to have four main characters in one small town all deprived of one or both parental units? Austen is taking the piss and enjoying every second of it. What's more it's able to show how the loss of a parents affects one based on wealth and sex. Frank fares the best, being a man, he could have made his fortune, but instead a fortune just lands in his lap from relatives. Emma is also fine, being a woman of independent means. Harriet has a decent allowance, but her unknown parentage is a blight, one that can not be overcome, which a man in a similar situation might succeed in doing. Yet it's Jane who fares the worst. With no money she can't even rely on the love of those who raised her, she must seek her way in the world on her own, like a true Austen heroine.

Yet Jane is of course rescued by a proposal of marriage. In fact the most important event in Austen's novels is the conclusion when everyone gets perfect happiness, a phrase used too many times in Emma, when the marriage bans are read. Though Austen is odd in that for some reason she never fully writes the proposals which seal the end of our heroine's character arc. She might have a line of dialogue, but usually it's just that everything was settled when and how one would expect. There is no detail, no ardent declarations. The actual event is left to our own imaginations, and yet Austen does show proposals to two heroines. Proposals that are to be rejected. In fact, it feels like Austen doesn't feel herself up to writing earnest proposals but is fully willing to embrace writing comedic ones. No one can deny her wit is sharp as a razor. We of course must forget about Mr. Darcy's first attempt at securing Elizabeth's hand and instead focus on Mr. Collins and Mr. Elton, oddly both men of the cloth. Their proposals and the ensuing rejections are hilarious and easily a highlight of their respective stories. Mr. Collins is unwilling to believe that anyone would reject him and thinks it all a ploy, ah poor delusional man. Whereas Mr. Elton? Mr. Elton is drunk as a skunk and just goes for broke. His proposal to Emma is the culmination of the first part of the book where the slate is then wiped clean in anticipation of the arrival of Frank Churchill. Mr. Elton must exit stage left but he must do so in a glorious flame of mortification. Not to muddy the waters too much with bringing in adaptations, but Alan Cumming in the carriage on Christmas Eve throwing himself at Gwyneth Paltrow? That is movie perfection and possible only because of Austen's perfection. Then again, I do love me some Alan Cumming in basically anything. Or nothing, given his tendency to, you know...

Though this reading was more about serendipity than anything else. Yes, sometimes serendipity plays a part in reading a book. It might be the confluence of a TV show you're watching or a song you hear on the radio while also reading a book that makes things clearer, makes you see a connection, makes both better. They elevate each other. This happened to me because of rereading Emma at the same time as Twin Peaks returned to the small screen. I have had a love of Twin Peaks since my parents amazingly let me watch it at the age of eleven. I have gone back to the show again and again over the years, much as I have the works of Austen, and yet I never once thought of connecting the two until now. There is little doubt in my mind that David Lynch is a fan of Austen. Comparing them side by side it's obvious. There's a universal humanity to the way they both approach characters. They set their stories in small contained environments that have their own set of rules. They revel in the absurd. I can easily see Mr. Collins as an inhabitant of Lynch's universe, but more than anyone else, Miss Bates belongs in Twin Peaks. Miss Bates might be the most laughed at or pitied character in Emma with her pages of unbroken rambling dialogue but in her I see the underpinnings of the denizens of Twin Peaks. In Lynch's world characters are strange, they ramble on, they annoy you, you laugh at them, but in the end, you come to pity, and eventually to love them. You can especially see this in the arc of the Log Lady, who was always an odd outsider yet whose brief appearance in the new series prior to her death gave her a poignancy, much as Miss Bates does in Emma. What this revelation does to me is it shows me not just the staying power of Austen but why I have kept going back to Twin Peaks over the years. Lynch tapped into the universal human experience in the same way Austen did over two hundred years earlier. Makes you wonder if Twin Peaks will still be be discussed a couple hundred years from now...

