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star-anise · 3 years

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Ok, I'll bite. What *is* the difference between Bridgerton and Jane Austen in relationship to their skirts?

Oh! Not in their costuming, just in their general *waves hands* everything. It's a comment I see a lot about Bridgerton: "Well, it's not much like Austen, is it?"

That's because there are 200 years of literary history between the two, and they have not been empty!

This ended up being 1.5k words, but when I put stuff under a readmore, people don't actually read it and then just yell at me because of a misread of the 1/10th of the post they did read. Press j to skip or get ready to do a lot of scrolling (It takes four generous flicks to get past on my iPhone).

First I'll say my perspective on this is hugely shaped by Sherwood Smith, who has done a lot of research on silver fork novels and the way the Regency has been remembered in the romance genre.

The Regency and Napoleonic eras stretch from basically the 1790s to 1820, and after that, it was hard to ignore the amount of social change happening in Britain and Europe. The real watershed moment is the 1819 Peterloo Massacre, where 60,000 working-class people protesting for political change were attacked by a militia. The issues of poverty, class, industrialization, and social change are inescapable, and we end up with things like the 1832 Reform Act and 1834 Poor Law.

This is why later novelists, like Charles Dickens and Elizabeth Gaskell, are so concerned with the experiences of the urban poor. Gaskell's North and South has been accurately described as "Pride and Prejudice for socialists."

So almost as soon as it ended, people started to look back and mythologize the Regency as a halcyon era, back when rich people could just live their rich lives and fret about "only" having three hundred pounds a year to live on. Back when London society was the domain of hereditary landowners, when you weren't constantly meeting with jumped-up industrialists and colonials.

Jane Austen is kind of perfect for this because she comes at the very end of the long eighteenth century, and her novels show hints of the tremors that are about to completely reshape England, but still comfortably sit in the old world. ("The Musgroves, like their houses, were in a state of alteration, perhaps of improvement. The father and mother were in the old English style, and the young people in the new. Mr and Mrs Musgrove were a very good sort of people; friendly and hospitable, not much educated, and not at all elegant. Their children had more modern minds and manners.")

Sherwood Smith covers the writers who birthed the Silver Fork genre in detail, but there's one name that stands out in its history more than any other: Georgette Heyer.

Georgette Heyer basically single-handedly established the Regency Romance as we know it today. Between 1935 and 1972, she published 26 novels set in a meticulously researched version of London of the late 18th and early 19th century. She took Silver Fork settings and characters and turned them into a highly recognizable set of tropes, conventions, and types. (As Sherwood points out, her fictional Regency England isn't actually very similar to the period as it really happened; it's like Arthurian Camelot, a mythical confection with a dash of truth for zest.)

Regency Romance is an escapist genre in which a happy, prosperous married life is an attainable prize that will solve everything for you. Georgette Heyer's novels are bright, sparkling, delightful romps through a beautiful and exotic world. Her female characters have spirit and vivacity, and are allowed to have flaws and make mistakes without being puritanically punished for them. Her romances have real unique sparks to them. She's able to write a formula over and over without it becoming dull.

And.... well. The essay that introduced me to Heyer still, in my opinion, says it best:

Here's the thing about Georgette Heyer: she hates you. Or, okay, she doesn't hate you, exactly. It's just that unless you are white, English, and upper class (and hale, and hearty, and straight, and and and), she thinks you are a lesser being. [...W]ith Heyer, I knew where I stood: somewhere way below the bottom rung of humanity. Along with everyone else in the world except Prince William and four of his friends from Eton, which really took away the sting. But my point is: if you are not that white British upper-class person of good stock and hearty bluffness and a large country estate, the only question for you is which book will contain a grimly bigoted caricature of you featuring every single stereotyped trait ever associated with your particular group. (You have to decide for yourself if really wonderful female characters and great writing are worth the rest of it.)

So Heyer created the genre, but she exacerbated the flaw that was always at the heart of fiction about the Regency, was that its appeal was not having to deal with the inherent rot of the British aristocracy. I think part of why it's such a popular genre in North America specifically is that we often don't know much British history, so we can focus more on the perfume and less on the dank odor it's hiding.

And like, escapism is not a bad thing. Romance writers as a community have sat down and said: We are an escapist genre. The Romance Writers of America, one of the biggest author associations out there, back when they were good, have foundationally said: "Two basic elements comprise every romance novel: a central love story and an emotionally satisfying and optimistic ending." A strong part of the community argue that publishing in the genre is a "contract" between author and reader: If it's marketed as a romance book, there's a Happily Ever After. If there's no Happily Ever After, it's not romance.

It's important for people to be able to take a break from the stresses of their lives and do things that are enjoyable. But the big question the romance genre in particular has to deal with is, who should be allowed to escape? Is it really "escapist" if only white, straight, upper class, able-bodied thin cis people get to escape into it? In historical romance, this is especially an issue for POC and LGBTQ+ people. It's taken a lot of work, in a genre dominated by the Georgette Heyers of the world, to try to hew out the space for optimistic romances for people of colour or LGBTQ+ people. These are minority groups that deal with a literally damaging amount of stress in real lives; they are in especial need of sources of comfort, refuge, community, and encouragement. For brief introductions to the issue, I can give you Talia Hibbert on race, and KJ Charles on LGBTQ+ issues.

Up until the 1990s, the romance genre evolved slowly. It did evolve; Sarah Wendell and Candy Tan's Beyond Heaving Bosoms charts the demise of the "bodice-ripper" genre as it became more acceptable for women to have and enjoy sex. The historical romance genre became more accommodating to non-aristocratic heroines, or ones that weren't thin or conventionally pretty. The first Bridgerton book, The Duke and I, was published in 2000, and has that kind of vibe: Its characters are all white but not all of them are aristocrats, its heroines are frequently not conventionally beautiful and occasionally plump, and its cultivation to modern sensibility is reflected in its titles, which reference popular media of today.

This is just my impression, but I think that while traditional mainstream publishing was beginning to diversify in the 1990s, the Internet was what really made diverse romance take off. Readers, reviewers, and authors could talk more freely on the internet, which allowed books to become unlikely successes even if their publishers didn't promote them very much. Then e-publishing meant that authors could market directly to their readers without the filter of a publishing house, and things exploded. Indie ebooks proved that there was a huge untapped market.

One of my favourite books, Zen Cho's Sorcerer to the Crown, is an example of what historical romance is like today; it's a direct callback and reclamation of Georgette Heyer, with a dash of "Fuck you and all your prejudices" on top of it. It fearlessly weaves magic into a classic Heyer plot, maintaining the essential structure while putting power into the hands of people of colour and non-Western cultures, enjoying the delights of London society while pointing out and dodging around the rot. It doesn't erase the ugliness, but imagines a Britain that is made better because its poor, its immigrants, its people of colour, and the foreign countries it interacts with have more power to make their voices heard and to enforce their wills. Another book I've loved that does the same thing is Courtney Milan's The Duke Who Didn't.

So then... Bridgerton the TV show is trying to take a book series with a very middle-of-the-road approach to diversity, differing from Heyer but not really critiquing her, and giving it a facelift to bring it up to date.

So to be honest, although it's set in the same time period as Austen, it's not in the least her literary successor. It's infinitely more "about" the past 30 years of conversation and art in the romance genre than it is about books written 200 years ago.

#staranise original #regency romance #bridgerton #long post

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hell-heron · 3 years

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Book Asks (I'm looking for new books ♥): 4, 11, 39, 58, 60

Thank you!

4 - what is your favorite book this year - gonna interpret it as “What’s my favorite book I read this year” for inability to form preferences reason - and it’s def Lolita (V. Nakobov). I had read it before, but in Italian and as a teenager so there’s a lot that went over my head in term of style, of the intricacies of the unreliable narration and of what an hauntingly tragic character Dolly actually is beyond all the narration to make her look like the most awful girl in the world.

11 Favorite authors - In term of “people from whom I really really liked more than one book” - classics Dickens, Doyle, Dostojevskij, Agatha Christie. Modern Tracy Chevalier, Bianca Pitzorno, Khaled Hosseini, GRRM

39 Favourite book to movie/TV show adaptation? - Mhhh. This is a bit rough as I generally really dislike these (and I’m obviously not counting plays so Zeffirelli is out). Idk if The Breadwinner counts since it’s animated but I really did love it in spite of all the liberties it took.

58 A book that emotionally wrecked you? - ooooh ahah. Well most recently A Clash of Kings, that can always be trusted for emotional wreckage

60 - Mhhh, random recs of imho underrated books by the Tumblr community that would be right up its alley:

- An unsuitable job for a woman (P.D James) - Lovely murder mystery with a very interesting female detective, a dark academia flavor, lots of ethical implication and a really nice coming of age/self discovery path

- The Pillars of Earth (Ken Follett) - historical fiction about the power of devotion and belief, involves family drama and political intrigue from all social classes and some really nice competence porn from people who can do their jobs really well

- Graceling (Kristin Cashore) - loosely connected fantasy trilogy that joins three quite different genres (Graceling is a spy/adventure novel that’s like a Sarah J Maas book was well written and had healthy enemies to lovers romance, Fire is high/epic fantasy, Bitterblue is essentially a mystery novel) in the same worldbuilding and with the same common themes of healing, rebirth and self discovery. Really nice disability rep

#op

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aconboyindependent2021 · 3 years

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‘Now and Then’ - current state of play

My film is a re-imagining of the site of Brighton General Hospital next to my home. Until around 70 years ago, a workhouse operated on the site (for details, see: Gardner, J, (2012) A History of the Brighton Workhouses). Aspects of the austere workhouse are still evident on the site today. I began to think about the stories of the residents of the workhouse – what did they have to endure? With this in mind, I bought the above book by a local author about the history of workhouses in Brighton.

I have always been fascinated by the idea that traumatic events in a particular location can be recorded and replayed at a later time in history and that this might be a basis for ghosts and hauntings – for example, in the blockbuster, Poltergeist, and the BBC drama from the 1970’s The Stone Tapes (Sasdy, 1972). This is one of the key concepts behind the film.

After a lot of thought, I settled on the story of the workhouse being told by a single woman, Agatha, whose infant child was taken from her illegally and sold to a rich couple living in Brighton. This is a variation on the common Victorian practice of unmarried women being compelled to give their children to a foundling home.

The film starts with Aggie telling her story in largely neutral terms and comparing the workhouse and the site’s positive use today as a hospital, but it climaxes with Aggie screaming with the loss of her child, and we see that she is a tormented spectre.The film ends with her anguish fading into a sign on the present site, promoting a nursery for infant children.

The film will be around 5-6 minutes long and will consist of edited original footage taken on the site in the present day. The film will be treated with video effects to alter the pacing, colour and atmosphere of the original footage. I have asked for a drama-trained friend to narrate the film as Aggie and will be using original and library sound effects and music motifs, or possibly drones to punctuate the soundtrack.

Now and Then – influences from other artists

1. Brian Percival - About a Girl

Female voice-over revealing a terrifying truth about motherhood at the end of the film. This film gives a cold dead feeling inside from the casual yet downcast demeanor as the leading character talks about her dysfunctional life and especially the ending, where the girl is revealed to have secretly miscarried a baby and we see her dump it into the canal (“I’ve become good at hiding things”). Both my film and About A Girl attempt to humanise the female main character outside of their tragedies.

2. Tobe Hooper - director of Poltergeist Paranormal activity centred around past events and the presence of aggrieved spirits. This was a film that made an impact on me from its non-stop tension, even before the presence of the supernatural becomes apparent. Tobe Hooper, ever since creating The Texas Chainsaw Massacre (1974) has achieved many awards, and after this film, it is easy to see why. It also has a similar plot to my initial idea for my film - where a great wrong done in the past creates a ‘haunting’ by aggrieved spirit(s)..

