s.penkevich [hiatus-will return-miss you all]
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Books:
history
(17)
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0300211600
| 9780300211603
| 0300211600
| 4.20
| 55
| Mar 10, 2015
| Apr 07, 2015
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it was amazing
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I’ve never thought of myself as a person who puts much stock in hometown pride, but since having moved away any time Detroit comes up on tv or in a bo
I’ve never thought of myself as a person who puts much stock in hometown pride, but since having moved away any time Detroit comes up on tv or in a book or just offhandedly in conversation I am suddenly all “HELL YEA DEEEEE-TROOOOIT!” I’m sorry, but I do love me some Detroit. Especially because growing up going into Detroit meant the yearly field trip to the Detroit Institute of Arts (which was voted best US museum in 2023 I’ll have you know, shoutout Detroit) where the early sparks of my love for art were cultivated. And if there’s something to be proud about in Detroit, the fact that Diego Rivera and Frida Kahlo stayed there for some time as Rivera completed the enormous frescos that are at the heart of the museum and depict the Detroit auto-industry is a pretty cool thing to be proud of. And, like many growing up just outside the city, my father worked for Ford Motor Company and was a proud union member so a Diego Rivera mural to his livelihood was something we took as a practically sacrosanct. For my birthday this year I was headed to Detroit to go see Bob Dylan live in concert but I couldn’t go back home without making a pilgrimage to see the Diego Rivera murals at the DIA. Especially because I’ve spent the past few months slowly reading through Diego Rivera & Frida Kahlo in Detroit, and incredible account of the artist duo’s time and works in the city complied by Mark Rosenthal to be released by the DIA along with their 2015 Frida and Diego exhibit. This is such a marvelous book that, with its cloth cover and full page photos on quality matte paper, is practically a work of art itself. And it is just bursting with fascinating history, artworks, and a deep love for the city who’s skyline is forever projected onto my heart: Detroit. [image] Photo of the mural from my recent visit [image] Rivera’s sketch of the fresco Detroit became a catalyst for big change with both Diego Rivera and Frida Kahlo, being their home base from 1932-33 as Rivera completed the murals. Commissioned by DIA director Wilhelm Valentiner and Ford Motor Company president Edsel Ford, the murals were to represent the spirit of Detroit industry and the growing technology of the future in union with humanity. Diego Rivera quickly fell in love with Detroit (how could you not?), fascinated by the auto plants such as the Ford River Rouge plant and found the mass scale of production to be rather inspiring. [image] Diego and Frida at the DIA, 1932 Frida, on the other hand, did not enjoy Detroit and spent much time travelling back and forth to NYC and, eventually, returning to Mexico with the death of her mother. She also had a miscarriage on July 4th, 1932 at Henry Ford Hospital and would paint one of her most memorable artworks in response, titled Henry Ford Hospital: [image] Frida arrived in Detroit still a rather burgeoning artist much in the shadow of her husband (which like, it’s a huge bummer to have learned he was rather abusive, admitting it himself saying “If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait” which, ugh so tragic) but the tumultuous year became a huge period of channeling pain into growth. Her painting Self Portrait Along the Border Line Between Mexico and the United States was also completed during this time and is considered one of her first major works and ‘almost like out of a chrysalis, the recognizable Frida Kahlo arrives because of the pain and everything she went through in Detroit.’ [image] The murals themselves are incredible. We see the Detroit industry in a way that strongly emphasizes the blood, sweat, and tears of human labor and a championing of the working class. It serves as both celebration and critique of industry, juxtaposes images of peace and production of medication and machines that aid humanity with depictions of war manufacturing and death (the juxtaposition of bomber planes with a dove that is seen above the entrance to the hall is a great example). Notable figures appear in the portrait, such as the head of the DIA and Edsel Ford, though Diego also includes a rather unflattering depiction of a plant foreman who Diego disliked for his capitalistic tendencies. [image] Diego said fuck this guy in particular They truly are a sight to behold: [image] North Wall [image] South Wall [image] This was such a fantastic book full of history of the city and art. It was a rather volatile year for the two painters, but one that would mark their careers and help launch them into the immortality of famous artists we still appreciate and look at today. Also shoutout to Detroit. [image] ...more |
Notes are private!
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1
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not set
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not set
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Aug 04, 2025
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Hardcover
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1506700896
| 9781506700892
| 1506700896
| 3.76
| 1,134
| May 05, 2016
| Jun 14, 2016
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really liked it
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History truly comes alive in eye-popping, jaw-dropping visual presentation of graphic novel duo Mary M Talbot and Brian Talbot. Turning their attentio
History truly comes alive in eye-popping, jaw-dropping visual presentation of graphic novel duo Mary M Talbot and Brian Talbot. Turning their attention to a tumultuous time in French history, The Red Virgin and the Vision of Utopia is an deep dive into the life of feminist revolutionary Louise Michel. Nicknamed the “Red Virgin,” Michel was revered like a saint as was instrumental to
La Commune
, an uprising in Paris that lasted for two months in 1871 and ended in a bloodbath, and used her exile to New Caledonia to aide the indigenous population in revolt against the imperialist French rule. As exciting as it is accessible and educational, The Red Virgin is an insightful look at the historical anarcha-feminist figure, her optimism and bravery, as well as a valuable historical commentary on the violent struggles around utopian dreams. Filled with a wealth of footnotes that add wonderful contextual depth, The Red Virgin is a fantastic work that is so beautifully illustrated it is worth reading even if for the art alone. [image] To be honest, I came to this having watched the Spanish film La Virgen Roja and, having recently read the Talbot’s extraordinary graphic biography of artist Leonora Carrington, I was really excited to give this a go. Turns out there were two rather revolutionary feminist women nicknamed “Red Virgin” and the film covers the fascinating yet tragic story of Hildegart Rodríguez Carballeira, a feminist advocate for socialism and sexual revolution, whereas this book concerns Louise Michel of France. Which worked out in my benefit because both women have extraordinary lives to learn about. [image] Louise Michel The Talbot’s portrayal is cleverly nested in a narrative that begins with American writer Charlotte Perkins Gilman (of The Yellow Wallpaper fame) witnessing Michel’s military funeral in Paris and, after inquiring, is told the story of Michel’s life. It works well as a narrative engine that allows for the Talbot’s to fluidly move time to meet the graphic novel’s need, though Brian Talbot’s artwork is so extraordinary this could move at a snail's pace and it wouldn’t matter. [image] The story covers the course of Michel’s whole life, skipping back to her childhood near the end, but details a rather impressive revolutionary life in the Paris uprisings as well as her preaching anarchism in New Caledonia with impassioned speeches against imperialism holding relevance to this day. She was an interesting figure, embracing advances in technology as tools toward a utopian society where labor would not need to define socio-economic status with her belief that technology making it so people wouldn’t have to work so much would lead to a more equitable and humane economy. Alas, this has not played out and as we are witnessing the rise of AI, Michel’s revolt against a ruling class keeping the working class tired, hungry, and poor as well as the knowledge that increased technology only displaced workers instead of became a topic for economic overhaul. Michel was outspoken and a total revolutionary leader, with great lines such as her demand that the French government execute her following the fall of the commune because ‘If you let me live, I shall never stop crying for vengeance, and I shall avenge my brothers by denouncing the murderers.’ It all makes for a great story. [image] The art here is gorgeous, as I’ve come to expect from the Talbots. The use of red really pops here, grounding the themes into color-coded atmosphere and the Talbots have an excellent balance of text, frame rate, and historical depth that really clicks well here. It’s one you can crush right through too and it is so interesting you’ll probably want to do just that. [image] A dazzling display of historical drama and art, The Red Virgin is truly a worthwhile read and work of art in its own right. I’ll read anything this duo puts out and I am pleased to see they allowed the deep revolutionary spirit and ideals to really pour forth from the pages here. A delight of a read as exciting as it is educational. 4.5/5 ‘A map of the world that does not include Utopia is not worth even glancing at. —Oscar Wilde ...more |
Notes are private!
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1
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Jul 22, 2025
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Jul 22, 2025
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Jul 22, 2025
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Hardcover
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1804470244
| 9781804470244
| 1804470244
| 3.83
| 2,826
| Nov 26, 1791
| 2022
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really liked it
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Before becoming world renown with a certified black belt in banter and cutting commentary on social mores in her much beloved body of work, Jane Auste
Before becoming world renown with a certified black belt in banter and cutting commentary on social mores in her much beloved body of work, Jane Austen showed an early promise as an authorial personification of a mic drop in her satirical musings of The History of England by a Partial, Prejudiced and Ignorant Historian. While this was written when the great literary icon was still just 15 years old, its a read you’ll want to approach with a box of bandaids because her wit was already sharp enough to slice and leave you screaming. With laughter that is. But seriously, teen Jane is a riot as she briefly winds through a history of English monarchs with ‘very few dates’ and a battalion of bold opinions. It is a breezy history that feels not unlike the coolest kid in class getting some heady laughs on their end-of-term recap assignment and Austen fans will not want to miss this little-known gem of juvenalia. History is her playground here, often with Shakespeare as the only source such as when she writes about Catherine of Valois asserting that she was ‘a very agreeable woman by Shakespear’s account.’ Jane won’t let the public record of opinion get in the way of her own thoughts in her very wittily teenage snark, with comical little descriptions such as of Richard the 3rd whom she says was ‘very severely treated by historians,’ but Jane argues that ‘as he was a YORK, I am rather included to suppose him a very respectable man.’ Sure, it’s not much of a history and some of her omissions are quite funny jabs—’It is to be supposed that Henry was married, since he had certainly four sons, but it is not in my power to inform the Reader who was his wife,’ she writes of Henry IV or, of Henry V she add ‘during his reign, Lord Cobham was burnt alive, but I regret what for’ (it was heresy and treason following a failed revolution)—but it is certainly worth the read. A few other gems: Queen Elizabeth: ‘It was the peculiar misfortune of this Woman to have bad Ministers—since wicked as she herself was, she could not have committed such extensive mischief had not these vile and abandoned Men connived at, and encouraged her in her Crimes.’ James the 1st: ‘Though this King had some faults, among which and as the most principal, was his allowing his Mother’s death, yet considered on the whole I cannot help liking him.’ Edward the 5th: ‘This unfortunate Prince lived so little a while that nobody had hin to draw his picture.’ Mary: ‘Nor can I pity the Kingdom for the misfortunes they experienced during her Reign, since they fully deserved them.’ A fun, fast little read and a cool look at the early writings of an author who would go on to be one of the most well known names throughout history. Worth picking up if you get the chance. 3.5/5 ...more |
Notes are private!