Wednesday, June 21, 2017

Not of Facts, Perhaps, But of Feelings

While Edmund implores Fanny to justify her rejection of the suitable offer of marriage from Henry Crawford of which he knows only the facts, the irony is that Edmund is basically asking Fanny to explain love and the workings of the heart, to which he has been a recent victim. Love is never about facts or how someone works on paper, it's all about the irrationality of our feelings. We just know. While Edmund speaks "Not of Facts, Perhaps, But of Feelings" it could just as easily be Fanny's reason as to why she rejected Henry. This scene is perhaps one of the most emotional for Fanny. She has spent days lost in a fug of her own thoughts and when Edmund approaches her it is at once exactly what she needs, yet from exactly the wrong quarter. How can she fully argue her case without showing Edmund that her heart belongs to him and can never belong to Henry. Of all the people she can confide in and they are talking at cross purposes! The irony of this scene is underscored by the irony of this piece ending up my favorite in the entire series. I say ironic because for a short while it actually had a new home in the trash. I was working with bulky oil pastels on a textured sepia paper and it wasn't turning out anything like I imagined. This piece was clumsy and frustrating and therefore I threw it in the trash. But thankfully, a sentiment issued by all in my class including my teacher, I took it out of the trash I just decided to throw everything at it. I used gesso to obscure what I didn't like, then I went in and actually used varnish on the oil pastels, pulling the color away from the forms and bleeding it into the background. After I was done my emotional frustration merged with Fanny's and I think this piece perfectly captures not just the characters frustrations but the fact that their minds are obscured to each other. They might walk side by side but they are so far apart.

Monday, June 19, 2017

Tuesday Tomorrow

Indigo by Charlaine Harris, Christopher Golden, et al.
Published by: St. Martin's Press
Publication Date: June 20th, 2017
Format: Hardcover, 352 Pages
To Buy

The official patter:
"Investigative reporter Nora Hesper spends her nights cloaked in shadows. As Indigo, she’s become an urban myth, a brutal vigilante who can forge darkness into weapons and travel across the city by slipping from one patch of shadow to another. Her primary focus both as Nora and as Indigo has become a murderous criminal cult called the Children of Phonos. Children are being murdered in New York, and Nora is determined to make it stop, even if that means Indigo must eliminate every member. But in the aftermath of a bloody battle, a dying cultist makes claims that cause Indigo to question her own origin and memories.

Nora’s parents were killed when she was nineteen years old. She took the life insurance money and went off to explore the world, leading to her becoming a student of meditation and strange magic in a mountaintop monastery in Nepal…a history that many would realize sounds suspiciously like the origins of several comic book characters. As Nora starts to pick apart her memory, it begins to unravel. Her parents are dead, but the rest is a series of lies. Where did she get the power inside her?

In a brilliant collaboration by New York Times and critically acclaimed coauthors Charlaine Harris, Christopher Golden, Kelley Armstrong, Jonathan Maberry, Kat Richardson, Seanan McGuire, Tim Lebbon, Cherie Priest, James Moore, and Mark Morris join forces to bring you a crime-solving novel like you’ve never read before."

Seriously, just LOOK at that list of authors! It would be must read if it was a combination of just a few of them, but all!?! Hells yes. 

Mapping the Interior by Stephen Graham Jones
Published by: Tor.com
Publication Date: June 20th, 2017
Format: Paperback, 112 Pages
To Buy

The official patter:
"Blackfeet author Stephen Graham Jones brings readers a spine-tingling Native American horror novella.

Walking through his own house at night, a fifteen-year-old thinks he sees another person stepping through a doorway. Instead of the people who could be there, his mother or his brother, the figure reminds him of his long-gone father, who died mysteriously before his family left the reservation. When he follows it he discovers his house is bigger and deeper than he knew.

The house is the kind of wrong place where you can lose yourself and find things you'd rather not have. Over the course of a few nights, the boy tries to map out his house in an effort that puts his little brother in the worst danger, and puts him in the position to save them . . . at terrible cost."

Seriously, chills running up and down my spine! 

The Strange Case of the Alchemist's Daughter by Theodora Goss
Published by: Saga Press
Publication Date: June 20th, 2017
Format: Hardcover, 416 Pages
To Buy

The official patter:
"Based on some of literature’s horror and science fiction classics, this is the story of a remarkable group of women who come together to solve the mystery of a series of gruesome murders—and the bigger mystery of their own origins.