3. Peter Sasdy – Director of The Stone Tape (1972)

The original idea from the film was stones “recording” traumatic events from the past. While the current draft has drifted away from this concept, it still lives on with how Agatha remembers everything about the past as if she died yesterday, despite the superficial veneer of the current day hospital. However, Agatha is a real soul though in my film.

4. David Lynch - Eraserhead, The Elephant Man His black and white films – particularly The Elephant Man In the latter, view of Victorian England shot in black and white featuring cruelty and time-specific sounds, sights and atmospheres. The film always seems to have a sense of foreboding, even when the scene is uneventful, and with a deeply engaging soundtrack. Eraserhead will always always be an influence due to its deliberate disturbing monochrome style, investigation of altered perception and the anxieties of parenthood.

5. James Gardener- Author of: A Complete History Of Brighton Workhouses A detailed and easy-to-understand book centred around the original workhouse in my area. It includes the Brighton General Hospital Site. It helped give a real-life grounding to my supernatural tale.

6. Richard Boden - director of the Blackadder series 4 finale, Goodbyeee The series as a whole has very little to do with my film, but this is a powerful episode whose fade-out ending and closing-sound inspired the cross-dissolve effects and soundscape in my film - coincidentally both are centered with the cruelty of the past and atmospheric sound. Present and past merge at this point. One of the most popular scenes in TV drama/comedy and understandably so too.

7. Piotr Obal – various films and still images Obal is an independent artist who works with art, music and still photography. Occasionally, he teaches youths how to work at the computer like me (!) when he was helping out with an arts award I was studying for. Below is one of his images that has been an influence on me and the film. I love his Photoshop collages and the wonderful images he posts from his native Poland.

Work by Piotr Obal

8. Nalini Malani- for her immersive installations, ‘disgraced’ women under partiarchy, history and mythology, miscarriages of justice. I found out about Malini when I was writing my essay on her work in the Diversity module: what started off as just finding out about an artist for the sake of my writing became a long-lasting admiration and inspiration from an artist who not only knows where she is coming from (from her upbringing hugely affected by India and Pakistan’s partition) but willingly sticks her neck out for those oppressed by society and history, and confidently shows her creations to the world. A particularly relevant aspect of her work is her use of the supernatural and mythology stories and myths to highlight aspects of women’s oppression throughout history.

9. Chris Butler- director of ParaNorman A key influence, supposedly aimed at children, I used the same of the spectre in this moving animation, and I was influenced by its themes about the cruelties of humanity and how we “moved on”. The spectre is a ghost of a falsely accused of being a ‘witch’ who wreaks her revenge on those who persecuted her.

It was also a strong influence that is more powerful at its climax and twist. In-depth look at how prejudice destroys lives that are never regained - even death provides no relief. Butler is a part of Studio Laika, creating animated films that go beyond the norm.

10. Jacqueline Wilson - the writer of the Hetty Feather trilogy and other such Victorian novels such as Clover Moon.

A part of Jacqueline’s writings is her commentary about how unjust the past could be compared to today: even though her protagonists speak in ways that were customary to Victorians, she keeps them relatable the same way she keeps her modern-day protagonists relatable. The writing style of her books inspired certain characteristics of Agatha’s narration, because it was easy to understand yet engaging.

11. David Lean - Director of Great Expectations (1946) This film, based on the Dickens book, also brought to mind the cruel period of the Victorian era, and the acting and emotions continued that spirit and my inspiration around my project. I love that it is black and white as well as dialog-centred - I particularly like the formal style of speech - even to express negative emotions- for example:

“Let me point out the topic that in London it is not the custom to put the knife in the mouth for fear of accidents. It's scarcely worth mentioning, Only it's as well to do as others do”.

Miss Havisham, an almost ghostly older woman, in a similar way to Agatha cannot move beyond the terrible wrong done to her - she was left at the alter and devoted her life to training her adopted daughter, Estella, to get revenge on men.I use s similar obsessive, sing-minded hatred to motivate Agatha.

12. Sunset Boulevard (1950)

This film involve a man becoming the object of affection of a former silent movie star, Norma Desmond who overtake his life little by little until she kills him. Norma suffered with the times when silent movies went out of fashion and she is unable to move on, alone in her great house: people told Norma that she had no value and it had an impact on her psyche. She loses all sanity when arrested for killing Joe Gillis as she believes she is back in show business. The film also explores facades; Norma may live a glamorous if not lonely life, but her mental state torments her, like Aggie has with hers as she wanders around the hospital site driven ‘mad’ with grief and anger.

13. R D Laing: ‘anti-psychiatrist’

'Here was someone explaining madness, showing how the fragmentation of the person was an intelligible response to an intolerable pressure”

Quote from: https://www.theguardian.com/commentisfree/2013/aug/25/rd-laing-aaron-esterson-mental-illness

In discussing the concept of my film with a member of my family, I was directed to the psychiatrist/anti-psychiatrist, RD Laing. In the 1960’s and early 1970’s Laing wrote about how a person’s so-called ‘mad’ behaviour was in fact intelligible when their entire situation and experience was taken into account. He and other writers (like David Cooper) talked about the concept of the ‘double-bind’ where a person’s opportunity to make a decision to resolve the way they were being treated was blocked – perhaps by a member of their family saying that it was not in their personality to be assertive or angry.

This reminded me very much of Agatha; she tries to express her outrage at the great wrong done to her, but she is judged as unworthy and undeserving, so the wrong is seen as justified and her punishment for being the ‘low-life’ who would have a child and have to live in a workhouse. It is circular – she is treated badly because she deserves to be treated badly and so this means that her hatred and insanity brings the great wrong up herself.

Laing is largely forgotten today, but his ideas resonate with certain ideas in feminism and anti-racism. ‘Gaslighting’ is everywhere, both back then and now.

https://www.youtube.com/watch?v=9NnBonXPLJM

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donavanhall · 4 years

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Acts of Translation

Late in February 2021, I was walking through the Long Island Pine Barrens, along the beginning of the Paumanok Trail. The snow-covered path was marked by the patterned boot tracks of other hikers (only two or three at the most) and the cloven hoof-marks of deer. The sky above the trees was pale blue, tinged with gray. The air was cool, crisp, dry. With each step, my boots compacted the icy slush and sometimes my boot would shift, sliding on the heavy, dense snowpack so that I’d have to compensate with a movement of my upper body and arms to keep my balance and to prevent myself from slipping.

The fourth branch of Jacques Roubaud’s “the great fire of London”, a volume called Poésie: (récit) — I prefer the French title since Poetry: (a story) is less poetic and loses a sense of meaning that I think should be there, poésie to my ear implies a movement that is lost in the more static English word, poetry, and récit (and perhaps this is peculiar to me and has nothing to do with actual French) suggests narration closer to that when a storyteller speaks to a listener who receives the récit and so completes the action, a story doesn’t necessarily require a reader — begins with the Narrator (Roubaud) moving through space, in this case, the space is urban, the streets Paris.

Early in December 1994, I was walking in Paris. The sky was gray, low, the air humid, warm.

For walking in Paris, I wear a blue K-way jacket, and a cap, also blue. The K-way was a gift, not something I’d picked out. It was light, blue, waterproof, costly.

For walking in the woods, I wear an olive green jacket made by Patagonia that zips up the front and has a little pocket over the left breast where I can store my phone for easy access. Around my neck, I wear my “Doctor Who scarf” knitted by my mother. (The scarf isn’t a replica of any of the long scarves worn by the Fourth Doctor, played by actor Tom Baker, but a spirited recreation of the sort that anyone familiar with the various scarves featured in Season 12 through 17 of the TV show would immediately recognize.) On my head I wear a black bowler hat I purchased at the museum shop of the San Francisco Museum of Modern Art in 2018 when I took my mother and son to the Magritte exhibit. (The next summer, I would take my wife and son to Brussels to tour the permanent Magritte exhibit at the Musée de Beaux Arts. The study of Magritte’s art and writing is a principal concern of my Project.) The clerk at the shop said this style of bowler hat is the exact same one worn by René Magritte when he was alive. So it should be no surprise that I’m pleased with it and wear it every opportunity I get, and especially when I’m out on my daily walk.

Before the pandemic, I walked every afternoon through the pine barrens. This was easy enough since the office where I perform my paid work (not at all literary) is located in the middle of the pine barrens. There are a network of trails that lead through the woods that are immediately accessible from the back door of the building where I work. A year ago, my office was closed, so that I now work from home. Now my afternoon walks (usually) are taken along the streets in the neighborhood where I live in the village of Long Neck. I’ve become a familiar sight in the neighborhood as the man in the bowler hat. My neighbors wave to me and sometimes will view my unusual headwear as an occasion for conversation. What kind of hat is that? asked one neighbor. Another fellow walker assumed I’m a fan of Stanley Kubrick’s adaptation of A Clockwork Orange, a novel by Anthony Burgess. I’m more a fan of the book than I am a fan of the movie, but my bowler hat is most deliberately a nod to Magritte and not to Alex and his three droogs. Throughout the pandemic, Magritte and his art has been my life line.

On his walks in Paris, Roubaud doesn’t wear a bowler — his cap is of a different sort.

I bought the cap in New York, at J.J. Hat Center, at the corner of Broadway and 42nd Street. It’s a hat made in Scotland and the salesperson assured me that it was the same exact style of cap worn by Sean Connery in the film The Untouchables. It’s no surprise that I’m happy with it.

After I’m vaccinated and I feel like taking the Long Island Rail Road to Penn Station again, maybe I’ll go to the J.J. Hat Center myself and shop for a hat. Although according to “the internet” J.J. Hat Center is now located at 310 Fifth Ave (between 31st & 32nd), not far from Penn at all. If/when I do go in to the city, I’ll want to pay a visit to the Fountain Pen Hospital. A man can never have too many hats or too many fountain pens.

I could go along in this vein for quite some time, this leisurely stroll through Roubaud’s Poésie: (récit) allowing his text to guide my own thoughts, reveries, musings, etc. The resulting text would function as a companion text. I’m walking along with Roubaud in Paris as he moves from the National Library, past familiar restaurants, along familiar streets…

I passed between the tops or periscopes of the licorice icebergs of the Buren columns, making sure not to slip on their outgrowths/extensions [? the French word is excroissances, but it’s not obvious to me what these outgrowths or extensions might be], on the damp grills, slimy, soaped with crushed beige leaves. And I made it through with no accidents to Place Colette, on the right side of the Théâtre-Français. This route was well known to me.

...but Roubaud himself is not walking with me, only his text, or perhaps he is with me as an invented copy of an imaginary Roubaud that I carry within myself as I read and as I walk along the snow-covered Paumanok Trail thinking of his book, or books (one book in seven volumes called collectively “the great fire of London”).