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1
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not set
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not set
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Jul 08, 2025
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Paperback
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0316463604
| 9780316463607
| 0316463604
| 3.69
| 1,745
| Jan 26, 2020
| Sep 21, 2021
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liked it
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‘Fortune always favors the brave, and never helps a man who does not help himself,’ said P.T. Barnum, a phrase that embodies the nature of confidence
‘Fortune always favors the brave, and never helps a man who does not help himself,’ said P.T. Barnum, a phrase that embodies the nature of confidence men throughout history. If there is money to be had or power to be one, you can be sure to find these shady characters eager to please and cloaked in charisma to weasel their way to the top. Usually cheered on by the adoring fans they’ve seduced and swindled along the way. I’m sure you probably have one that comes to mind already. One of the most bizarre tales of such men comes from my home state of Michigan where, in the mid 1800s, self-proclaimed Mormon prophet and member of the Michigan House of Representatives Joseph Strang declared himself the King of Beaver Island and ruled it as his sovereign state. With an impressive depth of research and gripping narratorial style, Miles Harvey examines Strang’s strange history in The King of Confidence: A Tale of Utopian Dreamers, Frontier Schemers, True Believers, False Prophets, and the Murder of an American Monarch, weaving and winding through the antebellum US and around a slew of historical figures and everyday folks as Strang slithers his way to his own monarchy. A thrilling history of cons, counterfeiting, armed robbery, murder, and more, The King of Confidence is as engaging a read as any thriller novel and paints an excellent portrait of the social and political conditions that practically roll out a red carpet for confidence men like Strang to usurp power and control. ‘James J. Strang, innocent target of religious persecution—like all his personae, this one proved to be a mask. Yet it was exactly those masks—those endless layers of ambiguity—that gave the man his charisma.’ Beaver Island is located in the northern part of Lake Michigan, the largest in an archipelago of islands and is a paradise of beaches and forest. Currently only around 600 people live there and it is largely vacation homes for wealthier people. Yet from 1848 to 1856, Joseph Strang made it his base for his religious experiment as the leader of a theocratic monarchy. A quick and chaotic rise to the top is often followed by an abrupt and dramatic end, which was the case for Strang, but the history is fascinating. At times an attorney, a newspaper editor, a Baptist minister, a writer for the New York Tribune, a sitting member of State congress and, eventually, king, Strang lived a wild life full of wild claims and as many wild failures as successes, but his charisma and sheer determination kept him afloat. ‘Strang had already perfected his talent for telling other people just what they wanted to hear,’ Harvey write, ‘so a dose of skepticism is in order for any belief he professed—a double dose for the ones he professed passionately.’ But in hard times, people turn to those who profess to be strong and decisive and give us people like Strang. [image] Beaver Island, Michigan Never one to let a good murder go to waste, Strang followed up the murder of Joseph Smith—the founder of Mormonism—in 1844 by claiming an angel came to him saying he was to lead the Latter Day Saints (Harvey rather whimsically starts the book from the perspective of the angel watching Smith being shot as he jumps out a window, it makes for quite the powerful opener). Brigham Young was not down with this and after some bitter feuding Strang would go off to lead a splinter cell of Mormons. This story is full of misadventures with Strang always bouncing back somehow stronger and more confident than ever, gaining followers and multiple wives around the country to eventually bring them to Beaver Island. There they would fund themselves counterfeiting and robbing people at gunpoint. Which sounds like a party, don’t get me wrong. ‘A “businessman,” meanwhile, was not just a craftsman who made goods or a merchant who traded them, but a more fluid kind of capitalist, constantly finding new ways to turn a profit.’ What is really fascinating about this book is the way Strang just keeps on going and never lets a failure get him down. And how despite outlandish claims and lack of evidence (the angel returns with scrolls and such but nobody ever sees them, they just have to take it on “faith”) people keep following him. ‘The historical record indicates that utopian and apocalyptic cults and communes first appeared as a major form in the United States during this epoch,’ Harvey tells us. Nowadays we’d look at these groups and call them a cult or extremist groups but back in the days of antebellum America this was a bit of a phenomenon that people didn’t exactly have the knowledge for dealing with it. And what was history but the loudest, strongest folks steamrolling their way into power. As the quote commonly attributed to Confucius goes, ‘a great man is hard on himself; a small man is hard on others,’ and those looking for a person to follow tend to avoid the great men and women and instead cheer on the small man who tears others down to look strong because they like to feel like they are on the winning team. To be on the side of the strong. The book concludes on a rather powerful statement that really wraps up the whole purpose of exploring this story. Sure, Strang gets his ass shot (not by the government but his own people, though the authorities give them such a tiny slap on the wrist fine that might as well have been a handshake and a hearty ‘thank you, we wanted that dude dead’) but Strang is not the problem but rather a symptom of the social ills. As Harvey writes: ‘Eventually the facts of his life faded into obscurity. But people like James Strang never really vanish. When the time is right, they reappear, wearing a new guise, exploiting new fears, offering new dreams of salvation. Americans are fixated on such figures, especially in periods of profound social and economic upheaval.’ As Mark Twain once wrote ‘history never repeats itself, but it does often rhyme,’ and leaders such as Strang con themselves into power all the time, it’s practically the only American Dream left. They present themselves as saviors but are only out for themselves and power and leave destruction and hurt in their wake. These are men that ‘have no heart, no sympathy, no reason, no conscience. They will keep no friend, unless he make himself the mirror of their purpose; they will smite and slay you, and trample your dead corpse under foot.’ And we must watch out for them. Well researched and a rather fast-paced and gripping book, The King of Confidence is a wild tale of history that also serves as a warning to the present. It lags a bit in the middle under the weight of all the comings and goings are intricate portraits of Strang’s crew, but it remains a rather engaging read nonetheless and I learned a lot about US history reading this book. This was a read with my bookclub and we all enjoyed it. Strang was a ‘confidence artist to the very end,’ and a bizarre lesson to us all. 3.5/5 ...more |
Notes are private!
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1
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Mar 14, 2025
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Mar 14, 2025
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Mar 14, 2025
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Paperback
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0393065790
| 9780393065794
| 0393065790
| 4.29
| 230
| 2005
| Mar 17, 2008
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it was amazing
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Poetry begins where language starts,’ wrote Irish poet Eavan Boland, ‘in the shadows and accidents of one person's life.’ And what a life she had. Pub
Poetry begins where language starts,’ wrote Irish poet Eavan Boland, ‘in the shadows and accidents of one person's life.’ And what a life she had. Publishing her first book of poetry while still a student, Eavan Boland would go on to become on of the biggest names in modern Irish literature with dozens of awards and over thirty books to her name when she passed in 2020 at the age of 75. New Collected Poems is an outstanding testament to the poet’s legacy, collecting her work from 23 Poems in 1962 through Against Love Poetry in 2001. Gorgeously threading ‘sex and history’ through her poems and making space to champion the lives and voices of women, their struggles, their erasure in the history and myths ‘written by men,’ as well as raising the everyday and ordinary to the level of legend, Boland poetic insight has a wide and wondrous berth of topics to travel upon her words. And it is words that interest her most. Born in Dublin in 1944, Boland moved to the UK at the age of six when her father became the Irish Ambassador to the UK and would grow up estranged from her homeland amidst anti-Irish sentiments and an education framed to delegitimize the Irish voices in history. Returning to the language of Ireland is a central theme and task for Boland to explore and transport the reader through, in keeping with the belief of Jacques Derrida that ‘exiles,’ as he wrote in Of Hospitality, ‘continue to recognize the language, which is called the mother tongue, as their ultimate homeland.’ An essential collection that shows Boland’s expertise in poetically demonstrating ‘there’s a way of life / that is its own witness,’ I have long loved New Collected Poems and consider it one of the more treasured books on my shelves. In the end It will not matter That I was a woman. I am sure of it. The body is a source. Nothing more. There is a time for it. There is a certainty About the way it seeks its own dissolution. Consider rivers. They are always en route to Their own nothingness. From the first moment They are going home. And so When language cannot do it for us, Cannot make us know love will not diminish us, There are these phrases Of the ocean To console us. Particular and unafraid of their completion. In the end Everything that burdened and distinguished me Will be lost in this: I was a voice. —from Anna Liffey I distinctly remember the moment I heard Eavan Boland passed. It was a warm day, April 27, 2020 and only a few weeks into the Covid pandemic that had us working from home. I read the news and immediately leashed my dog and went for a long, long walk in the spring sun thinking of poetry and history and how I came to Boland a few years prior when I was spending a lot of time in Dublin back and forth. I had picked up her collection A Poet's Dublin at the amazing bookstore Books Upstairs—Dublin’s oldest indie bookstore—and carried it with me through the streets, along the River Liffey (one of her best poems, the rather long Anna Liffey which you can read here comes from the character through which James Joyce personifies the river in Finnegans Wake), and around Trinity College where Boland attended and taught, even into the Long Room. Boland became an immediate favorite and I’ve long loved her work, the way she can craft a poem that is both a wide-angle look at history in the context of the women creating it while simultaneously embodying a close-up of the personal. She’s a poet I often think of on walks, and a poet I will always hold dear in my heart. Here’s my favorite: Once The lovers in an Irish story never had good fortune. They fled the king’s anger. They lay on the forest floor. They kissed at the edge of death. Did you know our suburb was a forest? Our roof was a home for thrushes. Our front door was a wild shadow of spruce. Our faces edged in mountain freshness, we took our milk in where the wide apart prints of the wild and never-seen creatures were set who have long since died out. I do not want us to be immortal or unlucky. To listen for our own death in the distance. Take my hand. Stand by the window. I want to show you what is hidden in this ordinary, ageing human love is there still and will be until an inland coast so densely wooded not even the ocean fog could enter it appears in front of us and the chilled- to-the-bone light clears and shows us Irish wolves. A silvery man and wife. Yellow-eyed. Edged in dateless moonlight. They are mated for life. They are legendary. They are safe. Boland’s work ushers the reader through the dense foliage of Irish history and the strength of its people up against oppression. ‘ I’m an Irish poet. I always have been and always will be, ’ Boland said in a 2019 interview with The Georgia Review: ‘It’s not a transferable part of who I am. Nor is it alterable. So much of a poet’s formation has to do with rootedness, not just in a place but in a past. For good and ill, I’m constructed by that past, from the journey of those events and the struggle of that history. There’s no way of unwriting that and none of unliving it.’ Boland shapes her prose to the frame of history in a way that allows it to function like a mirror, like ‘the moon’s looking glass’ to show the world back to itself through her vision. That vision, more often than not, is one where women can be the focus. ‘ I began to write in an Ireland where the word “woman” and the word “poet” seemed to be in some sort of magnetic opposition to each other,’ she has stated,, ‘I couldn’t accept the possibility that the life of the woman would not, or could not, be named in the poetry of my own nation.’ In the essay contained in her collection Domestic Violence, Boland addresses how the role of a poet should overturn the past to allow for new futures: ‘Can a single writer challenge a collective past? My answer is simple. Not only can, but should. Poetry should be scrubbed, abraded, cleared, and restated with the old wash stones of argument and resistance. It should happen every generation.’ A new future was forged from her work indeed. ‘I want a poem / I can grow old in,’ she writes in A Woman on a Painted Leaf, ‘I want a poem I can die in.’ While the loss of Boland at 75 is tragic, she at least passed in a literary reality where ‘In my generation, women went from being the objects of the Irish poem to being the authors of the Irish poem, and that was very disruptive in a literature that probably wasn’t prepared for that.’ Good for her, and good for all of us. This is dawn. Believe me This is your season, little daughter. The moment daisies open, The hour mercurial rainwater Makes a mirror for sparrows. It's time we drowned our sorrows —from Night Feed ‘I was a voice,’ Boland writes and to be a voice is to have power, to be heard. Boland often uses this voice to highlight the women in history, commemorating their works and arts and joining that great lineage ‘rejoicing in / finding a voice where they found a vision.’ Such as her poem Code to computer pioneer Grace Murray Hopper: ‘I am writing at a screen as blue, As any hill, as any lake, composing this to show you how the world begins again: One word at a time. One woman to another.’ The male gaze hovers like a threat over many of Boland’s poems and we see her stanzas cascade like a force of nature despite it or how her lines coil to strike. Poems like Degas’s Laundress finds the speaker interceding between the lusts of an artist oogling the ‘roll-sleeved Aphrodites’ and protecting the laboring women. In her introduction to The Wake Forest Book of Irish Women's Poetry, editor Peggy O'Brien observes that Bolan examines how ‘Irish women have been doubly colonized’: ‘First, with Irsh men, by numerous foreign invasions, and, second, exclusively as women, by nationalism, a male preserve. As an icon of the long-suffering nation, the Irish woman becomes “Mother Ireland,” a static and silent object distanced from her actual, decidedly unromantic self.’ This is rather notable in the incredible poem Anna Liffey where Boland tells ‘the truth of a suffered life’ through gorgeous lines like ‘love will heal / what language fails to know / and needs to say’ but also chronicles the role of women in the country. ‘The river took its name from the land / the land took its name from a woman’ and that we must ‘Make of a nation what you will / Make of the past / What you can.’ But just as importantly, she casts her poetic gaze over womanhood in a way that had previously been missing in poetry, particularly aging woman or mothers who were pushed out of the public gaze of history: ‘The body of an ageing woman Is a memory And to find a language for it Is as hard As weeping’ Motherhood makes its way into many of the poems and becomes a prevailing theme in her work. ‘I’ve often said that when I was young it was easier to have a political murder in a poem than a baby,’ she often quips in interviews: ‘ I always thought ordinary life was worth writing about, and that included my own…the subjects of the Irish poem back then were often landscapes or historical events or political memory. I was a woman in a house in the suburbs, married with two small children. It was a life lived by many women around me, but it was still not named in Irish poetry.’ To move her poem from the broad sweep of landscapes and politics to the politics of the household was a bold move for which Boland has been widely lauded and loved. And for the motherhood poetry, there are few more awe-inspiring than her poems about Persephone and Demeter, such as this opening half of The Pomegranate (read the full poem here): The only legend I have ever loved is the story of a daughter lost in hell. And found and rescued there. Love and blackmail are the gist of it. Ceres and Persephone the names. And the best thing about the legend is I can enter it anywhere. And have. As a child in exile in a city of fogs and strange consonants, I read it first and at first I was an exiled child in the crackling dusk of the underworld, the stars blighted. Later I walked out in a summer twilight searching for my daughter at bed-time. When she came running I was ready to make any bargain to keep her. I carried her back past whitebeams and wasps and honey-scented buddleias. But I was Ceres then and I knew winter was in store for every leaf on every tree on that road. Was inescapable for each one we passed. And for me. It is winter and the stars are hidden. Figures of myth and legend frequently appear in Boland’s poetry, especially in the earlier half of her career. There are Irish figures like Lir, but also many of the Greek gods and goddesses populate her prose such as the poem The Making of an Irish Goddess where ‘Ceres went to hell / with no sense of time.’ Boland states ‘I need time - my flesh and that history - to make the same descent’ because ‘myth is the wound we leave / in the time we have.’ What a great stab of a statement there. Irish Poetry We always knew there was no Orpheus in Ireland. No music stored at the doors of hell. No god to make it. No wild beasts to weep and lie down to it. But I remember an evening when the sky was dark at four. When ice had seized every part of the city and we sat talking-- the air making a wreath for our cups of tea. And you began to speak of our own gods. Our heartbroken pantheon: No Attic light for them and no Herodotus but thin rain and dogfish and the stopgap of the sharp cliffs they spent their winters on. And the pitch-black Atlantic night. And how the sound of a bird's wing in a lost language sounded. You made the noise for me. Made it again. Until I could see the flight of it: suddenly the silvery, lithe rivers of your southwest lay down in silence and the savage acres no one could predict were all at ease, soothed and quiet and listening to you, as I was. As if to music, as if to peace. Most striking, however, is the way Boland gives the everyday objects profound significance and elevates the ordinary to the level of myth. Similar to the way her poetry seeks to give voice to the woman muffled by history, her poetry also elbows out room in myth for women and the everyday. ‘I began to feel a great tenderheartedness toward these things that were denied their visionary life,’ Boland said in an interview with PBS, ‘nobody thought a suburb could be a visionary place for a poet. Nobody thought a daily moment could be.’ In a way, she is creating her own legends and myths while rising the figure of the Irish woman as a figure of mythical power as a symbol of the Irish nation. I see myself on the underworld side of that water, the darkness coming in fast, saying all the names I know for a lost land: Ireland. Absence. Daughter. —from The Lost Land The Irish language is intricately intertwined with Irish culture, both as a symbol of heritage and identity but also resistance and pride. And so, too, does language become a crucial support beam through Boland’s examinations of life and history. In her prose work in Object Lessons: The Life of the Woman and the Poet in Our Time, Boland writes on the importance of Irish language and how she left that loss as a child living in the UK: ‘Language. At first this was what I lacked. Not just the historic speech of the country. I lacked that too, but so did others. This was a deeper loss; I returned to find that my vocabulary of belonging was missing. The street names, the meeting places – it was not just that I did not know them. It was something more. I had never known them. I had lost not only a place but the past that goes with it and, with it, the clues from which to construct my present self.’ The loss of language is felt at a personal level, yet extends to a loss of history with Ireland eclipsed by the British. This appears most notably in her poem In Which the Ancient History I Learn is Not My Own as she finds ‘Ireland was far away. And farther away / every year.’ In Habitable Grief she writes of being ‘Irish in England’ and disconnected from her language: ‘this is what language is: a habitable grief’ she writes, ‘which hurts / just enough to be a scar. // And heals just enough to be a nation.’ To retain the language, to give voice to women in the language, to let the language thread the past and the present and rise like a monument to Ireland are all felt in the powerful prose of Eavan Boland. I long to cry out the epic question my dear companion: Will we ever live so intensely again? Will love come to us again and be so formidable at rest it offered us ascension even to look at him? But the words are shadows and you cannot hear me. You walk away and I cannot follow. —from Love An essential collection from an essential poet and formidable voice for women in the arts, New Collected Poems is a marvelous overview of the poems of Eavan Boland. Her work helped reshape Irish poetry and through hers and the other women in her time ‘a woman in Ireland who wishes to inscribe her life in a poem has a better chance now to move freely around within that poem.’ Bringing the everyday and ordinary into the life of the mythic and giving space for women everywhere, Eavan Boland has left us a lasting legacy of gorgeous words that truly proves her own statement that ‘myth is the wound we leave / in the time we have.’ 5/5 That the Science of Cartography is Limit --and not simply by the fact that this shading of forest cannot show the fragments of balsam, the gloom of cypresses, is what I wish to prove. When you and I were first in love we drove to the borders of Connacht and entered a wood there. Look down you said: this was once a famine road. I looked down at ivy and the scutch grass rough-cast stone had disappeared into as you told me in the second winter of their ordeal, in 1847, when the crop had failed twice, Relief Committees gave the starving Irish such roads to build. Where they died, there the road ended and ends still when I take down the map of this island, it is never so I can say here is the masterful, the apt rendering of the spherical as flat, nor an ingenious design which persuades a curve into a plane, but to tell myself again that the line which says woodland and cries hunger and gives out among sweet pine and cypress, and finds no horizon will not be there. ...more |
Notes are private!
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Mar 13, 2025
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Mar 13, 2025
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Mar 13, 2025
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Hardcover
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0593299922
| 9780593299920
| 0593299922
| 3.91
| 9,720
| Aug 06, 2024
| Aug 06, 2024
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liked it
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I’ve always said that bookstore employees are rockstars but I’m a bit biased. [image] I love my job Having spent many years working bookstores—in bot I’ve always said that bookstore employees are rockstars but I’m a bit biased. [image] I love my job Having spent many years working bookstores—in both a Barnes and Noble and currently at a delightful indie bookstore, Readers World— I was eager to check out Evan Friss’ The Bookshop: A History of the American Bookstore. Books are part of the lifeblood of a society, they are a comfort and a friend when in need, they open your mind, expand your horizons, they frame the past and speculate the future, the show you the possibilities of life, language, they are ‘a uniquely portable magic’ as Stephen King once wrote. ‘Books and doors are the same thing,’ Jeanette Winterson—my favorite person to write books—said, ‘you open them, and you go through into another world,’ and by opening the door to a bookstore you are transported into a realm of possibility and potential magic behind every cover. Also shoutout to libraries (I must add as I type this from my desk in a library) where this potential of possibility does not come at a cost. Friss writes that ‘a city without a bookstore wasn't a city worth calling home,’ and I’m proud to work in our city’s indie bookstore which was, in fact, the very first place I went to check out when I moved here. One day, after being a regular for years, I walked in to pick up a book I had preordered (Flights by Olga Tokarczuk) and they offered me a job. Best job I’ve ever had. But librarian s.penkevich would like to consider some nuance missing from Friss’ statement that, sure it’s fun to say and all but some communities are unable to support one which is compounded with the issue that so much of the goal behind book ban attempts is to disenfranchise support for public institutions and dissolve libraries and free access to books, moving everything behind privatized access with a price barrier. But moving along. 'The right book put in the right hands at the right time could change the course of a life or many lives.' In The Bookstore, Friss takes us through a history of American bookstores from early collections by Benjamin Franklin to noteworthy stores like The Strand or The National Memorial African Bookstore, into the chains of Barnes & Noble or Amazon that have dramatically reshaped the book industry into the digital age. Friss pauses along the way to celebrate the ancillary heroes to bookstore, like the UPS driver and bookstore cats that ensure the books are flowing or improve the vibes. It is a rather cherry-picked and anecdotal history that feels more like a collection of essays full of fun tales than, say, an exhaustive or academic history, but it made for an interesting read that is sure to delight anyone with an interest in bookstores. ‘You see, bookshops are dreams built of wood and paper. They are time travel and escape and knowledge and power. They are, simply put, the best of places.’ —Jen Campbell, Weird Things Customers Say in Bookshops As Friss tells us, ‘the right book put in the right hands at the right time could change the course of a life or many lives,’ and I rather enjoy this loving view on bookstores, booksellers and the customers who frequent them. While this book focuses specifically on bookstores in the United States, the history of bookselling reaches all the way back to ancient times. Around 300BC, the founding of the Library of Alexandria created a need for obtaining books and brought about a robust bookselling practice amongst Athenians. The Abbasid Caliphate and Caliphate of Córdoba encouraged the trade of books across the Muslim world with Damascus, Baghdad, and Córdoba becoming major centers for book dealers. Meanwhile, Johannes Gutenberg’s printing press brought a surge of bookselling into France and across Europe in the mid 1400s, and the Librairie Nouvelle d'Orléans which opened in 1545 is still in operation and makes it the oldest bookstore in operation across Europe. Friss’ tales begin with the personal book collection of Benjamin Franklin and move into stories about the Old Corner Bookstore in Boston, which is unfortunately no longer in operation. [image] 'A good book is the precious life-blood of a master spirit, embalmed and treasured up on purpose to a life beyond life.' —John Milton, Areopagitica The book is rather anecdotal and skips around to highlight some cool places, such as Parnassus books started by author Ann Patchett who ‘saw herself as more of a benefactor than a capitalist. It was about protecting an endangered species,’, though one might not necessarily find this to read like a history of bookselling in general. Though there are some rather interesting things to note, such as the legacy of radical bookstores like Drum & Spear, founded in 1968 as a space for Black activism in literature and were investigated by the FBI. One story shows they had been accused of providing communist propaganda after an agent failed to purchase Chairman Mao's Little Red Book there and bought it at another store, but still submitted it as evidence against them. [image] Another fascinating history here was the chapter on sidewalk vendor bookstores which were vilified by city officials such as a 1993 bill to remove them that was pushed by the same councilman who had once passed a law giving booksellers freedom to sell without a license. There is a sadness, however, as many of the bookstores included in the history of 20th century bookstores have now shut down. ‘The Old Corner helped launch American literature and the American bookstore,’ Friss writes, ‘Now it’s a Chipotle’. So it goes. The historic Denver bookstore Tattered Cover a historic bookstore in Denver that is regrettably absent in this book was recently purchased by Barnes and Noble. Lawrence Ferlinghetti, poet and co-founder of City Lights Bookstore, once stated: ‘Don’t patronize the chain bookstores. Every time I see some author scheduled to read and sign his books at a chain bookstore, I feel like telling him he’s stabbing the independent bookstores in the back.’ Hopefully people have an indie bookstore available to them, which is a struggle especially in a lot of rural communities where having an alternative to Amazon or Barnes and Noble just isn't available. Many indie bookstores have been struggling too and I was surprised to learn that The Strand nearly closed during COVID. As the book progresses, we see more about how indie bookstore began to compete with chains, and now those chains compete with Amazon. Alas, Borders has gone away and Amazon purchased many of their storefronts for their physical Amazon stores like a psychopathic murderer wearing the skin of its victims. Amazon will also buy up entire first print runs leaving indie bookstores unable to stock certain new releases (or have an additional copy stuck on backorder for months), and so ideas like Ingrams Indie Vault that reserves books for indie bookstores and doesn't allow the big chains to take the whole print run have been helpful. Its always sad to me when a bookstore closes and makes me think of a favorite poem by James Tate: Memory A little bookstore used to call to me. Eagerly I would go to it hungry for the news and the sure friendship. It never failed to provide me with whatever I needed. Bookstore with a donkey in its heart, bookstore full of clouds and sometimes lightning, showers. Books just in from Australia, books by madmen and giants. Toucans would alight on my stovepipe hat and solve mysteries with a few chosen words. Picasso would appear in a kimono requesting a discount, and then laugh at his own joke. Little bookstore with its belly full of wisdom and confetti, with eyebrows of wildflowers- and customers from Denmark and Japan, New York and California, psychics and lawyers, clergymen and hitchhikers, the wan, the strong, the crazy, all needing books, needing directions, needing a friend, or a place to sit down. But then one day the shelves began to empty and a hush fell over the store. No new books arrived. When the dying was done, only a fragile, tattered thing remained, and I haven’t the heart to name it. I found this poem on my last day working at Barnes and Noble so it hit hard. And so, of particular interest to me in this book was the section on Barnes & Noble and the recent acquisition of the company by James Daunt of Waterstones bookstores in the UK fame. I spent several years as a keyholder in a Barnes and Noble in what felt very much like a slow spiraling decline under Leonard Riggio, who’s life and legacy gets a rather positive and inspirational treatment here. Not that I have anything against him but I’m fairly certain when he passed recently he probably vanished as a cloud of bats and unpaid debts (anyone else remember the BN credit card scandal?) but he certainly did build an impressive chain from humble beginnings and Daunt has very much improved on the design. Under Daunt, as Friss points out, BNs have come to feel much more localized by giving the stores more control over title acquisition and displays to present a more indie bookstore feel. ‘So often, a visit to a bookshop has cheered me, and reminded me that there are good things in the world.’ —Vincent van Gogh Friss does give Amazon a lot of positive spin while glossing over their legacy of union busting and anti-worker policies, though he also does champion physical spaces over online retail. I enjoyed the section discussing the #BoxedOut Campaign organized by the American Booksellers Association to promote buying through physical indie retailers as opposed to Amazon. I wish it went more into how Amazon harms bookstores and strategized to push indie retailers out through things like loss leaders. According to census data more than 50% of US indie bookstores closed between 1998 and 2019 and (as reported in The Nation in 2024) Amazon now sells over 300 million books a year to generate $28billion each year and owns more than half the US print market. ‘ People may not realize the cost and consequences of ‘convenience’ shopping until it's too late… Closed indie bookstores represent the loss of local jobs and local tax dollars; the loss of community centers; and the loss of opportunities for readers to discover books and connect with other readers in a meaningful face-to-face way.’ — Allison K Hill, CEO of American Booksellers Association Of course there are many reasons such as mobility issues or lack of access to a bookstore that lead to people purchasing books through Amazon, but the slogans for the campaign which included things like 'Buy Books from People Who Want to Sell Books, Not Colonize the Moon' were pretty great. ‘I love walking into a bookstore. It’s like all my friends are sitting on shelves, waving their pages at me.’ —Tahereh Mafi Bookstores are such a lovely place and books are a necessary part of society. As we are all here on goodreads, I suspect most of you feel similarly. I love indie bookstores but, again, I'm a bit biased. But Readers World in Holland has been my happy place and going into work always feels like coming home. You can support us by following us on instagram or tiktok at @readersworldholland and you might see a familiar face since I do all the social media. [image] ‘Bookstores also stimulate our senses. Being surrounded by books matters,’ Friss writes, ‘sociologists have found that just growing up in a home full of books—mere proximity—confers a lifetime of intellectual benefits.’ Long live books, long live bookstores, and long live libraries. While being a bit lighter than expected, The Bookshop was a fun and fascinating read and those with an interest in the subject matter will certainly enjoy it. 3.5/5 ‘Whether in mysteries or memoirs, travelogues or true-crime tales, romances or rom-coms, horror or history, bookstores can be more than just passive backdrops. Bookstores can be actors. Bookstores, even the little ones, can shape the world around them. They already have.’ Also shoutout to libraries. Support your local library as well as your local indie bookstores. I'm lucky enough to get to do both. Sometimes on the same day. Which has, admittedly, confused a few people when they see me twice in one day. [image] ...more |
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Nov 23, 2024
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Nov 23, 2024
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Nov 23, 2024
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Hardcover
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1596431016
| 9781596431010
| 1596431016
| 4.00
| 6,307
| 2007
| Jan 01, 2007
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really liked it
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LAIKA, MY LOVE!!!! [image] Artist and author Nick Abadzis brings the story of Laika the Space Dog—one of the first animals in space and, while aboar LAIKA, MY LOVE!!!! [image] Artist and author Nick Abadzis brings the story of Laika the Space Dog—one of the first animals in space and, while aboard Sputnik 2 in 1957, the first living being to orbit the Earth—in this gorgeous and heartfelt graphic novel. Moving between the story of the space race with scientists Sergei Korolev and Oleg Gazenko to the life of this sweet puppy and the women who raised her such as Mistress Yelena, this is an astonishingly well researched, beautifully illustrated and artfully told story. Laika, who went by the name Kudryavka before her space days, is a little dog that looms large in the history of space exploration, becoming a figure of mythic proportions. And she is a very good dog. This graphic novel will fit you square in the feels and even knowing how things will turn out for sweet little Kudryavka can’t prepare you for how emotionally impactful the ending is through Abadzis’ deftness of visual storytelling. Also huge shoutout to Craig for recommending this. So cue up a good song, and while the obvious choice is the Bowie track I might recommend this one by Wolf Parade instead since its specifically Soviet, and lets talk about Laika. [image] The real Laika I’m not crying, you’re crying. Okay, fine, it’s me but this graphic novel was SO good and moving. It hits a wonderful intersection of things I love: space exploration and sweet puppies. Laika is such a well-done book that manages to balance a lot of information and history with a steadily forward moving story while also doing well to balance out the rather text-heavy aspects of this book with gorgeous artwork we feel as if we can float through like the cosmos. It is a fascinating story, looking into the political tensions and scientific advances of the Space Race through the framing of the Sputnik 2 mission. It was interesting to learn it all, especially seeing how Laika was selected and trained for the mission. [image] And so we go from the dog house to the great vast reaches of space in this wild, wondrous yet tragic tale that I could not put down and ended up reading in one long go. It’s long enough to give plenty of room for ideas to breathe and cover a lot of territory without feeling too bogged down in the historical details but also feeling like you’ve learned a thing or two. [image] A great little read with a powerful conclusion that makes you feel the weight of mortality in the reaches of science. Initially the world was more focused on the political aspects of Russia’s space exploration advances though later the ethics of sending a living creature into space on a vessel with no option for retrieval would face some criticisms. Years later scientist Oleg Gazenko would express his regret over their choices: ‘Work with animals is a source of suffering to all of us. We treat them like babies who cannot speak. The more time passes, the more I'm sorry about it. We shouldn't have done it…We did not learn enough from this mission to justify the death of the dog.’ Laika is a hero dog and an amazing story. For those who would like a happier end, I recommend Jeanette Winterson’s Weight: The Myth of Atlas and Heracles where Laika happily roams the stars atop the shoulders of Atlas as he holds up the world forever, each the much needed company the other desired. Good girl, Laika. 4.5/5 [image] ...more |
Notes are private!
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1
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Jun 28, 2024
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Jun 28, 2024
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Jun 28, 2024
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Paperback
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0593318250
| 9780593318256
| 0593318250
| 3.82
| 36,418
| Feb 27, 2024
| Feb 27, 2024
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really liked it
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‘History is like a horror story,’ wrote Roberto Bolaño and Tommy Orange chronicles the long history of ‘America's war on its own people’ in Wandering
‘History is like a horror story,’ wrote Roberto Bolaño and Tommy Orange chronicles the long history of ‘America's war on its own people’ in Wandering Stars. Moving through the horrors of the past across generations of violence, genocide and institutional or social erasures and on into a present day of lingering traumas and addictions, Wandering Stars works something like a Godfather Pt 2 to his 2018 novel, There There, being simultaneously a sequel and prequel to the events of that book. We last encountered Orvil Red Feather as yet another victim to gun violence in the final pages of There, There, though this story on the legacy that brought his bloodline to that moment of bloodshed as well as the volatile recovery in the aftermath could just as easily be read as a stand-alone. Still, it was delightful to revisit familiar characters as well as many new ones, each with an impressively distinct voice in a narrative propelled by Orange’s extraordinary acrobatic use of language. Wandering Stars is a sharp critique on a bloodsoaked American history, tracing trauma from colonization and forced assimilation into addictions and fractured histories, though there is still a light and a heavy hope ‘making this place more than its accumulated pain.’ ‘Surviving wasn't enough. To endure or pass through endurance test after endurance test only ever gave you endurance test passing abilities. Simply lasting was great for a wall, for a fortress, but not for a person.’ Where There, There was caught in a breakneck inertia spiraling towards impending disaster, Wandering Stars does a lot of, well, wandering. We move across history through the many generations of the Red Feather family, taking us from the Sand Creek massacre and into the Carlisle Indian Industrial School forced assimilation programs or prisons. This is juxtaposed with a narrative set in the present following Orvil and several other familiar characters. It meanders but never flails, stepping in wide rings of time, sending its prose to swoop and soar, until finally you find a rhythm moving underneath it all and the narrative becomes a sort of dance. A celebration amidst the sadness, a tribute to the past and a plea for the future. ‘Stories do more than comfort. They take you away and bring you back better made.’ While this is a larger story made up of the amalgamation of multiple stories, this is also—in many ways—a story about stories and why they matter. Charles’ notes that his incomplete memories are nothing more than ‘a broken mirror, through which he only ever sees himself in pieces,’ which nudges a central theme on how we use histories or stories as ways to understand our pasts and ourselves. A boy asks ‘why there weren’t any Native American superheroes,’ or a woman in midcentury America is told by a librarian there doesn’t seem to be any books written by indigenous authors. Instead they must see the world through the narratives of people who look like the ‘very kind of men some of us had seen wipe our people out.’ It’s why publishers need to ensure inclusive collections, its why we should make space for more voices lest we choke off storytelling as another form of silencing. That the character Jude witness so many atrocities but is mute and unable to vocalize them is a powerful metaphor, especially juxtaposed with the personal memoirs Charles is able to leave behind. Language and writing become a haven, and it is in learning to read and copy the Bible that we find the titular wandering star of the novel: ‘Raging waves of the sea, foaming out their own shame; wandering stars, to whom is reserved the blackness of darkness forever.’ That Orange is a superb storyteller makes it all the better. Orange has a dynamic range of voice, moving between characters as well as from fiction to nonfiction passages. Orange has often cited influences in authors like Roberto Bolaño, Clarice Lispector, Jorge Luis Borges, or Javier Marías because they are ‘ not afraid to be really cerebral but also somehow have excellent pacing at same time,’ though many of the passages in Stars feels closer to the mechanics of one of his other favorites: José Saramago. Such as this passage which meticulously weaves languages while winding its way through the halls of history: ‘When the Indian Wars began to go cold, the theft of land and tribal sovereignty bureaucratic, they came for Indian children, forcing them into boarding schools, where if they did not die of what they called consumption even while they regularly were starved; if they were not buried in duty, training for agricultural or industrial labor, or indentured servitude; were they not buried in children’s cemeteries, or in unmarked graves, not lost somewhere between the school and home having run away, unburied, unfound, lost to time, or lost between exile and refuge, between school, tribal homelands, reservation, and city; if they made it through routine beatings and rape, if they survived, made lives and families and homes, it was because of this and only this: Such Indian children were made to carry more than they were made to carry.’ He is speaking of the horrors faced by thousands of indigenous children in boarding school programs that ran under the slogan ‘Kill the Indian, Save the Man’ in an attempt to push ‘the vanishing race off into final captivity before disappearing into history forever.’ This is why survival becomes so key in the novel, though merely surviving is often not enough. Often survival is its own trade off with destruction, such as how the granting of citizenship and assimilation was an effort to dissolve—'a kind of chemical word for a gradual death of tribes and Indians, a clinical killing, designed by psychopaths calling themselves politicians'—the tribes and erase tribal identity. The Termination policies enacted in 1953 forced full citizenship as a way to end federal recognition of tribes and transfer reservation legal jurisdiction over to the federal government, all despite indigenous peoples already being granted citizenship in 1924. As is often the case, language becomes a mask for cruelty. ‘I think I needed to feel the bottom to know how to rise. Maybe we're all looking for our bottoms and tops in search of balance, where the loop feels just right, and like it's not just rote, not just repetition, but a beautiful echo, one so entrenching we lose ourselves in it.’ The novel is wracked with scenes of addiction, poverty and heartbreak but also the dilemma of a disconnect with the past. A large theme of There, There touched on how indigenous identity was often difficult to pin down in the modern world, a theme that continues here. While there is the recognition that ‘no Indians from when they first named us Indians would recognize us as Indians now,’ even Orvil admits that in the present day many of the historical indigenous practices they keep alive ‘can feel corny, and fake, or like trying too hard for something that wasn’t really there.’ Times change, identity shifts, and how can one feel the pulse of the past when the nation spent so much effort and violence into erasing their stories. Though this is not necessarily a complete loss as the novel notes that change is natural and life flows into life, such as the family lineage going from Stars to Bear Shields and eventually Red Feathers. The family marches forward through time even when beleaguered by external aggressions or internal struggles. Ultimately, Wandering Stars captures ‘the kind of love that survives surviving.’ It is the thing that keeps us going, the heavy hope we are willing to carry. This is an ambitious novel, a bit quieter and looser than its predecessor, and it seeks to capture the truly expansive ideas and questions on identity and history. While perhaps it overreaches at times and can occasionally feel like checking as many boxes of themes as possible instead of thoroughly exploring a tighter few, Orange manages to carry his ideas into fruition and craft an engaging novel that achieves its goals. 4.5/5 'Everything about your life will feel impossible. And you being or becoming an Indian will feel the same. Nevertheless you will be an Indian and an American and a woman and a human wanting to belong to what being human means.' ...more |
Notes are private!