Mary Jekyll, alone and penniless following her parents’ death, is curious about the secrets of her father’s mysterious past. One clue in particular hints that Edward Hyde, her father’s former friend and a murderer, may be nearby, and there is a reward for information leading to his capture…a reward that would solve all of her immediate financial woes."

Always willing to take a risk on a Jekyll and Hyde retelling. 

Friday, June 16, 2017

Contemplating the Dismal Rain in a Very Desponding State of Mind

I find it fitting that in a piece that has Fanny as the focus the title, "Contemplating the Dismal Rain in a Very Desponding State of Mind," is derived from a thought of Miss Crawford's. Why is it fitting? Because Fanny is forever trying to not attract notice, trying to erase herself, hence even her bonnet is actually blending into the wall, as is her reticule into her dress. It's only natural that if she was forced to be center stage she'd contrive of some way for it to be pushed on others, hence Miss Crawford getting the naming rights. I find that this scene perfectly captures who Fanny is, she is someone who thinks of herself so little that she would go out into the bad weather for her aunt without an umbrella and then, when offered a kindness by Dr. Grant, try her utmost to reject it as an imposition. She is a sad and relatable character to all the introverts who have more kindness than sense. As for the medium for this piece, I wanted to try something radically different and therefore I chose a paper for the ground that felt much more modern to me. All my medium decisions were based from that background which feels like a swirling body of water and emotion. I then did a light gesso wash over the entire image area and did the work of the figures in marker and pen. What's very intriguing to me is that by taking this looser approach I ended up creating a piece that looks like my mom drew it. In particular her book covers for the We Were Children Then book series that she did. I never thought our styles anywhere near similar, but led by different medium choices than I would normally make, genetics won out.

Wednesday, June 14, 2017

Playing the Tourist: Portsmouth

One of the reasons Mansfield Park might be one of Austen's most maligned or I should say misunderstood books is that it comes closest to actually having political commentary. All her books deal with the minutiae of life and relationships and are practically devoid of timely commentary and many fans believe that this lack of grounding in a specific era has led her books to be timeless. Seriously, just look to Clueless and you'll see what I mean. But Mansfield Park openly references slavery, war, and, in the TV Movie adaptation with Billie Piper, has a logical reference to Admiral Nelson. In fact, when Fanny returns "home" to Portsmouth we are shown a very bleaker world than Austen has ever shown before, especially when contrasted with the life Fanny was living at Mansfield Park. But while Fanny comes to realize that the home she remembered is no longer home Portsmouth is very important and dare I say a must see location for the Janeite because it was home to the navy! Ah, the British Navy. Not only integral to two of Austen's books, but lets face it, the reason why Britain had an Empire. It's from Portsmouth that Admiral Nelson sailed to victory and death at the Battle of Trafalgar. You can actually tour the HMS Victory, seen above leaving Portsmouth, where Nelson's blood still stains the boards. 

This island city was during Austen's life the most fortified city in the world and, much like Bath, has many of the buildings and fortifications that where around when Austen was alive. You can still walk the ramparts, though a dashing Henry Crawford is sadly not supplied. Also the ramparts are more popular now as a resting spot for beach goers than as the last line of defense should the French come calling. A wonderful holiday respite that I have a feeling Austen might not approve of. I mean, look at the indecorous state of those tourists! But getting back to Regency England and the Navy, you really need to revel in the Navy, throw in some Horatio Hornblower DVDs and actually watch the documentaries (yes, there are documentaries, not just Ioan) to get not just the importance of the Navy but to realize that a fair chunk of Portsmouth is a period in English history preserved from when they ruled the waves. You can take in the docks, look at where they built the ships, but more importantly, you must stop at the Portsmouth Historic Dockyard, which has the National Museum of the Royal Navy, the HMS Victory, and so much more! Austen, who wrote timeless novels might find it odd to see this city almost trapped in aspic, but at least for those wanting to see her world it's perfectly preserved.