I read the first two and a half branches (the first three volumes to be translated into English), starting with Branch One: Destruction in the fall of 2018. Without really intending to, I wrote a little book of jottings while reading Roubaud’s novel. I called my little book, In the Labyrinth of Forking Paths, since “the great fire of London” is “a story with interpolations and bifurcations” with actual links indicating different narrative paths the reader can take during their wandering reading. I was reminded (though only a little) of the choose-your-own-adventure books (published by Bantam) I read when I was a kid. One of my early attempts at writing fiction was a “literary” choose-your-own-adventure called (imaginatively enough) Into the Labyrinth (a slight variation on a title of one of Alain Robbe-Grillet’s novels, Dans le labyrinthe, with whose hyper-descriptive nouveau roman style I’d become bewitched, a style ideally suited to such text adventures). (I published my Into the Labyrinth as an interactive fiction designed for a media platform that worked only on those early generation iPods. I have no idea if anyone ever read/played my interactive fiction even though according to the app, mine was the most downloaded story. It was certainly the longest.) I won’t claim that I have been waiting for the remaining four volumes to be translated into English. In fact, I felt a certain level of contentment with the artificial truncation of the novel — I had read all that I could, all that was available in English, so now I could move on to other things, like reading the works of Miklós Szentkuthy. Procuring and reading the rest of “the great fire of London” wasn’t a tempting prospect until Anthony, author of the blog, Time’s Flow, mentioned that he’d purchased the remaining volumes in French and would be making an attempt to read them. That was all it took. If Anthony was going to do it, then so would I. I ordered copies from a bookseller in France and they arrived last Friday in the post. So when did I get the idea to translate these remaining four volumes into English myself? Was it a serious idea or just another of my fanciful projects? Project 7139: translated two thousand pages of Jacques Roubaud’s “the great fire of London” into English. (For the record, I’m currently working on Project 3 which I started twenty years ago. Project 4 is “write a masterpiece that will establish my literary reputation.” That one might take awhile.) Certainly, I would read these other branches. Or would I? My track record for finishing big projects is not stellar. (The first time I read Proust, it took me ten years.)

While walking in the snow in the pine barrens, I thought about why I was being pulled back into Roubaud’s book. What was it about his very long prose that attracted me? Was this a momentary literary crush or had I fallen for “the great fire of London”? If this were a romance, you could say that Roubaud and I met in the fall of 2018 and spent some time together, mostly walking. We shared our mutual interests, talking about poetry, literature, and mathematics. I learned a great deal about haikai (haiku and haibun), gained a new appreciation of the works of Charles Dickens, and was introduced to Nicholas Bourbaki, and then resumed my own mathematical studies after a hiatus of twenty years, this time beginning with set theory and topology. And then it was over. He had to go. We parted ways.

Then two and half years later, Roubaud pops up again at a party hosted by a friend, this time we’re speaking French — my French is better now, so it’s much easier for us to talk and now I feel something different than I did before. We’re making a real connection. I can feel it. And Roubaud seems somehow changed. When we first met, I was the one who was paying attention to Roubaud, accompanying a new master, and learning new things. Now, this new Roubaud, this French-speaking Roubaud is interested in me, keeps asking me questions, asking for my opinion. Then it dawns on me. Roubaud has chosen me. You’re the one, he says. I’ve picked you.

Of course, this isn’t an exclusive relationship. Such is the way with authors and their books. Readers must share the objects of their affection, but still it feels different when a book chooses you rather than you choosing it.

I’m choosing you. I’m ready whenever you are. Shall we begin?

#jacques roubaud #walking #translation #french #literature

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bluewatsons · 4 years

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Alice Bolin, The Ethical Dilemma of Highbrow True Crime, Vulture (August 1, 2018)

The “true-crime boom” of the mid- to late 2010s is a strange pop-culture phenomenon, given that it is not so much a new type of programming as an acknowledgement of a centuries-long obsession: People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism. The serial fiction of Charles Dickens and Wilkie Collins was influenced by the British public’s obsessive tracking of sensational true-crime cases in daily papers, and since then, we have hoarded gory details in tabloids and pulp paperbacks and nightly news shows and Wikipedia articles and Reddit threads.

I don’t deny these stories have proliferated in the past five years. Since the secret is out — “Oh you love murder? Me too!” — entire TV networks, podcast genres, and countless limited-run docuseries have arisen to satisfy this rumbling hunger. It is tempting to call this true-crime boom new because of the prestige sheen of many of its artifacts — Serial and Dirty John and The Jinx and Wild, Wild Country are all conspicuously well made, with lovely visuals and strong reporting. They have subtle senses of theme and character, and they often feel professional, pensive, quiet — so far from vulgar or sensational.

But well-told stories about crime are not really new, and neither is their popularity. In Cold Blood is a classic of American literature and The Executioner’s Song won the Pulitzer; Errol Morris has used crime again and again in his documentaries to probe ideas like fame, desire, corruption, and justice. The new true-crime boom is more simply a matter of volume and shamelessness: the wide array of crime stories we can now openly indulge in, with conventions of the true-crime genre more emphatically repeated and codified, more creatively expanded and trespassed against. In 2016, after two critically acclaimed series about the O.J. Simpson trial, there was talk that the 1996 murder of Colorado 6-year-old JonBenét Ramsey would be the next case to get the same treatment. It was odd, hearing O.J.: Made in America, the epic and depressing account of race and celebrity that won the Academy Award for Best Documentary, discussed in the same breath with the half-dozen unnecessary TV specials dredging up the Ramsey case. Despite my avowed love of Dateline, I would not have watched these JonBenét specials had a magazine not paid me to, and suffice it to say they did very little either to solve the 20-year-old crime (ha!) or examine our collective obsession with it.

Clearly, the insight, production values, or cultural capital of its shiniest products are not what drives this new wave of crime stories. O.J.: Made in America happened to be great and the JonBenét specials happened to be terrible, but producers saw them as part of the same trend because they knew they would appeal to at least part of the same audience. I’ve been thinking a lot about these gaps between high and low, since there are people who consume all murder content indiscriminately, and another subset who only allow themselves to enjoy the “smart” kind. The difference between highbrow and lowbrow in the new true crime is often purely aesthetic. It is easier than ever for producers to create stories that look good and seem serious, especially because there are templates now for a style and voice that make horrifying stories go down easy and leave the viewer wanting more. But for these so-called prestige true-crime offerings, the question of ethics — of the potential to interfere in real criminal cases and real people’s lives — is even more important, precisely because they are taken seriously.

Like the sensational tone, disturbing, clinical detail, and authoritarian subtext that have long defined schlocky true crime as “trash,” the prestige true-crime subgenre has developed its own shorthand, a language to tell its audience they’re consuming something thoughtful, college-educated, public-radio influenced. In addition to slick and creative production, highbrow true crime focuses on character sketches instead of police procedure. “We’re public radio producers who are curious about why people do what they do,” Phoebe Judge, the host of the podcast Criminal, said. Judge has interviewed criminals (a bank robber, a marijuana brownie dealer), victims, and investigators, using crime as a very simple window into some of the most interesting and complicated lives on the planet.

Highbrow true crime is often explicitly about the piece’s creator, a meta-commentary about the process of researching and reporting such consequential stories. Serial’s Sarah Koenig and The Jinx’s Andrew Jarecki wrestle with their boundaries with the subjects (Adnan Syed and Robert Durst, respectively, both of whom have been tried for murder) and whether they believe them. They sift through evidence and reconstruct timelines as they try to create a coherent narrative from fragments.

I remember saying years ago that people who liked Serial should try watching Dateline, and my friend joked in reply, “Yeah, but Dateline isn’t hosted by my friend Sarah.” One reason for the first season of Serial’s insane success — it is still the most-downloaded podcast of all time — is the intimacy audiences felt with Koenig as she documented her investigation of a Baltimore teenager’s murder in real time, keeping us up to date on every vagary of evidence, every interview, every experiment. Like the figure of the detective in many mystery novels, the reporter stands in for the audience, mirroring and orchestrating our shifts in perspective, our cynicism and credulity, our theories, prejudices, frustrations, and breakthroughs.

This is what makes this style of true crime addictive, which is the adjective its makers most crave. The stance of the voyeur, the dispassionate observer, is thrilling without being emotionally taxing for the viewer, who watches from a safe remove. (This fact is subtly skewered in Gay Talese’s creepy 2017 Netflix documentary, Voyeur.) I’m not sure how much of my eye-rolling at the popularity of highbrow true crime has to do with my general distrust of prestige TV and Oscar-bait movies, which are usually designed to be enjoyed in the exact same way and for the exact same reasons as any other entertainment, but also to make the viewer feel good about themselves for watching. When I wrote earlier that there are viewers who consume all true crime, and those who only consume “smart” true crime, I thought, “And there must be some people who only like dumb true crime.” Then I realized that I am sort of one of them.

There are specimens of highbrow true crime that I love, Criminal and O.J.: Made in America among them, but I truly enjoy Dateline much more than I do Serial, which in my mind is tedious to the edge of pointlessness. I find myself perversely complaining that good true crime is no fun — as self-conscious as it may be, it will never be as entertaining as the Investigation Discovery network’s output, most of which is painfully serious. (The list of ID shows is one of the most amusing artifacts on the internet, including shows called Bride Killas, Momsters: Moms Who Murder, and Sex Sent Me to the Slammer.) Susan Sontag famously defined camp as “seriousness that fails,” and camp is obviously part of the appeal of a show called Sinister Ministers or Southern Fried Homicide. Network news magazine shows like Dateline and 48 Hours are somber and melodramatic, often literally starting voice-overs on their true-crime episodes with variations of “it was a dark and stormy night.” They trade in archetypes — the perfect father, the sweet girl with big dreams, the divorcee looking for a second chance — and stick to a predetermined narrative of the case they’re focusing on, unconcerned about accusations of bias. They are sentimental and yet utterly graphic, clinical in their depiction of brutal crimes.

It’s always talked around in discussions of why people like true crime: It is … funny? The comedy in horror movies seems like a given, but it is hardly permitted to say that you are amused by true disturbing stories, out of respect for victims. But in reducing victims and their families to stock characters, in exaggerating murderers to superhuman monsters, in valorizing police and forensic scientists as heroic Everymen, there is dark humor in how cheesy and misguided these pulpy shows are, how bad we are at talking about crime and drawing conclusions from it, how many ways we find to distance ourselves from the pain of victims and survivors, even when we think we are honoring them. (The jokey titles and tongue-in-cheek tone of some ID shows seem to indicate more awareness of the inherent humor, but in general, the channel’s programming is almost all derivative of network TV specials.) I’m not saying I’m proud of it, but in its obvious failures, I enjoy this brand of true crime more straightforwardly than its voyeuristic, documentary counterpart, which, in its dignified guise, has maybe only perfected a method of making us feel less gross about consuming real people’s pain for fun.

Crime stories also might be less risky when they are more stilted, more clinical. To be blunt, what makes a crime story less satisfying are often the ethical guidelines that help reporters avoid ruining people’s lives. With the popularity of the podcasts S-Town and Missing Richard Simmons, there were conversations about the ethics of appropriating another person’s story, particularly when they won’t (or can’t) participate in your version of it. The questions of ethics and appropriation are even heavier when stories intersect with their subjects’ criminal cases, because journalism has always had a reciprocal relationship with the justice system. Part of the exhilarating intimacy of the first season of Serial was Koenig’s speculation about people who never agreed to be part of the show, the theories and rabbit holes she went through, the risks she took to get answers. But there is a reason most reporters do all their research, then write their story. It is inappropriate, and potentially libelous, to let your readers in on every unverified theory about your subject that occurs to you, particularly when wondering about a private citizen’s innocence or guilt in a horrific crime.

Koenig’s off-the-cuff tone had other consequences, too, in the form of amateur sleuths on Reddit who tracked down people involved with the case, pored over court transcripts, and reviewed cellular tower evidence, forming a shadow army of investigators taking up what they saw as the gauntlet thrown down by the show. The journalist often takes on the stance of the professional amateur, a citizen providing information in the public interest and using the resources at hand to get answers. At times during the first season of Serial, Koenig’s methods are laughably amateurish, like when she drives from the victim’s high school to the scene of the crime, a Best Buy, to see if it was possible to do it in the stated timeline. She is able to do it, which means very little, since the crime occurred 15 years earlier. Because so many of her investigative tools were also ones available to listeners at home, some took that as an invitation to play along.