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Mar 05, 2024
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Mar 05, 2024
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Mar 05, 2024
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Hardcover
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0385521316
| 9780385521314
| 0385521316
| 4.47
| 161,805
| Nov 01, 2018
| Feb 26, 2019
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it was amazing
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When a non-fiction book reads as engaging and swiftly as a fast paced novel, you know you’ve found a winner. Truthfully, I’ve never been a big non-fic
When a non-fiction book reads as engaging and swiftly as a fast paced novel, you know you’ve found a winner. Truthfully, I’ve never been a big non-fiction reader unless it’s in service of an essay so when I landed on non-fiction for my book club choice (we made a giant wheel of categories to spice things up) I wasn’t sure what to pick. But I’ve long been fascinated by the IRA without much working knowledge and I’d been impressed by Patrick Radden Keefe for basically telling the Sackler family to eat shit and then writing a massive book, Empire of Pain: The Secret History of the Sackler Dynasty, showing us all why we should also tell them to eat shit, so I figured this would be interesting. Reader, I loved it. Say Nothing by Patrick Radden Keefe is an in-depth and infectiously written account of The Troubles that threads the story of a specific murder through a long history of the Irish Republican Army. Political violence claimed the lives of 4000 people from the late 1960s to the Good Friday Agreement in 1998, though 17 others were “disappeared” during this time. One such disappearance was Jean McConville in Belfast, and Say Nothing uses the investigation of her murder as the focal point to branch into key figures such as Dolours Price and her sister Marian,Gerry Adams, Bobby Sands, and others as well as the key events of The Troubles to craft a very dynamic look at the uneasy history. Through an impressive breadth of research that took four years and effective journalist skills to get the stories out of people who lived their lives around the principal of keeping silent, Say Nothing is a wealth of fascinating stories and such a well-structured and well told book that is impossible to set down. [image] Now-famous photo of a woman volunteer of the IRA with a rifle Oh, you should probably read this review with some accompaniment of IRA folk songs Patrick Radden Keefe had previously written about McConville’s murder in an article for The New Yorker and was briefly granted access to to the Belfast Project records—a secret oral history of The Troubles that were stored under seal at Boston College—when the tapes were subpoenaed by Northern Ireland for the McConville case. What Keefe found in them were personal narratives on the complex history of the IRA, stories of pride, of betrayal, of frustration with the Good Friday Agreement or Gerry Adams distancing himself from his IRA past, and conflicting accounts of events. Say Nothing manages to navigate the complexities (wall graffiti in Belfast reading ‘If you’re not confused you don’t know what’s going on’ is used as a good quip on how complicated the politics sometimes got) in a really accessible and organized way and becomes a rather chilling presentation on the ethics of political violence. It is a reminder how nationalism or even well-founded frustrations can be steered towards violence, and how when the dust settles many people are left feeling that the extreme measures they took—be it violence or having spent a large portion of their lives in prison for a cause—feels like a wasted effort. [image] President of Sinn Féin, Gerry Adams This book is absolutely fascinating and I couldn’t put it down. The stories are wild. There is a great detective-style narrative that recurs through the book but honestly the best parts are the detours into IRA history and all the interesting people involved. Central to the book is Dolours Price who had joined the IRA with her sister and became part of “The Unknown”, an elite taskforce of the IRA. Price spent time in prison for carbombings in England, held a hunger strike, and admitted to many acts of violence. But was she behind the killing of Jean McConville? Readers will have to find out! [image] Dolours and Marian Price The sections on Price’s activism are quite intense and engaging. The British police come across like the Keystone Cops here, and it is rather amusing to see, for instance, Price getting cops to look the other way by showing her leg so they don’t notice the car full of explosives behind her. Also this covers one of my other favorite things: art heists! There are some great stories of art heists being used to draw attention to the cause or ransom the paintings for the release of Dolours Price. I was also fascinated to learn she was married to Stephen Rea, who you may recognize from films such as The Crying Game, Michael Collins, or V for Vendetta. And I learned that there was a ban on the voices of Sinn Féin members on British television, which explains the joke in the show Derry Girls (if you have not watched Derry Girls drop all plans for your weekend to do so) where the grandfather claims Adams voice was dubbed on tv because the British thought it was too sexy and would seduce all their women. [image] Dolours Price with husband Stephen Rea Even if you aren’t normally a non-fiction history reader like me, Say Nothing is sure to blow you away. I mean like as in impress you, not IRA explosives. It is a fascinating history and often a very tragic story. We experience McConville’s children, for instance, who recognized her captures and would see them around town for years after knowing the people likely killed their mother. We experience all the anger, frustrations and feelings of resentment, and we experience a rather well-told and dynamic history of The Troubles. Plus everyone in my book club loved it, so that was nice. Highly recommended. 4.5/5 [image] ...more |
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not set
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not set
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Dec 29, 2023
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Hardcover
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1615199500
| 9781615199501
| 1615199500
| 4.11
| 2,876
| Feb 28, 2023
| Feb 28, 2023
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really liked it
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Condensing a vast and nuanced history into an accessible walkthrough with the intention of being on the shorter side will always have its flaws, but f
Condensing a vast and nuanced history into an accessible walkthrough with the intention of being on the shorter side will always have its flaws, but for those looking for a worthwhile introductory read The Shortest History of Israel and Palestine is a great starting point. This has become my recommendation for those looking for a first read at my jobs, though I would encourage any readers to continue to find additional sources. The overview is great and provides a lot of concise details that manages to still convey how very nuanced the situation is as well as examining how people are divided over the issues, though there is still a lot to be learned and Scott-Baumann does provide an extensive bibliography that can be a great resource for that. As for concerns of bias, I feel this does an excellent job at trying to simply present the historical context and provide a variety of personal testimonies but I also feel that, due to language being an imperfect and inherently biased medium, there can truly never be such a thing as unbiased or completely objective. It’s just human nature. That said, this is an insightful look at key events across the centuries to give an accessibly detailed overview of the early role of the British and the establishment of Israel in 1948, the Nakba, the Six-Days War, the PLO, Netenyahu, and more recent events like the Nation-State Law, Trump’s 2020 plan all the way to the present. I’ve previously read The Palestinian-Israeli Conflict: A Very Short Introduction a few years back and found this to be a bit more engaging to a general audience while also covering events of the recent decade (Bunton’s was published in 2013, this one, was 2021 and has been recently updated to bring us up to mid October 2023 where an estimated 2,600 have been murdered in Gaza and another million displaced). For that I’d say both can be a good resource, but for a general audience looking for an introductory work, I’d recommend this one.A lot of history is covered here, beginning in the 1800s with only a few slight references to life pre-Ottoman and such. It touches briefly on topics such as diverse peoples living side-by-side there throughout history and that the Biblical connections to a nation state are a very recent idea. It stays primarily focused on Israel, Gaza and the West Bank but does provide a bit of context on larger political issues in the Middle East and how that plays into the events here. It also dives into the role of the US in funding Israel and gives an overview of how much changed in just the last few years with influences of Trump as well as the Netanyahu being replaced by Naftali Bennett, then returning to power again in 2022 after the Israeli government collapsed after one year. If you are looking for a book that dives back into the past and brings you up to speed, this is a good one and you will certainly see that there is a long history of conflict well before this past October. ...more |
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1101971061
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| 1101971061
| 4.47
| 398,627
| Jun 07, 2016
| Apr 2017
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it was amazing
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‘The family is like the forest: if you are outside it is dense; if you are inside you see that each tree has its own position.’ History is alive in all ‘The family is like the forest: if you are outside it is dense; if you are inside you see that each tree has its own position.’ History is alive in all of us, charting a timeline into the future with each breath we take and moving to the rhythm of our actions. Like a relay race, the past passes us the baton and we must make do with it while we can before passing it off to the next generation. We also pass along our stories to remind those of where we have been and hope they can serve as guidance in the future. This all truly comes alive in Yaa Gyasi’s staggeringly impressive debut novel, Homegoing where we see how ‘history is storytelling’ and generations inform upon one another. The novel charts family lineages of two half-sisters in Ghana from the fracture point—one is sold into the slave trade and sent to the United States while the other remains in Ghana—to the present day with the sin of slavery casting a horrific ripple through all of history as we encounter Jim Crow laws, the Civil Rights Movement, or dealing with the effects of colonialism and fighting towards Ghanaian independence. Homegoing is jaw-droppingly gorgeous, told in a series of short stories that proceed across the generations and show the scars of history and trauma in both its immediate and inherited forms. While the paths separate, there is always a subtle pull towards home, towards Ghana, towards family, that is felt in every chapter. Gyasi crafts a brilliant tale rife with symbolism and yearning, and one I was lucky enough this evening to hear her speak about in my hometown. [image] I’m late to the party on this one—Homegoing arrived on the scene in 2016 to immediate accolades—and there is likely little left to say about this gem of a novel that hasn’t been said far more eloquently before, but I really enjoyed reading this as part of our community Big Read and hearing Gyasi talk about it. The novel, she explained, was inspired by her own trip to Ghana during her college years (Gyasi was born in Ghana but grew up in Alabama) and was her attempt to examine the ‘liminal identity’ she felt due to her heritage and current home. She told us that Willie was the character she admired most, yet it was H. who was her favorite to write, drawing from vast research on the Reconstruction Era in the United States where ‘no one forgets that they were once captive, even if they are now free,’ and the creeping realization that while free, they were still very much captive. H. finds himself forced to work the mines where 'the convicts working the mines were almost all like him. Black, once slave, once free, now slave again.' These sorts of realizations permeates the novel on both sides of the ocean as the effects of slavery, capitalism, and colonialism reverberate in each branch of the family tree. ‘They would just trade one type of shackles for another, trade physical ones that wrapped around wrists and ankles for the invisible ones that wrapped around the mind.’ Scars are highly symbolic in this novel, both physical and emotional, and we see how the ripples through history are always threatening to wash even the surest of personal journeys out to sea. Generational trauma plays a large part in Homegoing, being just one of many aspects of the family legacies as they deal with complicity in the slave trade, racism, poverty and all the while fight to keep afloat and hope the next generation can benefit from their struggles. ‘We believe the one who has power. He is the one who gets to write the story. So when you study history, you must ask yourself, Whose story am I missing? Whose voice was suppressed so that this voice could come forth? Once you have figured that out, you must find that story too. From there you get a clearer, yet still imperfect, picture.’ The collective narrative here is quite powerful and certainly more than the sum of its parts. Each chapter is both another leg in the legacy journey yet also feels self contained enough to have appeared as a stand-alone story. This keeps the book moving at a rather rapid pace with tension continuously rising and falling to pull you along. With each character we get a better depiction of the effects of slavery and racism, and even those left in Ghana feel it. Gyasi confronts the legacy of the slave trade in how an aspect of colonialism was to turn people against each other and sell each other for a short term gain and a larger benefit of the colonizers who would continuously keep them oppressed for generations to come. ‘Evil begets evil. It grows,’ Gyasi writes, ‘it transmutes, so that sometimes you cannot see that the evil in the world began as the evil in your own home.’ An aspect I found particularly admirable was how, despite the short stay you have with each character, Gyasi manages to craft them in a way that displays how nuanced people really are. There are no flat characters here and we often see them struggling with conflicting ideas. Faith, for instance, is a large theme with many of these characters. Religion is shown as being an arm of colonialism, yet we also have Willie for whom her conviction in her faith is part of her strength. The conflicting messages of symbols serves to show how nothing in life is ever truly simple and everything is tainted in the sins of the past in some way, shape or form. It really captures the idea of the liminal identity that Gyasi speaks of. ‘There's more at stake here than just slavery, my brother. It's a question of who will own the land, the people, the power. You cannot stick a knife in a goat and then say, Now I will remove my knife slowly, so let things be easy and clean, let there be no mess. There will always be blood.’ Each character must deal with the past, but also the present and as the novel progresses we see that for each way things may be improving (Marcus and Marjorie, for instance, are able to attend Stanford) in many ways things have remained the same or mutated into new forms of oppression. Misogynoir—the intersection of racism and misogyny—is largely felt into the present, as are moments of homophobia. History is an endless battle and often the characters become quite beleaguered by it all. This is often a rather brutal novel, not fading away from violence, and just when you think something good might happen, Gyasi pulls the rug out from under you. Yet, collectively, this becomes a very beautiful and moving story. The moments on the beach in Ghana with Marjorie and Marcus are fleetingly felt by the characters, but the reader sees the connection and significance of the stone in ways that say sometimes this is enough. Sometimes things bend towards beauty even in the harshest of worlds. ‘This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others.’ Gyasi’s Homegoing is quite the achievement of fiction, making history into a brilliant and multi-faceted tapestry that probes at great evils but also champions the human spirit of endurance. A moving novel that will not likely ever be forgotten. 5/5 ‘Weakness is treating someone as though they belong to you. Strength is knowing that everyone belongs to themselves.’ ...more |
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The long, arduous history of how the Statue of Liberty came to be is one of my favorite bizarre and comical art history stories. Get ready, this is a
The long, arduous history of how the Statue of Liberty came to be is one of my favorite bizarre and comical art history stories. Get ready, this is a wild ride: So we always hear about how it was some gift to the US from France as a peace offering, but this is a stretch and in fact nobody even really wanted it at first. The artist, Frédéric-Auguste Bartholdi, was really into Egyptian pyramids and had this idea that he, too, would create a lasting work of art to put him in the history books with the Wonders of the World. So he cornered the Khedive—leader of Egypt—at the 1867 World Fair in Paris and told him the idea. Egypt was not interested and said “nah, man, we already spent too much on this canal” Upset and unsure what to do, a friend of his said that Americans have some historical moments coming up (anniversary of the Revolution) and they’ll buy anything. So he did a pretty basic reworking of the original design, made the statue the likeness of his mother, changed the name from “Egypt Carrying the Light to Asia” to “Liberty Enlightening the World” and brought that to America in 1871. Bartholdi traveled the country pitching his idea but nobody cared, so he went back to France and started on it anyway with his friend Edouard de Laboulaye who pitched the idea of making it a French American monument as some vague unity statement. Laboulaye was really into the history of the American Civil War and wanted to commemorate emancipation as a blatant insult to the Confederates who he openly insulted in his letters, so in 1875 he pitched the idea to the French government and raised $250,000 to begin. The idea was they’d make the statue and then con the US into funding the base for it when they’d inevitably just dump the statue here and say “you’re welcome, now display my unsolicited art!”. Legendary move, I respect that. [image] Construction of the project over time In 1876 they brought the right hand with the torch to Philadelphia to build excitement for the project (because they were short on money). Once again, nobody cared. New Yorkers were all “what the hell is this!? We don’t want this.” and Bartholdi was like “I’m not paying to take this home, I’ll just leave it in Philly and when the project is done they will get it. It’s going to be the next Wonder of the World and you’ll be sorry!” New Yorkers hated the idea of Philly one upping them so they resignedly took the torch to Madison Square and hoped for the best. [image] Now that they were stuck with part of a statue they didn’t want, Bartholdi informed New York he was out of money and they’d need to raise some so he could finish (clever, right?). So NYC started trying to raise money, selling miniature figurines of what they assumed the final product would look like. Poet Emma Lazarus wrote “The New Colossus,” and read it at a fundraising art exhibition in 1883, her words would then become the famous words on the statue two decades later. But they still didn’t raise enough. There was actually a fair amount of resistance to the project in the US. The primary reason against it was that the US was weary of France, still fresh off their revolution. The wealthy thought an icon from France that represented a “peasant woman” would inspire the working class to overthrow their oppressors like in France. But also Religious leaders spoke out against it as pagan imagery and that women should not be idolized (my eyes can’t roll hard enough). Basically, the people with the money to fund it were not interested. Here comes a really wild part. When they ran out of funds in 1884, Joseph Pulitzer—famous newspaper guy—was like “you need money, I need to sell newspapers, I got an idea”. On March 16, 1885 he published an ad marketing it as a working class struggle and that if anyone donated ANY sum to the project, their name would appear in his newspaper: ’It is not a gift from the millionaires of France to the millionaires of America, but a gift of the whole people of France to the whole people of America.’ 125,000 people donated, most $1 or less, and raised $100,000 in 5 months. All of these people then subscribed to his newspaper to see their name, making him the most successful newspaper at the time [see also: a socialist pastor invented the Pledge of Allegiance as a marketing campaign to sell newspapers in 1891.] [image] Finally the statue came to the US in 1885 in 350 pieces. The Women’s Suffrage Movement >protested the unveiling, rightfully pointing out it was an insult to have a statue of a woman represent liberty in a country that didn’t allow women the Right to vote. Bartholdi’s daughter was one of only two women in attendance for the ceremony while protestors drowned out the President’s speech and threw trash at the crowd. There was supposed to be a parade of boats so the Suffragists chartered a boat and crashed it into the procession, then held up banners condemning the statue. [image] The statue is still a center of protests, such as Therese Patricia Okoumou climbing the statue on the 4th of July, 2018 to protest the cruel separation of migrant families by ICE But this story still gets even better. Nobody knew what to do with the statue. Ulysses S Grant tried to turn it into a lighthouse, very much against the wishes of Bartholdi. The bulb wasn’t strong enough to see it, so that was scrapped. Then Thomas Edison wanted to put a giant phonograph in the head and make the mouth open at a certain time of day to deliver “patriotic messages”. Once again Bartholdi was annoyed and embarrassed and luckily this super creepy idea never happened. When the copper turned green he wanted to fix it up but New York was like “nah we like it green.” After this he gave up on having anything else to do with the statue. Later, the US would build a small replica and give it to France as a “thank you.” France said “why would we want this?” and stuck it in the middle of the Seine where it still sits. [image] And there you have it. The long and comical story of how Lady Liberty came to be. ...more |
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0811229548
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| 3.85
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| Feb 09, 2021
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really liked it
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Ellis Island: the ‘golden door’, ‘the island that / in every European tongue / had been renamed the Isle of Tears,’ tränen insel, ייל פון טרערן, wispa
Ellis Island: the ‘golden door’, ‘the island that / in every European tongue / had been renamed the Isle of Tears,’ tränen insel, ייל פון טרערן, wispa łez, ile des larmes, Остров слез, isola delle lagrime… Not to be confused with Liberty Island, housing the Statue of Liberty seen as emmigrants approached the harbor (the creation of it being on of my favorite humorous art stories which I wrote about here), but a tiny island where over 16 million people would enter the United States starting with teenage Annie Moore from Cork, Ireland in 1892 until its closure in 1954. Ellis Island from French author, filmmaker and Oulipo member George Perecs (translated here by Harry Mathews) is a hybrid text ‘attempting to give palpable form / to what those sixteen million individual stories were’ and its lasting legacy as what he calls ‘the ultimate place of exile.’ Through prose, poetry, lists, data and literary quotations, Perec’s constructs a piercing gaze at this ‘non-place’ where millions arrived after grueling journeys to go from ‘emigrants into immigrants.’ My own family passed through here, leaving Poland as the Piatkiewicz family and reemerging as Penkevich like many of the examples of names being changed at whim Perec describes. A short but powerful read on ‘dispersion, wandering, diaspora,’ and the legacy of Ellis Island. [image] Perec at Ellis Island First, I’d like to shoutout to Kilburn Adam and his wonderful review through which I learned this book even existed. It’s a quick read at just over 50 pages followed by an equally impressive afterword by Mónica de la Torre for the 2021 reissue. She provides an interesting history of the book, written in conjunction with a documentary Perec worked on about Ellis Island and featured much of this text as a voice-over narration, as well as tying this history of immigration to issues surrounding it in the present during the COVID pandemic. ‘Why are we telling these / stories? what did we come / here to find? what did we / come here to ask?’ Perec writes, examining the island in a state of ruin as people began to convert it into a tourist location, and how the legacy is converted into a different experience for the new and future generations. ‘What had been for the others a place We learn the long history of the island, going from military fort to an immigration center with light restrictions (2% of people were turned away, which is still a lot of lives) that overtime increased with literacy tests and other exclusionary laws before eventually—in what feels very much indicative of the US—being converted into a detention center for a while. He also observes how this “golden door” was not the dreamland promised with many immigrants facing harsh xenophobia, low wages and poor housing opportunities, saying they learned quickly the streets they heard had been paved with gold were not for them to travel upon but only labor through the bricklaying. ‘The point is not to have pity, but understanding,’ Perec writes, and he delivers his examination with great power and empathy, exploring the past and these people’s lives, and it makes for a very moving read. [image] ‘ we were sure of having resoundingly evoked the two words that lie at the very heart of this long venture: two intangible, precarious, weak, fugitive words that keep endlessly refracting each other’s wavering light and whose names are wandering and hope.’ Ellis Island from Perec is a great little book in a beautiful reissue, and a highly recommended little look at history. It is a great reminder that the United States is made up of people from all over and will (and should) continue to be so, and that the complaints that people need to “come in legally” like “their ancestors did” is not anywhere close of a one-to-one comparison of immigration restrictions now and the time of Ellis Island. A wonderful little book just important now as it was then. ⅘ [image] ‘they had given up their past and their history, they had given up everything for the sake of coming here to try and live a life they were forbidden to live in their native land: and now they were face to face with an inexorable finality’ ...more |
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0226815536
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| 0226815536
| 4.04
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| Oct 31, 2022
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really liked it