Monday, June 12, 2017

Tuesday Tomorrow

Believe Me by Eddie Izzard
Published by: Blue Rider Press
Publication Date: June 13th, 2017
Format: Hardcover, 368 Pages
To Buy

The official patter:
"Critically acclaimed, award-winning British comedian and actor Eddie Izzard details his childhood, his first performances on the streets of London, his ascent to worldwide success on stage and screen, and his comedy shows which have won over audiences around the world.

Over the course of a thirty-year career, Eddie Izzard has proved himself to be a creative chameleon, inhabiting the stage and film and television screen with an unbelievable fervor. Born in Yemen and raised in Northern Ireland, Wales, and England, he lost his mother at the age of six—a devastating event that affected the rest of his life. In his teens, he dropped out of university and took to the streets of London as part of a comedy double act. When his partner went on vacation, Izzard kept busy by inventing a one-man escape act, and thus a solo career was ignited. As a stand-up comedian, Izzard has captivated audiences with his surreal, stream-of-consciousness comedy— lines such as “Cake or Death?” “Death Star Canteen,” and “Do You Have a Flag?” have the status of great rock lyrics. As a self-proclaimed “action transvestite,” Izzard broke a mold performing in makeup and heels, and has become as famous for his “total clothing” rights as he has for his art. In Believe Me, he recounts the dizzying rise he made from the streets of London to West End theaters, to Wembley Arena, Madison Square Garden, and the Hollywood Bowl.

Izzard is arguably one of today’s top comedians. At the time of publication, he is still performing his Force Majeure show—so far in more than forty countries worldwide and in four languages: English, French, German, and Spanish. With his brand of keenly intelligent humor that ranges from world history to historical politics, sexual politics, mad ancient kings, and chickens with guns, he has built an extraordinary fan base that transcends age, gender, and race. Writing with the same candor and insight evident in his comedy, he reflects on a childhood marked by the loss of his mother, boarding school, and alternative sexuality, as well as a life in comedy, film, politics, running, and philanthropy. Honest and generous, Izzard’s Believe Me is an inspired account of a very singular life thus far."

Eddie, oh how I love you. No matter how many times I've seen you live it's still never enough! Also "arguably"!?! HE IS!

Down Among the Sticks and Bones by Seanan McGuire
Published by: Tor.com
Publication Date: June 13th, 2017
Format: Hardcover, 192 Pages
To Buy

The official patter:
"Seanan McGuire returns to her popular Wayward Children series with Down Among the Sticks and Bones―a truly standalone story suitable for adult and young adult readers of urban fantasy, and the follow-up to the Alex Award-winning, Hugo and Nebula finalist, Tiptree Honor List Every Heart a Doorway.

Twin sisters Jack and Jill were seventeen when they found their way home and were packed off to Eleanor West’s Home for Wayward Children.

This is the story of what happened first…

Jacqueline was her mother’s perfect daughter―polite and quiet, always dressed as a princess. If her mother was sometimes a little strict, it’s because crafting the perfect daughter takes discipline.

Jillian was her father’s perfect daughter―adventurous, thrill-seeking, and a bit of a tom-boy. He really would have preferred a son, but you work with what you've got.

They were five when they learned that grown-ups can’t be trusted.

They were twelve when they walked down the impossible staircase and discovered that the pretense of love can never be enough to prepare you a life filled with magic in a land filled with mad scientists and death and choices."

I'm game for this.

Cormorant Run by Lilith Saintcrow
Published by: Orbit
Publication Date: June 13th, 2017
Format: Paperback, 400 Pages
To Buy

The official patter:
"Aliens meets Under the Dome in this new post-apocalyptic novel from New York Times bestseller Lilith Saintcrow.

It could have been aliens, it could have been a trans-dimensional rift, nobody knows for sure. What's known is that there was an Event, the Rifts opened up, and everyone caught inside died.

Since the Event certain people have gone into the drift... and come back, bearing priceless technology that's almost magical in its advancement. When Ashe -- the best Rifter of her generation -- dies, the authorities offer her student, Svinga, a choice: go in and bring out the thing that killed her, or rot in jail.

But Svin, of course, has other plans...

How far would you go and what would you risk to win the ultimate prize?"

I like Aliens and Under the Dome. Sold!

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