This blurred line between professional and amateur, reporter and private investigator, has plagued journalists since the dawn of modern crime reporting. In 1897, amid a frenzied rivalry between newspaper barons William Randolph Hearst and Joseph Pulitzer, true crime coverage was so popular that Hearst formed a group of reporters to investigate criminal cases called the “Murder Squad.” They wore badges and carried guns, forming essentially an extralegal police force who both assisted and muddled official investigations. Seeking to get a better story and sell more papers, it was common for reporters to trample crime scenes, plant evidence, and produce dubious witnesses whose accounts fit their preferred version of the case. And they were trying to get audiences hooked in very similar ways, by crowdsourcing information and encouraging readers to send in tips.

Of course the producers of Serial never did anything so questionable as the Murder Squad, though there are interesting parallels between the true-crime podcast and crime coverage in early daily newspapers. They were both innovations in the ways information was delivered to the public that sparked unexpectedly personal, participatory, and impassioned responses from their audiences. It’s tempting to say that we’ve come full circle, with a new true-crime boom that is victim to some of the same ethical pitfalls of the first one: Is crime journalism another industry deregulated by the anarchy of the internet? But as Michelle Dean wrote of Serial, “This is exactly the problem with doing journalism at all … You might think you are doing a simple crime podcast … and then you become a sensation, as Serial has, and the story falls to the mercy of the thousands, even millions, of bored and curious people on the internet.”

Simply by merit of their popularity, highbrow crime stories are often riskier than their lowbrow counterparts. Kathryn Schulz wrote in The New Yorker about the ways the makers of the Netflix series Making a Murderer, in their attempt to advocate for the convicted murderer Steven Avery, omit evidence that incriminates him and put forth an incoherent argument for his innocence. Advocacy and intervention are complicated actions for journalists to undertake, though they are not novel. Schulz points to a scene in Making a Murderer where a Dateline producer who is covering Avery is shown saying, “Right now murder is hot.” In this moment the creators of Making a Murderer are drawing a distinction between themselves and Dateline, as Schulz writes, implying that, “unlike traditional true-crime shows … their work is too intellectually serious to be thoughtless, too morally worthy to be cruel.” But they were not only trying to invalidate Avery’s conviction; they (like Dateline, but more effectively) were also creating an addictive product, a compelling story.

That is maybe what irks me the most about true crime with highbrow pretensions. It appeals to the same vices as traditional true crime, and often trades in the same melodrama and selective storytelling, but its consequences can be more extreme. Adnan Syed was granted a new trial after Serial brought attention to his case; Avery was denied his appeal, but people involved in his case have nevertheless been doxxed and threatened. I’ve come to believe that addictiveness and advocacy are rarely compatible. If they were, why would the creators of Making a Murderer have advocated for one white man, when the story of being victimized by a corrupt police force is common to so many people across the U.S., particularly people of color?

It does feel like a shame that so many resources are going to create slick, smart true crime that asks the wrong questions, focusing our energy on individual stories instead of the systemic problems they represent. But in truth, this is is probably a feature, not a bug. I suspect the new true-crime obsession has something to do with the massive, terrifying problems we face as a society: government corruption, mass violence, corporate greed, income inequality, police brutality, environmental degradation, human-rights violations. These are large-scale crimes whose resolutions, though not mysterious, are also not forthcoming. Focusing on one case, bearing down on its minutia and discovering who is to blame, serves as both an escape and a means of feeling in control, giving us an arena where justice is possible.

Skepticism about whether journalists appropriate their subjects’ stories, about high and low, and about why we enjoy the crime stories we do, all swirl through what I think of as the post–true-crime moment. Post–true crime is explicitly or implicity about the popularity of the new true-crime wave, questioning its place in our culture, and resisting or responding to its conventions. One interesting document of post–true crime is My Favorite Murder and other “comedy murder podcasts,” which, in retelling stories murder buffs have heard on one million Investigation Discovery shows, unpack the ham-fisted clichés of the true-crime genre. They show how these stories appeal to the most gruesome sides of our personalities and address the obvious but unspoken fact that true crime is entertainment, and often the kind that is as mindless as a sitcom. Even more cutting is the Netflix parody American Vandal, which both codifies and spoofs the conventions of the new highbrow true crime, roasting the genre’s earnest tone in its depiction of a Serial-like investigation of some lewd graffiti.

There is also the trend in the post–true-crime era of dramatizing famous crime stories, like in The Bling Ring; I, Tonya; and Ryan Murphy’s anthology series American Crime Story, all of which dwell not only on the stories of infamous crimes but also why they captured the public imagination. There is a camp element in these retellings, particularly when famous actors like John Travolta and Sarah Paulson are hamming it up in ridiculous wigs. But this self-consciousness often works to these projects’ advantage, allowing them to show heightened versions of the cultural moments that led to the most outsize tabloid crime stories. Many of these fictionalized versions take journalistic accounts as their source material, like Nancy Jo Sales’s reporting in Vanity Fair for The Bling Ring and ESPN’s documentary on Tonya Harding, The Price of Gold, for I, Tonya. This seems like a best-case scenario for prestige true crime to me: parsing famous cases from multiple angles and in multiple genres, trying to understand them both on the level of individual choices and cultural forces.

Perhaps the most significant contributions to post–true crime, though, are the recent wave of personal accounts about murder and crime: literary memoirs like Down City by Leah Carroll, Mean by Myriam Gurba, The Hot One by Carolyn Murnick, After the Eclipse by Sarah Perry, and We Are All Shipwrecks by Kelly Grey Carlisle all tell the stories of murder seen from close-up. (It is significant that all of these books are by women. Carroll, Perry, and Carlisle all write about their mothers’ murders, placing them in the tradition of James Ellroy’s great memoir My Dark Places, but without the tortured, fetish-y tone.) This is not a voyeuristic first person, and the reader can’t detach and find joy in procedure; we are finally confronted with the truth of lives upended by violence and grief. There’s also Ear Hustle, the brilliant podcast produced by the inmates of San Quentin State Prison. The makers of Ear Hustle sometimes contemplate the bad luck and bad decisions that led them to be incarcerated, but more often they discuss the concerns of daily life in prison, like food, sex, and how to make mascara from an inky page from a magazine. This is a crime podcast that is the opposite of sensational, addressing the systemic truth of crime and the justice system, in stories that are mundane, profound, and, yes, addictive.

#true crime #adnan syed #media #ethics #The Way We Live Now #culture #andrew jarecki #james ellroy #criminal justice #detective fiction

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harry-lloyd · 4 years

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In many ways, the horrible wig was the best thing to happen to Harry Lloyd.

The shock of platinum blonde hair, slashed to a sensible bob at his shoulders like a high-fashion Legolas, was the coif that tied Lloyd’s indelible, insufferable Game of Thrones character together: Viserys Targaryen, the petulant narcissist whose play for the Iron Throne melts along with the rest of him under a pot of molten metal poured over his head, one of the show’s first and most iconic gruesome death scenes.

The splashy HBO production was the biggest job the young actor had ever landed, and as a character with an unmistakable, unforgettable look, to boot— the better to sear into TV fans’ consciousness.

Blessedly, that unmistakable, unforgettable look in no way actually resembled him, a then-27-year-old rising star with short, dark brown hair and alabaster complexion. He played one of the most memorable characters in recent TV history on possibly the last truly massive global TV phenomenon, yet, by the grace of a wig, he was still unrecognizable.

“I kind of loved that,” Lloyd tells The Daily Beast over Zoom from the loft study in his North London home. “And I kind of loved that he died. He had this lovely arc, and he still has his place in this enormous and infamous canon.”

Given how vivid that arc is in Thrones lore, it’s almost startling to remember that he was only on five episodes of the show.

“I had my go,” he says. “I got in early and I got out early. And he didn’t look like me, which, number one, is good because he is a little shit. And so I was happy to not have people throwing stuff at me in the streets. But number two, and I didn’t notice at the time, but it has since become the biggest show on TV. It doesn’t make me worry about being typecast so much.”

In the years since becoming a scalded puddle of boiling jewels and flesh, Lloyd has been able to shapeshift through an impressive résumé of prestige TV series and award-nominated films—Manhattan, Wolf Hall, Counterpart, Legion, The Theory of Everything—relieved of the kind of limitations actors who play little shits in garish white wigs on TV’s biggest show typically shoulder.

The occasion for our conversation is yet another transformation, as Bernard Marx in Brave New World, the splashy adaptation of Aldous Huxley’s 1932 dystopian sci-fi novel. The series is the marquee original offering for Wednesday’s launch of the new Peacock streaming service, casting Downton Abbey alum Jessica Brown Findlay and Han Solo himself, Alden Ehrenreich, alongside Lloyd in an updated take on the classic work.

Brave New World thwarts the idea of a restrictive, Orwellian dystopia with one in which society is instead forced into surrendering their inhibitions. “Welcome to New London,” a prologue explains. “We have three rules. No privacy. No family. No monogamy. Everyone is very happy.”

The new series boasts modernized flourishes when it comes to style—if there had been this much sex in Huxley’s book, we would have paid far more attention to it in high school—and sensibility; some of the problematically racist and misogynistic themes and plot points have been corrected.

Lloyd’s Bernard is an upper echelon member of society, called an Alpha-Plus, whose job is to maintain social order. Throughout the series, he experiences a crisis of conscience, an existential awakening at odds with the blissful stasis he’s meant to both control and enjoy.

If a narrow escape from typecasting and a career playing snooty, megalomaniacal manchildren has meant a diverse array of opportunity for Lloyd, then Brave New World marks more new territory: It’s his first outright leading role.

Lloyd had never read Huxley’s book before being cast, but was impressed by the ambition of the script, “almost like a mega tentpole movie in scale” but esoteric and satirical at the same time. “I was like, this has the whole package if they can shoot this, but I don’t think they can.”

It took one day on set for him to catch wise to the technical prowess at play. “I was like, wow, this really is a brave new world,” he says.

Don’t worry. He promptly scoffed at himself and rolled his eyes.

It is one of the best opening lines to a profile that I’ve read, from a 2011 feature on Lloyd that ran in Britain’s The Independent: “There was a time when Harry Lloyd worried that he was forever going to be typecast—as a woman.”

It was in reference to Lloyd’s days as a student at Eton College, where the young teen’s voice had not yet broken and he was cast as women in a slew of all-male Shakespeare productions.

Here we were prepping to engage with Lloyd about the perils of typecasting following his Thrones stint, ignorant of the fact that he had already confronted the issue decades earlier.

Lloyd laughs good-naturedly when the era of fake bras and bonnets is brought up.

“I hated it,” he says. Just when he had vowed never to agree to it again, in his last year at school he was asked to play Rosalind in As You Like It, by all counts a fantastic leading part. He nailed it, and earned raves. “At an all-boys boarding school, it took balls to put on tights, as it was.” A perfectly-earned smirk at his own joke follows.

The truth is that being typecast or pigeon-holed is a stressor that followed Lloyd, who grew up in London with parents who worked in the book industry. “Sometimes it’s just the face you have at a certain age…” he says.

His first major role came at age 15 in the BBC’s 1999 adaptation of David Copperfield, opposite Daniel Radcliffe. (Adding another fascinating layer to the trivia: Lloyd himself is the great-great-great grandson of Charles Dickens.) One of his first jobs after that was playing a bullying prefect in the series Goodbye, Mr. Chips.

“I guess that’s what I looked like, and I did that a couple of times,” he says. “Then I was like, I don’t really want to just be that guy. He’s a bit of a dick. And then I think next up I played the murderer in some procedural police thing, some young kid that’s gone sideways.”

Each time he felt a box starting to close its sides around him, he actively sought out something different. Having Great Expectations, in which he played Herbert Pocket, “the loveliest, most benign chap you’d ever meet,” air months after his Thrones debut was key. But he can’t refute that, with or without a platinum wig, there’s something about the way he looks that telegraphs a certain kind of sinister character.