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‘Camus allegorized war as plague, but plague, too, can be deployed as a political allegory.’ The Spring of 2020 shook up the world as the COVID pandemi ‘Camus allegorized war as plague, but plague, too, can be deployed as a political allegory.’ The Spring of 2020 shook up the world as the COVID pandemic swept in. For Laura Marris, this was extra unsettling as she first caught wind of it spreading while in the city of Oran doing research for a new translation of Albert Camus’ famous novel about the city of Oran under lockdown from a deadly disease, the aptly titled La Peste, or The Plague. Traveling with Laura was Alice Kaplan, who was teaching the novel at Yale, neither yet aware ‘how much more immersed we were going to become.’ Together they have written States of Plague: Reading Albert Camus in a Pandemic, which features rotating essays between Laura Marris and Alice Kaplan to discuss The Plague on aspects including the use of language and the interplay of past and present that also captures the ‘moments where the written and the real collide.’ Deeply engaging and intellectually stimulating, this would appeal to academic interests as well as those with a general interest in Camus, making for an excellent overview of his life and his literary efforts in general, and was an absolute joy to read alongside the novel. The sections from Laura Marris tend to focus most on Camus’ use of language as well as her thoughts on translating the novel and her reasons for many of the choices. It was also interesting to hear about how this was basically her pandemic project, translating a fictional account of what was basically going on around her in real time. She discusses how she tried to avoid making it feel couched in the language of the current pandemic (scourge instead of pandemic, serum instead of vaccine, etc) and be as faithful to Camus’ intentions as possible. A big aspect is her focus on his use of restraint in the book and all the implications, which I have written on at length here in reviewing the book for those who are interested. By holding back the dazzle for a moment,’ she writes about how the restraint goes beyond the themes and into the experience of reading as well, ‘a writer can let someone look directly through the page, at the part of the world that hurts.’ She also discusses how it plays into so many of his larger literary and philosophical ideas. As he wrote in ‘‘Through style, the creative effort reconstructs the world, and always with the same slight distortion that is the mark of both art and protest…Art is an impossible demand given expression and form.’ For Camus, the book was about achieving that reconstruction of life. Discussing Camus’ own experience with tuberculosis, she analyzes the novel as a way of capturing how ‘his own struggles with illness made him confront his own mortality.’ I also enjoyed her segments on Tarrou, who she calls her favorite character (he is mine as well) and how he not only breaks her heart but Riuex’s as well. She points out that she points out, at the end, it is through Tarrou that Riuex recognizes most that the plague isn’t just some abstract idea they are fighting but concrete and violent and that ‘a plague can never be an abstraction when it takes human lives’ But also her discussion on how ‘Tarrou has to teach the hardest lesson: insignificance is a gateway into human life, and it’s also a gateway out.’ In this way she examines how little narratives within the narrative, such as the man Tarrou chronicles who spits on cats, are seemingly insignificant but also make up for the reality of life. That every individual life matters and has a story to tell, then tying this to his pursuit against death. Alice Kaplan also has much to say about Tarrou, with her chapters addressing Camus’ world and personal history and passing it through the novel and into discussions of our modern pandemic. Kaplan discusses how Tarrou represents a major theme of Camus about social responsibility as a form of protest. Quoting an analysis of the novel by Jacqueline Rose, she shows how Camus believes we are all responsible for one another: ‘the plague will continue to crawl out of the woodwork—out of bedrooms, cellars, trunks, handkerchiefs and old papers—as long as human subjects do not question the cruelty and injustice of their social arrangements. We are all accountable for the ills of the world.’ I greatly enjoyed the segments that discuss our current issues in relation to the novel, though felt that there could have been a lot more of that. Having been written while it was all ongoing, though, I suppose not enough had been sorted out. I would love to see a book that does address this directly however. Though she does discuss how much separation was a major theme of the novel, originally intended to be titled ‘Les Séparés’, or The Separated Ones, and looks at how Zoom and other technology allowed people to be connected still, though as a pale imitation of actually being together. Her chapters are quite interesting, discussing a lot of history about Camus and how it relates to the book. Mme Rieux, for instance, is based on Camus’ own mother. He had transcribed a conversation he had with his mother at the outbreak of WWII, and that conversation appears in the novel nearly verbatim, only substituting the word “war” for the word “plague. Another interesting thing I learned was that the refugee camps in Oran following the Spanish Civil War were the basis of the camps for the sick in the novel. She discusses much of Camus’ ideas of revolution and protest, though also that he did not support the Algerian Revolution which is quite disappointing. She does paint Camus as a complex figure, and I enjoyed learning a lot here. It could be said there is a bit of idolization of Camus here, which was quite noticeable reading it alongside Albert Camus: A Very Short Introduction which often feels rather antagonistic towards him, but it never seems saccharine or misguided in glossing over anything. States of Plague is a fascinating read that offers a lot of insight, both textual and historical. I enjoyed the writings by both authors here (I really loved Marris’ essays on translation best, but I am biased) and I would encourage anyone who has read The Plague to give this a read. It is a bit short but it is certainly a wealth of knowledge, like having taken a college course on the novel itself. This was a great companion for reading The Plague. 4.5/5 ...more |
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1949641031
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| 1949641031
| 3.44
| 252
| Jun 14, 2002
| Jun 09, 2020
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really liked it
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‘People who forget the past repeat it. We have to remember. We have to atone.’ History tangles its web around the lives of all it swallows, creating su ‘People who forget the past repeat it. We have to remember. We have to atone.’ History tangles its web around the lives of all it swallows, creating such a complex lineage those who wish to untangle it and examine the wounds within wonder if objective truth is merely a matter of perspective. ‘You can’t judge by appearances,’ we are frequently told in Masatsugu Ono’s Echo on the Bay, a deeply unsettling and destabilizing novel where underneath the first impressions of humor and small town gossip lurks a dark and tangled history of violence, betrayal and human folly. Weighing in at only 150pgs, this book hits with the force of novels twice its size, embroiling the reader in a multigenerational saga surrounding the families of a small coastal town where each revelation leaves you reeling and aching to understand more. It is dark and bleak yet full of intrigue as dead bodies may lurk in the beaches, and a boat that mysteriously disappeared decades ago returns and sits just off shore. Angus Turvill brilliantly captures the novel in English here, and the novel seamlessly skips around a lengthy timeline teasing out details in a convoluted—yet gripping—fashion as told in the ramblings of the local drunks. Through this offbeat narrative Ono captures heavy and necessary messages on history such as generational trauma, violence, the horrors of imperialism and a warning of climate disaster as we raze the Earth for profit while keeping the reader and narrator thirsty for the truth underneath it all. ‘Nothing serious happens here,’ the father says as the novel opens and the family (the teenage daughter, Miki, narrates the story) moves into a tiny fishing village. This is immediately ironic—I was reminded of the opening line to the surreal and bonkers series FLCL: ‘nothing amazing happens here’) as violence and debauchery lurk everywhere and the coastal town is not as idyllic as one would assume. ‘When I get out of the car, there's a dry smell, like manure,’ Miki tells us, ‘flies buzz around my head, their abdomen and wings bright in the sunshine — rough, black beads of light.’ Charming place, eh? Fishing and construction seem to be the only industries, and drinking the only entertainment. That is, until a local election pits two brother-in-laws against each other and a feud between families slowly unearths and their home, with the father as the only police officer in town, becomes a center for gossip as drinks loosen lips. The characterizations here are extraordinary, with Ono creating so much in such a short space until you feel like you truly know these people. The father—‘a middle-aged personification of indecision, a caricature of a person whose primary aim in life is to avoid confrontation at all costs’—is immediately latched onto by the local drunk who ‘endured no real defeats, exhausted by an endless struggle against barriers (the enemy without) and hesitation (the enemy within),’ and lives off disability payments for damage done working. ‘He tried to drink himself from humanity back into an inorganic state,’ writes Ono, and the group of four other frequenters, laid off and collecting silicosis payments, do the same. They seem to Mr. Kawano, another local election candidate who runs and loses every time as a communist, to be ‘in human form, the antithesis of the capitalist society that Mr. Kawano hated—the end point of his criticism of that whole social system.’ Though in his speeches Kawano only seems to ask the locals to stop firing bottle rockets at the horribly scarred woman who lives in town and everyone wonders ‘was there a connection between that and communism? Nobody in the village knew enough about “communism” to be able to judge.’ Ono displays an extraordinary amount of restraint, never connecting the dots fully for the reader but placing them adjacent enough that you can’t miss. The damage done to the bodies of those driven to drink is not unlike the damage done to the environment by the fishing corporations. The waters are red and polluted and the weather becomes brutally hot and lifeless. ‘The red tide was blood shed by the bay,’ we are told. ‘it was blood sullied with evil and poison,’ and the officials only decide to do anything about it in order to protect the profits of the corporations, though it is known the fisheries are what caused the pollution and are killing the fish they need to survive, a pretty blunt statement on neoliberalism valuing profit over people and nature in a way that becomes like a snake eating its tail. Ono employs many metaphor and descriptions that all bend towards this idea, machines with ‘voracious iron mouths,’ or Miki’s description of warm air: ‘Hot air came rushing in—hordes of starving people swarming into a palace after the dictator has fled: forcing the great doors and, overrunning the palace, mad with anger and delight, grabbing riches that had originally been plundered from the people, from them’ The smell of rot and decay seems everywhere in the book, including the colonel who reeks of death from within, showing how the decay of morals brings about the decay of flesh and Earth. But the real magic shines as Ono unveils the tangle of family histories and their connection to violence and the local companies and, while the picture eventually comes into focus, it is never quite nailed down and left to the reader to decide. It’s brilliantly executed, almost like a mystery-novel unveiling of clues that keep you in the dark until the time is right. Frustrated by the slow-burn reveal of wandering conversations, the narrator is reminded of hearing a western ethnologist describe the frustration of looking for information in a foreign culture: ’Just when you think your informants are about to tell you something, they go off on a tangent, recounting anecdotes of no direct relevance...the ethnologist begins to think sincere attempts to discover truths about a society and culture are being deliberately obstructed…For them, it’s the normal way of talking about the subject. We may think they’re digressing, but in their minds they aren’t at all. And what we find logical can be totally irrational to them.’ This description perfectly embodies the digressive quest for history in Echos on the Bay where the unfamiliar culture is the tormented memory lane of the intoxicated insiders. ‘Violence passes from person to person, and it builds up.’ Generational trauma informs every action in this novel, from abusive husbands who are not excused of their behavior but pitied for having been abused themselves to desires to set things right to account for past wrongs of a bygone generation. The mysterious ship is like a vessel connecting past and present with a cargo bay full of painful memories that, once opened, unveil a new horror for the present. ‘The boat in the bay floated silently as the rain beat down. It was like a memorial to the victims of a disaster that had been wrought by humans, and yet was more terrible than humans could imagine.’ Ono reminds us of the violence of history and warfare, such as villagers harmed by their own in occupied Manchuria and how it connects to refugees in the present. The town has a dark tale underneath, one that permeates every relationship for decades yet is only spoken of in whispers, and those who might uncover the truth are declared drunken fools. The novel, which opens as rather comical, becomes a chilling portrait of history and a stern warning to the future. ‘We have to atone.’ Despite the unsettling tone and messages, the novel reads rather whimsically. It was so gripping I finished it in a single day, haunted by it between readings and craving the answers. I had previously read Ono’s At the Edge of the Woods and was so charmed by the sinsiter surreal narrative that I knew I had to try another of his books and I have not been disappointed. While this book reads as less surreal there are still whifs of magical realism that feel comfortably nestled into the overall offbeat tone of the novel. Echo on the Bay has powerful teeth that gnash sharp criticisms, yet it is also overflowing with sorrow and empathy and is often disorienting and overwhelming, but delightfully so. 4/5 ...more |
Notes are private!