“If I turn up in a murder thing, it’s often me who’s done it,” he says, grinning. “I don’t want to give anything away from the stuff I’ve been in. But I don’t know, there’s something about my face that is like, ‘He could do it.’”

After he had finished filming his part on Thrones and the series was about to come out, he was cast in the buzzy West End production of the Tony-winning play The Little Dog Laughed.

If you’re familiar with the work, a satire about Hollywood illusion (and delusion) in which an acerbic, big-wig agent crisis manages her rising-star client’s pesky “recurring case of homosexuality,” you understand why it’s a fairly hilarious, if sobering, project to be involved in just as an actor’s own fame and industry profile is about to skyrocket.

“Because I was about to be on Game of Thrones, I thought, this is the time for me to get an American agent,” he recalls. “And so the American agents, when they were in London, would come and see me in this play, which basically looks at agenting and their ways with quite a big, angry magnifying glass. They would come backstage and say, ‘Look, I am not like that…’” He laughs. “It was always quite a funny way to start the proceedings.”

Having starred in episodes of Dr. Who and played Charles Xavier in Legion, not to mention his connection to Thrones, Lloyd has had his taste of the particular brand of rabid, Comic-Con fandom. Though he prefers to classify himself as “adjacent-adjacent” to that world.

While there are certainly those who will know right away that he was a Targaryen, what he gets more of is a “Wait, how do I know you?” awkward conversation. “Genuinely, people are like, ‘Hey, did I go to school with you?’ I’m at that level of renown. You can’t quite place why you might recognize me.”

Asked how life under the coronavirus shutdown has been, Lloyd is very British about the months spent with his wife and their almost-2-year-old. “We’ve done alright,” he says. “We learned how to finally kind of plan our fridge. And now we know how to do our shopping tactically. We cooked some good stuff.”

For fear of sounding “solipsistic,” to use a word employed often in Brave New World, he identifies the extended time home with typical feelings actors have throughout their career.

“You have accelerated times in your life when things happen like a dream,” he says. “Things are so fast and our whole world’s rebuilt entirely every time you get a job. And then is the come-down and the fallout.”

He remembers that feeling from when he was doing plays: the energy and pace of putting on the show, and then a few weeks after it ends there’s a massive crash.

“It feels a bit like you’re in lockdown. You stare around on a Tuesday afternoon. You don’t want to watch anything. You don’t know what to do or who to call, and you kind of lose your style. There’s been a bit of that.”

Just when things got to the point that he felt like he might lose his mind, he was contracted to record an audiobook. So for a couple of days a week, he would sit up in his “sweatbox made out of duvets” and read Great Expectations aloud for Penguin. “That saved me for sure.”

On the subject of works by his great-great-great grandfather, Lloyd used to be at a loss for what to do when people brought it up. Often they would say, “Congratulations!” on the relation, as if he had accomplished something himself by being born into Charles Dickens’ lineage. “But these days, I’ll take it, I’ve decided. ‘Yeah, thank you so much.’ It’s a nice thing to celebrate.”

The 150th anniversary of Dickens’ death was in June. There had been plans for a commemoration ceremony at Westminster Abbey that, because of the shutdown, became a Zoom event instead.

“I don’t know how many people’s deaths get a 150th anniversary,” he says. “The fact that I have any kind of personal connection with that is very much secondary. But something that I’m very proud of.”

At risk of belaboring the point, we ask if working on any of the Dickens adaptations he’s starred in on TV or recording this audiobook makes Lloyd feel any sort of profound or poignant connection to him.

He laughs. “I can’t point to a physical sensation like hairs in the back of my neck standing. ‘I feel him. It’s me and Chucky D in the room right now.’”

#harry lloyd #interview

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jaeausten · 5 years

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My thoughts on Sanditon 1x06 (Beware, here be spoilers...)

Okay, up until now I have been watching Sanditon with mixed feelings, most of it positive, but Sundays episode left me screaming WTF at my tv.

In this house, Andrew Davies is a legend. His television adaptations of the classics has always let me soak into the world of Austen, Dickens etc and has been a welcome escape from the various shitty things in my life. He has been adapting books for tv series for decades and I thought that Sanditon was going to be full of the things I love about Jane Austen’s works and subsequent adaptations (wit, satire, self possessed, independent thinking heroines and intelligent, impeccably behaved heroes) with anything else left strictly to the imagination. Austen’s works have always had elegance and propriety to them (even when dealing with sex and ruin) that simply does not appear in this adaptation. There is such a sense of pandering to modern tastes in this episode of Sanditon that I cannot get past...or forgive. This is not an Austen adaptation and I am a little upset that Andrew Davies has interpreted Austen like this. People like Austen for all the subtlety and repressed sexual tension and although Jane did not write more than 11 chapters of Sanditon, surely Andrew has had enough experience dealing with this genre and original material to have written the rest of the story the way Jane might actually have intended.

Anyway, to the episode. I was literally jumping in my seat at the end of episode 1x05 when Charlotte set off on her plucky adventure to Set Things Right and help bring Georgiana home. But when this episode started, it soon became clear that Charlotte had arrived in London with only the flimsiest scrap of a plan and little to no money! (Note- In the rest of the series, Charlotte can be impulsive, but not stupid). Next, Charlotte is made to demonstrate another act of uncharacteristic stupidity by aimlessly wandering around the back streets and alleyways near the docks acting the fresh country girl ripe for the plucking. And of course, someone grabs her. She is rescued by Sidney, but this trope of stupid, naive country girl puts herself in a dangerous situation and has to be rescued by the hero pisses me off.

Oh, and Fyi costume designer, Charlotte should be wearing her hair up, UP, UUUUUUUUUUUPPPPPPPPPPP!!!

When Sidney tells Charlotte off in the carriage, I kind of thought that he had a point; reminding her that there can be other motives for marriage than love, but her looking shocked that this could be so surprises me as she has not previously written to be so naive. But, if you see it from her point of view, Otis rocked up looking dandy af a couple of episodes ago (I’m assuming that Charlotte thought that Otis might not need Georgiana’s money with that snazzy outfit on) and spouting romantic feelings and the telling of a genuinely funny first meeting with Georgiana made her think that it was for love and that it must be prejudice as his fortune has been made from slavery! Charlotte accuses Sidney of being less than forthcoming about his objections to Otis and he is pissed that his vague af explanation did not satisfy our independent thinking heroine. But as I see it, if you can be a first class asshole and scream into the heroine’s face while losing your temper in the street, you sure as hell can be explicit about why you ask someone to keep an extra eye on your ward. Just saying....

Also, Sidney’s behaviour throughout this series to Charlotte has been so far from an Austen hero and has made me dislike him so intensely that I have rooted for young Stringer as Charlotte’s eventual husband (though we all know that’s not going to happen, don’t we). An Austen hero never lets his anger show too strongly nor bellows at the heroine in the street. But apart from the story, good manners in that era and at that social level would prohibit any true gentleman from doing so.

Andrew, if you are not going to follow Austen’s style, then place it in the proper confines of the period. Good fucking manners always prevail!!!!!!!!!

Taking Charlotte to a Brothel?!?!?!?!?!? Gently bred females do not get taken by an Austen hero to a brothel, Jesus Christ! Would this happen in reality? Not really! This scene seems to have been lifted out of the pages of a bodice ripper (not that I have any objection to bodice rippers- I frequently read and love them myself- but in an Austen? No, just no).

Charlotte preventing Sidney from beating the shit out of Otis for ruining Georgiana’s rep with a gentle plea while he reigns in his rage for her by focusing on her face, oh my heart... Still not Austen tho...

There’s finally a flash of the old sensible Charlotte when she figures out that Georgiana might still be held in London, whoops, I sneezed, back to the naive country girl trope that doesn’t fit.

Ewwwww, the fat, misogynistic fucker making a joke about breaking in horses being similar to handling wives while drooling over a forcibly restrained woman just had to be in there didn’t it?

It just bugs me why Clara, Edward and Esther don’t seem to take Lady Denham seriously when she has said repeatedly thought the entire series so far that none of them will benefit monetarily from her death, yet when the will is eventually found, Clara and Edward are outraged when nothing is left to them?

I can’t decide if Charlotte is still the annoying country girl from the beginning of the episode or the plucky heroine determined to find out the truth when she refuses to stay in the carriage when Sidney goes into the brothel where he is clearly a regular member...

‘You haven’t made an honest man of our Mr Parker, have you?’

‘GrAcIOuS NOOOO!’

Sidney’s face. One second of pained outrage. Classic!

Ooooohhhhhhh, a dramatic carriage chase. Area man in a cravat leaping to another carriage to bring the horses to a halt and rescue a girl. Melodrama meets western...

Oh look, Clara has found the hidden will and taken the time to put on a new dress and villain smirk of crazed triumph. Fuck off luv!

Oh. My. God.

Ewwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwww!!!!!!!!!!!!

Jumping each other and having grunting, rough af sex on the cold marble floor to seal their devils deal? Um, ewwwwwwwwwwwwwwwwwwwwwwwww!

This is the most unAusten disgrace of the entire episode. This is what almost made me turn off the tv, but I wanted to see what else happened in the episode, so I put it on mute and glanced through my fingers occasionally. Wtf, Andrew Davies! You are so much better than this! Your experience and Austen lovers could have done without a gratuitous sex scene. Not only was it uncharacteristic in a work claiming to be based on an Austen, but it was jarring with the melodrama of the rest of the episode and quite clumsy in it’s execution. It took me completely off guard and tbh, it was fucking gross.

Here that? It’s poor Jane Austen, spinning in her grave...

Georgiana is restored to the bosom of her cold hearted guardian. Or is he? Finally, a Austenian trope! Thank fuck! Misunderstood asshole who can be capable of compassion and clearing an unworthy gentleman’s debts with his wealth to make the heroine realise he is not a complete dickhead? Can you guess which Austen hero I‘m referring to?

A manly heart to heart is in order. This is a scene that would never be in an Austen as Jane never wrote a scene that she herself could not have experienced, but I’ll let that go if it means Sidney won’t stay a twat...

Oh dear Lord, Charlotte doubts herself because she feels she has disappointed Sidney. Heroine doubts her previous harsh judgement of the hero is so Austen, I both cheered and groaned. Yay Austen! Nay Charlotte having a bad opinion of her own instincts which have been written to appear to come out of her perceived sheltered lifestyle and naivety. On the one hand, she is written as knowing nothing much about real life and needs firm handling to avoid becoming a complete idiot, and yet she is also written to understand architecture and shows clear headedness when old Stringer breaks his leg. I’m having trouble with this pendulum swinging here!

Dear God, why is Charlotte’s hair all scruffy like that? Why is it still not UUUUUUUUUUUUUUUUUPPPPPPPPPPPPPPPPPPPPP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I was rooting for Otis and Georgiana, but Otis proved himself kind of a douchebag. Georgiana realises that Otis is spouting bullshit when he says he only boasted of her beautiful soul to the gambling fucker, when in reality he had been dangling her and her fortune to appease a creditor. He seems sincere when he apologises though and it’s clear he does love her. But he wants to have his cake and eat it, so Georgiana out...

Oooh, that total sweetheart Babbington just showed up! I have to keep reminding myself that he isn’t Grenn from Got looking fit af in his regency gear. Rawr...

Why in the actual fuck is Charlotte refusing invitation to a London masquerade ball? Who does that? Sidney obviously expects her to be cheered right up by this and damn it, I do to! Georgiana is back safe and sound (almost) and Sanditon is about to be saved by the Regatta! She doesn’t feel sociable!? Her being sad by Sidney’s apparent bad opinion of her? Fuck that shit! Have some fucking self respect and get out there! A girl’s first visit to London on a mission (albeit in less than fun circumstances), friend is saved and you are invited to a big ass masquerade ball and you say no because of a man’s opinion?!?!?!?!?!?!?

Sidney spouts crap about underestimating her while looking sheepishly adorable and Charlotte agrees to go to the ball. Knew she wanted to really... But I don’t get Sidney’s sudden change of heart about Charlotte and as for underestimating her, what for? She bollocksed up everything, except for guessing that Georgiana was still held in London so they didn’t need to go off on a wild goose chase to Gretna Green. The episode up until that second has been Sidney treating her like she is a child who has made things unnecessarily difficult and not worthy of respect or a kind word. I don’t buy this. Sorry.

The ball!!!!!!!!

Poor Tom! No one gives a shit about the Regatta at the ball and one man even throws Tom’s card on the floor! Rude. Oh well, at least he looks da bomb in his burgundy silk ensemble.

Charlotte’s disappointed in the ball and wants to leave?!?!?!? Disappointed!?!?!? In a London ball! She’s only been there for five minutes and hasn’t done the obligatory sexually charged dance in a fabulous dress with the brooding hero yet! I know she is upset that they have left Georgiana at home and that’s fine, it shows that she has sensibilities and compassion for a friend, but come on!

Why is she asking Sidney’s opinion to leave? Why is she putting herself down? Yes, Sidney’s behaviour has definitely led her to believe that she is too headstrong and opinionated, but I don’t think she’s too much. The way she has been written up until this episode has been what has made her interesting. Austen heroine’s do go through this in the last third of the story though.

Oh, now he thinks those things are cute. No wonder Charlotte is confused. I am.

Why in holy fuck is Charlotte telling absolutely everything to a total stranger?!?! I get that it is a human thing to want to pour out your heart and problems to someone who can take a step back and see things from a different perspective, but Austen heroine’s keep their fucking counsel! Also, in the time period at that level of society, spilling your secrets to a stranger opens everyone involved up to potential scandal. Good fucking God. This is not even reality at this point!

Charlotte in love with Sidney? Surely not Queen Susan. It’s glaring that Charlotte does love Sidney at this point. Treat them mean, make them fall in love with you, I guess.

Ooooh, the smoulder! Fuck, it’s even working on me!

Jesus Christ, this dance has everything. Not taking their soft eyes off of each others, gradually getting more intense as the dance goes on. Tender brushings of hands. The waltz with his head bent to hers with while being a bit too close for proprieties sake. The way they move in perfect harmony in a way that has not been in evidence in their interactions before. Lingering touches when they have to part in the dance. Taut sexual tension dripping from every step. Both suddenly grinning their arses off when the dance gets faster. The slow-mo shot showing them falling deeper into love. Ending the dance in extreme reluctance as it means they cannot be close in front of everyone anymore while looking stunned by their feelings. Divine!

Uh oh. Enter old flame. Why did you have to spoil it Andrew?

I know that’s Theo’s actual real life wife, but there was no chemistry that I could see. I could go and get my binoculars. Eliza Campion, I know you won’t prevail, but please step it up for the next episode cos you haven’t convinced me yet.

Charlotte is happy and glowing with her new found awakening. I hope it will last. Of course not...

If you have managed to read to the end of this, well done! I certainly wouldn’t have! As you can see, most of this post has dealt with my feelings of incredulity at the way this episode has turned out. Don’t get me wrong, I really do like Sanditon, but Sunday’s episode has left me shaking my head in confusion. Andrew Davies work has always been top notch, but I wonder if the absence of full original source material has left him unable to write the fully realised characters of the Austen novels that we have come to expect. But injecting melodrama and bizarre about turns in terms of characters and their characterisation while introducing unnecessary scenes (you know the one I mean) has left this episode severely disjointed for me.

#sanditon #sanditon spoilers #spoilers #musings of michelle #long post #rambling

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willow-salix · 6 years

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Mistakes Novice Writers Make - Day 5 Writing and Prose

Hi guys, and welcome back to our last day of common mistakes that novice writers make. Today we’re gonna talk about general writing mistakes and problems with prose.

The biggest thing that novice writers are guilty of is trying too hard. They might feel like their plain, everyday way of talking and writing isn’t good enough, isn’t clever enough or isn’t literary enough.

And so, they will try to be something they are not. This almost always shows to the reader and makes the writer look like an amateur.

A lack of clear and concise prose will turn off all but the hardiest of readers. Writing styles, much like language evolve over time. The days of big words and flouncy, poetic prose went out with Dickens. And while it’s nice to go back and read them sometimes, they are very much of their time and not to most modern tastes.

That’s not to say there is anything wrong with this style of writing, it has its place and can still be used today if it’s done right, but it’s a skill that takes practice and more practice to get it right. Often if you are writing a book in the style of someone else, you can market it as such and that’s fine, your readers will know exactly what they are buying, but for a modern, contemporary novel, it doesn’t work at all.

Not matching your writing style to the type of book you are writing. For example, if you have a rather old-fashioned style, with very proper sentence construction and a love of bigger words, you might be better suited to a historical novel where it will work better. Older writers who attended school in a different era tend to find this works for them. An historical novel doesn’t have to be set hundreds of years ago, it just has to be a time that is not now. So, if you grew up in the 60’s, were taught in those times and still have those kind of speech patterns to your writing, then maybe think about doing a novel set during that time period, where your langue and style will be able to flow and work to its full potential.

If you have a more modern style, then set your novel in modern times that reflect it. it would really jar with your readers if you used modern langue in a novel set in the 1940’s for example.

On the subject of historicals, let me add in a little warning about another problem that was brought up by another writer is asked about common mistakes. And that is lack of research.

Armature writers often get too caught up in the story and have an overly romanticised view of the time period they are writing about.

I’m a member of a few active writing forums and one observation someone made was how they were having to re-write almost all of their novel because their editor had said they had overly romantic, TV drama style descriptions. And because of this they had now learnt that the streets of 1850’s New Orleans would have been covered in horse shit as well as human waste, people would be pissing on the street without a care in the world, it was filthy, it stank and was not really a nice place to be.

Trying to write a book when all you know about the area or time period has come from Movies or TV shows will scream novice and showcase your lac of effort. Research is your friend.

This doesn’t just mean in the physical descriptions of the area itself, but includes the dialogue they would have used, the accents and slang words they would have used, the legal system of the time, how the country worked, and basically researching all aspects of the book, not just the obvious.

Another prose problem would be making your writing overly complex, again this is related to the type of book that you are writing.

Going into massive details about how a computer works and how they are built is fine if you are writing an article for a computer magazine, but not in a novel or gods forbid, a short story. Readers will have a hard time following it and will likely skip ahead or give up on the story entirely. It’s the same with science or physics, keep things as basic as you can while still giving the information that is needed. Don’t treat your reader like they are stupid and need to be spoon fed the ABC, but also keep the large, complicated scientific explanations in their place such as magazines, academic journals and dissertations.

Choppy prose is another example of amateurish writing. Choppy prose can make your writing feel disjoined, like it lacks flow (because it does) and construction.

While this will work in small does, for an action scene or a scary scene, too much will make it feel like a race, exhausting your reader and making it harder to read.

There are a number of culprits that result in choppy prose, the most common two being fragmented or run on style sentences.

Run on writing is when two or more scene points are joined without proper conjunction- like the use of and, but, or type of words- or without punctuation. It has an almost hurried pace and that isn’t always the pace you are trying to create. For example:

“Mona arrived at the bank only 3 minutes late she ran up the steps she banged on the door screamed at the people still inside she had to get inside to talk to them.”

Fragmented writing seems incomplete, lacking a real purpose, flow or structure. It can make the writer look uneducated, it can read in a really confusing way and give an image you don’t want. For example:

“Mona gave up and stopped. Cried. What would happen now? Ruined. All was ruined. She sat down on the steps. Because her legs gave out. maybe someone would help her? The next bank. Take pity on her.”

That was actually hard for me to write, because it goes against almost everything I know as a writer. But you’d be surprise how often I see it while beta reading, in online stories or in independently published books.

See how badly those examples read? But don’t despair, because both can be fixed with a little practice and work. Separate your run-on sentences with correct clauses, or into sentences of their own, adding more details when needed. Smooth out your fragmented writing with proper punctuation and build them into full sentences.

Here is an example of how to fix some of the structural problems.

“Mona missed the bank by 3 minutes, finding the doors locked. Desperate, she banged on the door, calling to the people inside to let her in. She needed to talk to them, to fix it. they ignored her, deaf to her yells. Giving up she stopped, bursting into tears as the reality of the situation hit home. Ruined, it was all ruined.

Her legs felt wobbly, incapable of holding her up and she sat down heavily on the steps before she fell down. Maybe someone else would help her, maybe another bank would take pity on her? she couldn’t give up now.”

That flows so much better, it explains the situation in brief detail and shows her mood, but also her determination to keep trying.

Check your word choices. Nothing screams amateur more than writing the wrong word or spelling.

Here is a brief example of this, I’ll give you a moment to read it. (show purple picture.)

Using the wrong word choice can make you look uneducated, like you are trying too hard and using words you don’t understand in an effort to look clever. When in fact it has the opposite effect.

If you are using a word that has more than one meaning, check its definition, check the spelling and make sure you are using it in the correct way. For example: bare and bear One, spelt BARE- means that something is naked, not covered, to bare all, or to be bare, something that is basic, the bare essential, without decoration or fancy features. Bear spelt BEAR has more than one meaning, it means a bear as in the animal that lives in the woods and likes to steal picnic baskets, other meanings include not being able to bear something, its unbearable, I cannot bear it. you can also bear something, as in, he was bearing a tray of snacks.

The same goes for any words that you do not use or hear in everyday conversation, check them, because you can quite easily misunderstand the meaning of a word or misspell it to turn it into something it shouldn’t be. If you are wanting to use a word that you have never checked before, check it. A thirty second google could be the difference between looking educated or stupid.

So many people think they know the meaning of a word only to confuse it with another that sounds very similar, for example, Synonym buns, and cinnamon buns. Most definitely not the same thing, and yes, I’ve seen this one on the internet, it’s a real thing.

Another thing to always check is a common saying. By that I mean when someone thinks they know what a common saying is, but they actually misheard it themselves and now just keep saying it wrong. One example I’ve seen of this is someone that wished everyone could just “barry the hatchet” I don’t know who barry is or why he’s a hatchet or what they are trying to do with him.

All of these little slip ups are sure fire ways of making yourself look bad when they turn up in your writing work.

If I read a comment or post by someone that uses the wrong words while trying to look clever, usually when someone is ranting or trying to make an offensive point, I will notice it, I can’t help it. and much as I would love to say that I don’t judge them, lets be real here, I do. I do judge, because I believe in education, and in continuing to educate yourself, to better yourself, for as long as you have left on this planet. By not looking up the correct words, using tools like spell check or even bothering to use the right spelling for a word, well that’s often just laziness in my eyes. Harsh but true. I can’t take someone seriously if they are trying to make a point when they write like that. And if I saw that in a novel, it would likely make me stop reading. If you want to be taken seriously with your writing you have to start taking it seriously yourself, and that means lots of time and effort.

Bad use of punctuation, or the complete lack of it, is also something that many will judge you on. It can also throw off the whole rhythm and flow of your writing. I’m not going to go deep into this as I’m planning to do a video on this subject. But what I will say now as a quick tip is to either read your work out loud or better yet, get a reading app to do it for you if you have trouble with knowing how punctuation works within your work. The difference between a full stop and a comma is huge, but many treat them as the same thing, almost interchangeable, but the misuse of them will change the whole structure of your sentence.

Repetitive words are another thing that novice writers may do. Now I’m not saying that you need to pull a Joey and use a thesaurus for every word you use, but you can mix it up a bit.