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Aug 18, 2022
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Aug 18, 2022
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Aug 18, 2022
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1608468526
| 9781608468522
| 1608468526
| 4.30
| 466
| 1923
| Oct 24, 2017
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really liked it
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‘There can be no wavering, no backing down. We must undertake the struggle against fascism with vigor from the very first moment.’ Composed of several ‘There can be no wavering, no backing down. We must undertake the struggle against fascism with vigor from the very first moment.’ Composed of several works and reports written in 1923 by German Marxist Clara Zetkin, Fighting fascism: How to Struggle and How to Win is an essential historical look at the rise of fascism and ideas on dismantling it that still reverberates today. Compiled by Haymarket Books, this is a brief book that focuses on the rise of Benito Mussolini to create a model on accessing fascism, and will give you plenty to ponder. Zetkin’s unique positions and approaches will be interesting even to those with a general sense of the topic already. While there is quite a bit of cross-over discussions over the three primary works, each constructs a larger model of what fascism is, how it comes to power, and what actions must be taken to stop it. Zetkin announces fascism as the natural product of capitalism, a force that is employed when threatened by progressive movements or during times of economic hardships, and she views it less as reactionary to worker’s movements and proletariat gains but as ‘punishment because the proletariat has not carried and driven forward the revolution,’ or, simply put, it is the revenge of not thoroughly and effectively eliminating capitalist oppression. She argues that we can better overcome it if ‘we grasp its essential character and how that character is expressed,’ and if people put up a united, international front and this book is a worthwhile primer in identifying, understanding, and working against fascism. ‘Fascism is the expression of the economic decay of capitalism and the disintegration of the bourgeois state.’ Zetkin is an interesting figure worth reading about, who hung out with Rosa Luxemburg, spoke internationally against the threat of fascism, and was called a ‘slut’ in the press by Joseph Gobbels after a 1932 speech against fascism in German. As these works were written in 1923, the primarily concern fascism in Italy (there is an interesting aside where she warns the economic turmoil in Germany may be a breeding ground for it to spread), but it functions as a useful portrait of the ideology at large. She has many key ideas on how fascism takes root. She argues it is ‘inextricably tied to the economic crisis of capitalism and the decline of its institutions,’ and a shrinking middle class being pushed down into the lower class. Attacks on the working class, particularly in response to worker’s movements, will cause the petty-bourgeois to distance themselves despite having a stronger class affinity with lower classes than the upper echelons that oppress them (think, for example, the lower-middle class defending against taxing billionaires despite these taxes not affecting them). A crumbling or threatened capitalist economy will also lead them to abandon the proletariat for the bourgeois. ‘Masses in their thousands streamed to fascism. It became an asylum for all the politically homeless, the socially uprooted, the destitute and disillusioned.’ She sees fascism as positioning itself as a place for those who see themselves as without a party or wanting to ‘escape from deep anguish of the soul,’ and warns that the failures of a worker’s revolution will lead to fascism, not as a reaction but as punishment. fascism rises when people become disenfranchised by progressive movements not moving swiftly or thoroughly enough, and Zetkin warns that ‘Liberal procapitalist forces frequently suggest that if fascist figures are just ignored, they will go away.’ Those who are not initially adversely affected will abandon progressivism in hopes that the fascist uprising will leave them alone, not be that bad, or that it will work itself out into some quiet normalcy. Obviously she warns against this line of thinking. She charts Mussolini’s rise to power in order to demonstrate this, and sees the failures of the communist party to overcome the Italian bourgeois as a major aspect of his rise. As discussed in detail in How Democracies Die: What History Reveals About Our Future by Steven Levitsky and Daniel Ziblatt, weak governments assume that if they give the fascisms space to put down the uprisings or complaints they feel are harming the economy, they will be able to control them. ‘The prosecutors let all this take place without regard to law and justice,’ Zetkin writes, in a chilling reminder that the police will not protect citizens against fascism and, likely, will be a supporting force. Zetkin shows how, once in power, fascism’s promises of a better country for all and what it actually delivers are two different things. ‘Fascism brings the bourgeoisie lower taxes, increased possibilities for tax evasion, and fat contracts,’ she writes, and shows how promises of election reforms removed democracy and Mussolini failed on his promise to grant women voting rights. ‘To garner support, fascist movements play on resentment.’ It is seen how social and economic crises pave the way for fascism, though Zetkin also shows how instead of addressing the failures of capitalism that lead to it, it finds scapegoats. Historically it has bolstered itself on demonizing, Jews, Black people, immigrants, the LGBTQ+ community (especially the trans community as we are seeing right now in the United States), and always women. Dr. Kate Manne discusses at length in her two books how ‘misogyny as the system that polices and enforces [patriarchal] governing norms and expectations,’ a line can easily be drawn that patriarchy is a functioning limb of authoritarianism, always ready to scapegoat women in order to drum up authoritarian enforcement. For Zetkin, fascism is the refusal to allow a better, equitable world, and instead of delivering on the promises it propagates to it’s followers, it inevitably leads to bureaucracy and violent class warfare that eliminates the scapegoats and further oppresses the working class in the name of nationalism. ‘Its goal is to recast the old bourgeois “democratic” state into a fascist state based on violence.’ ‘How can we offer the masses more than just defense of their bread?’ So, what is to be done? Zetkin says we should first look at the cracks that will inevitably form in fascist ranks. Its formation will create ‘conflicts between the old established bureaucracy and the new fascist one; between the standing army with its officer corps and the new militia with its leaders,’ and the working class will quickly see they do not have a seat at the table. She cites mass layoffs, such as ‘17,000 railway workers’ following the fascist coup, and highlights these as people to reach out to. Her goal is to create a united front, from people of all walks. ‘We must go to them with conviction and understanding for their condition and their fiery longing, work among them, and show them a solution.’ She argues that only through a united, international front can fascism be overcome. She calls for an international boycott of Italian industries, but also to provide ‘material and moral support of the persecuted working class of Italy.’ Ensuring that the proletariat sees a solution and a way towards a government for and by the working class is the only way, she argues. ‘A special structure to lead the struggle against fascism, made up of workers’ parties and organizations of every viewpoint, must be formed in every country.’ Education is extremely important, Zetkin writes, and mass education. Also the advancement of public institutions. Also, guns. Zetkin is not non-violent and calls for ‘self-defense of the workers, in order to confront force with force,’ to ‘meet violence with violence,’ and says that ‘weapons in the hands of the working class mean the disarming, the overpowering of the bourgeoisie.’ Personally I’m not into violence, but I see her point, though she also writes that ‘military means alone cannot vanquish it, if I may use that term; we must also wrestle it to the ground politically and ideologically.’ This united front must come from everyone and on all sides, fighting in the streets, fighting for political office, fighting intellectually, and at all times educating the public against fascism and towards a better future. For Zetkin, this is Marxism. I do suspect many will come to this book thinking it is going to give guidelines how to fight fascism in our current day and age. But it is not a one-to-one ratio of 1920s Italy and wherever you are currently hoping to resist mounting fascism. Zetkin tells us this herself, writing ‘it is evident that fascism has different characteristics in every country, based on specific circumstances.’ Also not one text will have all the answers. Though a bit of applied knowledge here goes a long way. Unfortunately, Zetkin never talks about coalition building between race, focusing entirely on social class and worker’s industries, but for someone looking at a really good primer on coalition building for the purpose of an anti-capitalist united front I would recommend Emma Dabiri’s What White People Can Do Next: From Allyship to Coalition. An aspect I really enjoyed about Zetkin is her focus on inclusion of women in movements and an insistence that ‘they must not be absent from the united front of working people.’ Is this a perfect book? No. But is it a fascinating and useful historical context? Yes and some. Clara Zetkin is very accessible and very interesting, and I would recommend spending a quick evening read with this book. ⅘ ...more |
Notes are private!
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Jul 06, 2022
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1770464573
| 9781770464575
| 1770464573
| 4.44
| 6,408
| Sep 21, 2020
| Nov 02, 2021
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really liked it
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When Korea was divided along the 38th Parallel, many families were permanently separated from each other. Families fleeing the war got split up in the
When Korea was divided along the 38th Parallel, many families were permanently separated from each other. Families fleeing the war got split up in the chaos and confusion, with some making it to the South while their loved ones got trapped behind and as generations passed they have been unable to contact each other. The Waiting is a heartbreaking and important story about these family separations beautifully told and illustrated by Keum Suk Gendry-Kim and translated into English by Janet Hong. Based on the story of her own mother’s separation from her sister during the conflict, Keum rotates between past and present to demonstrate the horrors of war and the courage of the human spirit as aging folks desperately try to use the Red Cross’ reunification program to see their family one last time. This tragic story is told with an abundance of heart and empathy, being both a moving portrait of loss and hope as well as an excellent primer into a people’s history of 1940s-50s Korea, all orchestrated with brilliant art and pacing that will keep you teary eyed and unable to put it down. [image] With her first graphic novel, the antiwar book Grass, Keum Suk Gendry-Kim examined the life of a young “comfort woman”—a Korean girl forced into sexual slavery to the Japanese army during WWII—and the author and translator duo return with The Waiting to continue to look at the tragedies of history in post-war Korea. As with Grass, which was a biographical novel constructed on interviews done by Keum, The Waiting is heavily autobiographical through interviews with Keum’s own mother and grandparents. The primary story is different than her own experience (her mother was separated from her older sister instead of her husband and first-born child, though she does seem to appear as the friend of the mother in this book) but based in truth, and in the afterword she says she ‘chose to create this work as fiction, rather than non-fiction, because I didn’t want to unintentionally hurt those who shared their stories so vulnerably with me.’ There is such a sense of care and respect to the telling of this story and it becomes an important way to honor the past while educating the present. [image] The novel sashays between the past, following a young woman’s life story through World War II (she was hidden away to not be taken as a sexual slave and then married off to keep her safe) and then her escape from the North as the war began. In the present she is in the twilight of her life and desperate to be reunited with her husband and son. Having remarried and had more children, the story is told by her daughter, a journalist interviewing her about her past, much like Keum Suk Gendry-Kim herself. In present time, the Red Cross has been arranging meet-ups, with the 21st family reunion beginning in 2018 at the Mount Kumgang resort in North Korea. With reunions capped at 200 participants, only 2,000 South Korean families have been able to meet their loved ones in North Korea and for only a short period of time under the eyes of North Korean personnel. You can read about it in this BBC article from 2018. Keum says these sections of the book are heavily based on interviews she conducted with South Koreans who were able to attend. Unfortunately, hundreds of thousands have been unable to meet. ‘According to the South Korean Red Cross, in the thirty years leading up to 2018, 132,123 people had registered to meet their North Korean families. Of those, 75,234 have died and only 56,890 are still living, with more than 85 percent of whom are over the age of 70.’ [image] The art is ink and entirely black and white, making it really raw and powerful. There are some really gorgeous moments in this, and the style adapts to the tone of each scene very well, being able to represent calm and chaos just as effectively. Janet Hong does a great job with the translation, leaving many words in the speech to be explained underneath with a footnote for more context. I quite enjoy this style and this book would be very well suited for academic purposes like being read in history classrooms. Though it is quite perfect for personal reading and will completely tear at your heartstrings. The feeling of sadness that fell over me in the final pages was overwhelming and this book is amazing. 4.5/5 [image] ‘This book is dedicated to my mother and all the families separated by war who are unable to return home. - Keum Suk Gendry-Kim in afterword. ...more |
Notes are private!
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not set
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Nov 16, 2021
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