If you are describing something and you will need to make a point more than once, try to find a different descriptive word to use. I have a personal rule of never using the same descriptive word twice for the same thing in the same paragraph.

Obviously, there are exceptions to this rule, some things you can’t branch out on without looking like you are trying too hard.

A book is a book, sure technically you could say novel, opus, tome, volume, paper back etc, they all mean the same thing, but it would get pretty ridiculous if you used them all. In this case I would describe the book itself, “A paperback romance sat on the bedside table,” and then just refer to it as the book after that. “She picked up the book, studying the cover,” “she flicked through the book, starting to read at random,” “She threw the book at his head.” That is an example of keeping things simple.

When not to use repetitive words would be when describing something important, like a baby. You could use new-born, the baby, his son, her child, the infant, etc.

Picture the scene, there had just been a traumatic birth and now the baby is safely here and it’s the aftermath or even during the birth itself, just saying the baby all the time would become boring and repetitive.

If something is important it needs to be kept at the forefront of the action and that means that it needs more than one descriptive word.

Another example of this would be action words or ‘doing’ words if you prefer to call them that.

Here’s an example of one descriptive word getting overused and boring. “The crystals were placed in a circle, their pattern very specific, with a candle placed in the centre. Next, she took out a shell and placed that in the west of the circle, then came an incense cone which she placed in the east.”

Placed, placed, placed all the same descriptive word. Other words could and probably should be used to keep the writing feeling fresh.

“The crystals were arranged in a circle, their pattern looking to be very specific, a candle was then placed in the centre (our first and only placed) next she took out a shall, laying it carefully in the west of the circle and an incense cone in the east.”

Different words make the writing more interesting.

Another problem which I will just touch on as I did a bit about this in one of the previous videos and I plan on doing a more in-depth talk on them in the future, is POV, i.e. 1st, 2nd or 3rd person writing. Books are almost always in either 1st or 3rd person POV, 2nd is mostly ignored and unused, personally I hate that point of view.

Most novice writers fall into writing 1st person because they find it easier to relate to the character and to tell the story, but this can come with problems. It can be harder to create a more complex storyline as you are limited as to what information you can give and what you can show to the reader due to how much you character will actually know, see and experience.

You will often end up in the realm of telling instead of showing as a way of explaining, which isn’t that great.

Another problem can be lack of character voice as you might not have had time to develop your authors voice and style, therefore all your characters run the risk of sounding the same.

Lastly your characters can come off as whining, self-centred and a bit dumb as it’s all too easy to fall into the trap of too much information feeding.

As always everything with writing is takes time and practice. Read lots of tips, keep watching videos like this and keep writing.

Upcoming videos include dialogue, exploring the various POV’s in depth, how to edit your work and more talk on romance novels.

Until then, blessed be and happy writing.

#willowsalixauthor #paranormalromance #witch #bookseries #books #vampires #writer #writingcommunity #writing time #writingtips #writing #how to write #how to make it

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atlanticcanada · 8 years

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'It's a tinderbox': Assaults soar at 'stark, severe' throwback jail in N.L.

ST. JOHN'S, N.L. -- It opened in 1859, the year Charles Dickens' new novel "A Tale of Two Cities" transfixed readers with Dr. Manette's tormented imprisonment at the Bastille.

Built from stone, Her Majesty's Penitentiary in St. John's, N.L., was meant to be "stark, severe, forbidding."

In its old basement dungeon, shackles were once used to keep inmates in solitary confinement. HMP was the site of at least five hangings.

"It's not a correctional facility. It's a penal institution," said Bob Buckingham, a criminal defence lawyer who often represents clients held at HMP.

There have been updates and add-ons to the original stone structure through the decades, creating an unwieldy labyrinth of modern units and old-style cells with barred doors.

Critics say it's an appalling Victorian-era throwback that should be bulldozed.

"The facilities themselves are barely beyond that of the medieval age," said Buckingham.

"It's understaffed, it's overcrowded, there's a lack of programs. The place is a tinderbox."

Assaults at HMP more than doubled to 41 in 2016 from 19 the year before and 20 in 2014, according to Justice Department statistics.

Some of those assaults were merely spitting, while others are the sort of bloody attacks shown on surveillance video played in court as Edward Owens was sentenced for aggravated assault.

The video shows Owens sucker-punching fellow inmate Glen Maher in the face as Maher watched TV with several other men on Feb. 23, 2015.

Maher is seen leaning over, blood pooling on the table, as Owens continues to hit him before pushing him to the floor. Photos taken after the attack show his left eye swollen shut, his jaw bruised and his face scratched.

Other major incidents at the penitentiary in recent years include the brutal ambush in February 2014 of an inmate in the chapel that led to charges against several others. Another riot in June of that year trashed a living unit, causing tens of thousands of dollars in damages.

"I worry about everybody's safety, obviously, whether you're an inmate or staff," Justice Minister Andrew Parsons said in an interview.

The penitentiary has recently been at full capacity, with 175 men serving provincial terms up to two years less a day along with those awaiting court dates on remand.

Low-risk federal offenders are also housed at HMP, as well as nine women in a separate unit due to overflow at the Correctional Centre for Women in Clarenville, about 90 minutes northwest of St. John's.

Buckingham said drug addiction, lack of help for mental health issues, more gang-related violence and double-bunking all add to tensions.

There has been talk for years of the need to replace the building, sitting on prime real estate overlooking an inner-city lake in St. John's.

The former Progressive Conservative government, before losing power to the Liberals in 2015, awarded a contract for initial designs of a new building. It included a conceptual floor plan and suggested location.

Progress stalled, however, as the crash of commodity prices gutted the province's offshore oil earnings and its economy slowed.

Parsons said he has raised the need for a replacement with his federal counterpart, Ralph Goodale. But with no funding commitments from Ottawa and the province facing a $1.6-billion deficit, Parsons is making no promises.

For now, Parsons is working to divert more people who can be better helped through addiction treatment, mental health supports and restorative justice.

"We need to address the fact that there may be people that shouldn't be inside. Our whole system would be better served with other options rather than just incarceration."

Jerry Earle, president of the Newfoundland and Labrador Association of Public and Private Employees, represents correctional officers who he says are "always on edge."

Guards continue to work 24-hour shifts at times -- a practice that a review of the corrections system in 2008 called "totally unacceptable."

Public sympathy for offenders may be low, but Earle said most of those inmates wind up back in society -- and Her Majesty's Penitentiary is hardly ideal for rehabilitation.

"I compare it to the Dark Ages."

from CTV News - Atlantic http://ift.tt/2iWMjQP

#new brunswick #prince edward island #nova scotia #news #politics #canada #CTVAtlantic

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maryroxburghetrust · 6 years

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Shooting ITV'S 'Vanity Fair' at West Horsley Place

©Mammoth Screen/ITV Pictured: Martin Clunes as Sir Pitt Crawley and Olivia Cooke as Becky Sharp.

ITV’S highly anticipated adaptation of Thackeray’s Vanity Fair starts this Sunday at 9pm. Those of you who live locally to West Horsley Place may well have wondered what was being filmed here in the depths of January and we are delighted to finally lift the veil of secrecy. Vanity Fair is set to become one of the biggest TV dramas of the year- and much of the action was filmed at Grade I listed West Horsley Place.

With a stellar cast including Olivia Cooke, Tom Bateman, Johnny Flynn, Martin Clunes, Frances de la Tour, Suranne Jones and Michael Palin, West Horsley Place provides the interiors for Queen’s Crawley (Martin Clunes’ character Sir Pitt Crawley’s house) in this adaptation of Thackeray’s literary classic, which takes place during the Napoleonic Wars and follows modern heroine Becky Sharp (Olivia Cooke) as she attempts to claw her way out of poverty and scale the heights of English Society. Shooting at West Horsley Place happened over three weeks, with sets created in many rooms as well the gardens and estate. Those walking their dogs on the estate may well have been surprised to see the dashing hero of the piece (Tom Bateman) cantering his stallion across our fields! As the house is a cross section of different architectural and decorative styles it was able to provide sets for several locations in the series including Pumpernickel, Coventry Island, Vauxhall Pleasure Gardens and Queen’s Crawley. Managing a film crew and cast of that size is quite an operation; our priority was to work closely with the crew to ensure that the historic fabric of the house was completely protected during the shoot. Those who have visited West Horsley Place will recognise the Stone Hall (pictured above in a ball scene) as the dining room at Queens Crawley alongside our staircase and drawing room. One spectacular scene required the orchard to be transformed into a winter paradise of snow and ice; as the weather was not obliging a visual effects team was brought in to cover the ground with fake snow and the trees with fake frost. This was quite beautiful and was all washed away the following day as if it had never existed. The cast and crew were extremely friendly and professional showing great respect for and appreciation of their temporary new home despite our lack of any heating. The use of West Horsley Place as a location for film and TV provides essential income to fund restoration works as well as fitting into West Horsley Place’s ethos as a home for the arts.

Commenting, Peter Pearce, Director of West Horsley Place, said:

“We were thrilled to be chosen as a location for Vanity Fair, and are very much looking forward to seeing West Horsley Place on television this autumn. Literature is all-important to the story of this great house. When Mary, Duchess of Roxburghe died, in addition to the bequest to Bamber Gascoigne was a bequest to Trinity College, Cambridge of 7,500 books held in the library at West Horsley Place collected by the Duchess’ father and grandfather and recognised as “one of the most important private collections in Britain.” Amongst the treasures to have been discovered here were first editions by Byron, Shelley, Wordsworth and Tennyson and previously unknown manuscripts of Napoleon Bonaparte, George Washington, Florence Nightingale and Charles Dickens. Now, at the Wren Library, these treasures are available to everyone. Through film, we are able to celebrate these literary links and to take a step closer to saving West Horsley Place. Our vision is that West Horsley Place will be reborn as a place for everyone to enjoy, whether as a theatre guest, visitor to the house or garden or as a student learning a craft to enjoy and practice at home. There is a great history to be discovered, and a new role for this grand old house to play in its community. It will be an entrancing future!”

Martin Clunes was at West Horsley Place every day of the shoot. In between takes he was interested to learn about the history of the place and the exciting plans for its future. He said, “West Horsley was my favourite of all of the houses we visited. Freezing but beautiful. It’s colder inside than out. But it is really pretty. And it looks real, lived in and a bit wonky.”

Shooting ITV’S ‘Vanity Fair’ at West Horsley Place was originally published on West Horsley Place

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fashiontrendin-blog · 6 years

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The 100 Books Every Man Should Read

http://fashion-trendin.com/the-100-books-every-man-should-read-2/

The 100 Books Every Man Should Read

Groucho Marx once said: “Outside of a dog, a book is man’s best friend. Inside of a dog, it’s too dark to read.” We’re not quite sure what he meant either, but what we do know is that books are an essential for any man.

So, whether you’re heading off abroad and need a page-turner, or just want to have something other than Harry Kane’s ankle injury to talk about on a Tinder date next week, here are the 100 books that’ll broaden your horizons (and bulk out your bookshelf).

Classics

Men Without Women – Ernest Hemingway

Best For: Understanding Women Classic Hemingway subjects – bullfighting, war, women, more war – in a collection of short stories proving that masculinity lacking a softer touch is a dangerous thing. If you’ve been dumped, or you’re just missing your mum, then you need this.

A Picture of Dorian Grey – Oscar Wilde

Best For: When You’ve Found Another Grey Hair A handsome, innocent young man sells his soul to keep his dashing good looks – and of course it all goes pear-shaped. It’ll make you feel better about the march of time and skipping the gym, plus it’s full of classic Wilde quips you can fire off at the dinner table.

Slaughterhouse-Five – Kurt Vonnegut

Best For: Reaffirming War Is Good For Absolutely Nothing Prisoner of war, optometrist, father, time-traveller, plane-crash survivor: Billy Pilgrim is all these and more in a miraculously moving, bitter and blackly hilarious story of innocence faced with apocalypse.

The Great Gatsby – F. Scott Fitzgerald

Best For: The DiCaprio Nod Leo rarely puts a foot wrong, but even he couldn’t capture the magnetic Jay Gatsby as well as Fitzgerald did on page. Set in the summer of 1922, with the Roaring Twenties in full swing, this is a terrific unpicking of decadence, social change and excess.

A Clockwork Orange – Anthony Burgess

Best For: Bratchnys A merciless satire of state control, in which Burgess imagined a dystopian future of ultraviolence decades before it became a sci-fi standard. Much of it is written in the slang spoken by teen hero, Alex; ‘bratchnys’ are bastards (and so are Alex and his murderous crew.)

Lolita – Vladimir Nabokov

Best For: Intense Moral Conundrum There’s no sugar-coating this one: a man obsessed with the 12-year-old daughter of his landlady and so marries the mother to be near her. From there, the ground only gets dodgier. The most controversial book on this list is a literary hot potato that will never cool down.

Brighton Rock – Graham Greene

Best For: Seaside Sins Brighton wasn’t always cocktail bars and vintage shops. In 1938, a gang war is raging, and ruthless Pinkie has just killed his first victim. In trying to cover his tracks, he only digs himself into a deeper hole.

1984 – George Orwell

Best For: A Jolt Of Future Shock No list of great books would be complete without this influential masterpiece, which gets more prescient year by year. Winston Smith rewrites the past to suit the needs of the ruling party, who run a totalitarian society under the watchful eye of Big Brother.

What We Talk About When We Talk About Love – Raymond Carver

Best For: Toasting Don Draper A collection of brilliant short stories about the lonely men and women of the American Midwest who drink, fish and play cards to ease the passing of time. Along with fellow US short-story master John Cheever, Carver’s words inspired Mad Men.

One Flew Over The Cuckoo’s Nest – Ken Kesey

Best For: Breaking The Rules You’ve probably seen the film, but this really is a case of ‘the book is better’. Evil Nurse Ratched rules an Oregon mental institution with an iron fist until new arrival McMurphy, who faked madness to dodge hard labour in the joint, brings chaos and hope to his fellow inmates.

The Catcher In The Rye – J.D.Salinger

Best For: Angst In Your Pants Any book about the harshness of teenage life will resonate with anyone who is or has been a teen, but the misadventures of Holden Caulfield have become the set text, and rightly so. He is cynical, jaded, dickishly rebellious. And we have, in ways big and small, all been there.

Meditations – Marcus Aurelius

Best For: Getting Things Done The innermost thoughts of the Roman Emperor from 161-180AD are a genuinely practical and insightful guide to life almost 1,900 years later. Silicon Valley billionaires and their teams love this book and its ideas for the way it helps them to accept the world as it is, then rule it.

The Go-Between – L.P. Hartley

Best For: Keeping Secrets They say “the past is a foreign country”. Well, that’s because it’s the famous opening line of this novel, in which an old man recalls the summer he spent aged 13 at his friend’s country house, as he shipped illicit messages between his chum’s engaged sister and a local farmer.

Fahrenheit 451 – Ray Bradbury

Best For: Page-Turning And Page-Burning In the America of the future, people are addicted to watching soap-opera-style shows on giant screens in their homes. Books are banned, firemen hunt down illicit volumes and burn them. A book about the magic of reading and how we must never let it fade away.

The Odyssey – Homer

Best For: Original Adventure The original homecoming tale – a king’s decade-long slog home after the Trojan War – contains: witches, monsters, betrayal, drugs, cannibals, disguises, a bit of war and quite a lot of slaughter. Every man-on-a-quest story and road movie owes a debt to this remarkable tale.

Bleak House – Charles Dickens

Best For: Epic Shenanigans To be fair, the Dickens pick on this list could have been one of a dozen. But this Victorian doorstop, with its massive cast (including the murky London underworld), is the most impressive and entertaining. A legal tussle over a will plays havoc with the lives of the potential beneficiaries and those around them.

Heart Of Darkness – Joseph Conrad

Best For: “The Horror, The Horror!” In 1890, the author captained a steamboat up the Congo River. A decade later, his novel about something very similar became a sensation. In 1979 it was very freely adapted into the epic Vietnam movie Apocalypse Now. Also, at less than 100 pages, you have no excuses not to finish it.

Frankenstein – Mary Shelley

Best For: The Sum Of Its Parts Yes, everybody now knows that the monster isn’t Frankenstein; that’s the mad scientist who makes him. But did you know that science-fiction was basically invented with this book, written by an 18-year-old girl challenged to come up with a ghost story? Still creepy and relevant despite being 200 years old.

The Long Goodbye – Raymond Chandler

Best For: Prime Pulp Fiction “The girl gave him a look which ought to have stuck at least four inches out of his back.” “He was a guy who talked with commas, like a heavy novel.” “A dead man is the best fall guy in the world. He never talks back.” Just a sample of the hardboiled genius on display in this truly great detective yarn.

The Lord of The Rings – JRR Tolkien

Best For: Hobbit-Forming When it comes to fantasy, there is one story to rule them all. The massive success of the film trilogy based on it does not dim the power of the source material. Amazon is spending $1bn making the TV version. For many, though, the original remains the masterpiece.

Moby Dick – Herman Melville

Best For: A Whale Of A Time Sperm whale eats sailor’s lower leg; sailor tricks other sailors into crewing his revenge mission; it doesn’t go well. A tale of obsession, adventure, maritime manliness and beast-slaying that does not get old as it ages.

Modern

Norwegian Wood – Haruki Murakami

Best For: Brutal Beatlemania When he hears her favourite Beatles song, Toru Watanabe recalls his first love Naoko, the girlfriend of his best friend, Kizuki. Delving into his student years in Tokyo, Toru dabbles in uneasy friendships, casual sex, passion, loss and desire.

Money: A Suicide Note – Martin Amis

Best For: Learning Restraint Wealthy transatlantic movie executive John Self allows himself whatever he wants whenever he wants it: alcohol, tobacco, pills, pornography, a mountain of junk food. It’s never going to end well, is it? A cautionary tale of a life lived without boundaries.

The Road – Cormac McCarthy

Best For: Going Hungry Of the many, many recent stories of survival in a post-apocalyptic dystopian future, this one is the toughest, smartest and the one which stays with you the longest. A father and son contrive to survive in the face of cannibalism, starvation and brutality.

The Sportswriter – Richard Ford

Best For: Knowing The Grass Isn’t Greener Frank Bascombe, it seems, is living the dream: a younger girlfriend and a job as a sports writer. But his inner turmoil and private tragedies show all is not always as it seems, even for those who seem to have it all.

The 25th Hour – David Benioff

Best For: Clock Watching Facing a seven-year stretch for dealing, Monty Brogan sets out to make the most of his last night of freedom. His dad wants him to do a runner, his drug-lord boss wants to know if he squealed, his girlfriend is confused and his friends are trying to prepare him for the worst. It’s a lot to fit in.

We Need To Talk About Kevin – Lionel Shriver

Best For: Questioning Yourself The story of Eva, mother of Kevin, who murdered seven of his fellow high-school students and two members of staff. She’s coming to terms with the fact that her maternal instincts could have driven him off the rails. It’s made worse by the fact that he survived and she can’t help visiting him in prison.

American Pastoral – Philip Roth

Best For: Bursting The American Dream The Sixties was a time for sex, drugs, rock’n’roll and, erm, political mayhem. Swede Levov is living the American dream until his daughter Merry becomes involved in political terrorism that drags the family into the underbelly of society. Totally rad.

American Psycho – Bret Easton Ellis

Best For: Career Killers The film is a contemporary masterpiece, but Patrick Bateman is even more evil on paper than he is on screen. An outright psychopath partly made by life on Wall Street, this bitterly black comedy is a classic that’ll keep you in line should you become a desk drone.

The Secret History – Donna Tartt

Best For: Murder Most Moral A group of eccentric misfits at a New England college discover a unique way of thinking thanks to their classics professor, which forces them to contemplate how easy it can be to kill someone if they cross you.

The Watchmen – Alan Moore

Best For: Picturing The Scene The most lauded graphic novel of all time concerns a team of superheroes called the Crimebusters, and a plot to kill and discredit them. Packed with symbolism and intelligent political and social commentary, with artwork as brilliant as the text.

The Corrections – Jonathan Franzen

Best For: Mother’s Day Appreciation After 50 years as a wife and mother, Enid wants to have some fun. But as her husband Alfred is losing his grip on reality, and their children have left the nest, she sets her heart on one last family Christmas. Virtue, sexual inhibition, outdated mental healthcare and globalised greed are all under the tree.

A Brief History of Seven Killings – Marlon James

Best For: Shadowy Thrills One evening in December 1976, gunmen burst into Bob Marley’s house in Jamaica, having shot his wife on the driveway, and shot Bob and his manager multiple times. No arrests were made. True story. James imagines what happens to the perpetrators, with appearances by the CIA and a ghost.

The Amazing Adventures of Kavalier and Clay – Michael Chabon

Best For: Nerd Nirvana The greatest superhero story ever told isn’t about costumed men, but the men who create them. Kavalier & Clay create The Escapist, at the start of comic books’ Golden Age in Thirties New York. He is super-popular; K&C miss out on the big money but can’t avoid the pitfalls of love and war.

Midnight’s Children – Salman Rushdie

Best For: Magical Realism The tots of the title are all born in the first hour of India’s independence – midnight til 1am on August 15, 1947 – and they all have superpowers. One of them, a telepath, tries to find out why while reaching out to the others. Won the Booker Prize, and twice won Booker best-of votes on anniversaries of the award.

Robert Harris – Fatherland

Best For: Wondering What-If A most chillingly plausible alternate history, in which Germany won World War II (Oxford University is an SS Academy, and the Germans are winning the space race) and senior Nazi party officials are being offed in Sixties Berlin. Turns out there’s a conspiracy to silence the ultimate conspiracy…

The Stand – Stephen King

Best For: Good vs Evil The modern master of genre fiction’s magnum opus is the 1990 Complete and Uncut version of his 1978 novel. A virus has all but wiped out humanity. American survivors gravitate to either Las Vegas (the bad lot) or Boulder, Colorado (the goodies), then the two tribes ready for the showdown.

High-Rise – J.G. Ballard

Best For: Block Party Politics When the residents of a posh tower block find their sweet set-up falling apart, the response is feral. Minor social differences lead to floor-versus-floor violence. The well-to-do become savages, and what that nice Dr Laing does with his neighbour’s dog is decidedly un-vegan.

A Perfect Spy – John Le Carré

Best For: The Secret Life David Cornwell worked as a British intelligence officer for almost nine years before adopting the pen name of John Le Carré and quitting spookery. Of his 23 spy novels, this is the best, perhaps because it’s the most autobiographical, although the made-up secret-service bits are first-rate too.

White Teeth – Zadie Smith

Best For: The Modern World A cross-generational saga of North London life rooted in the British immigrant experience that’s much funnier than the first half of this sentence makes out. The dentistry of the title is what everyone here – Bangladeshi, Jamaican, white British or otherwise – have in common.

Spies – Michael Frayn

Best For: Playing Detective You’re trying to get through a wartime summer in London, but you find out your mum is a German spy. You bring one of your classmates in on the surveillance, but, without your knowledge, she enlists him in her mysterious deeds. Not a ‘whodunit’, more an outstandingly original ‘whoisit’?

American Tabloid – James Ellroy

Best For: Solving JFK’s Murder In the messed-up mind of Ellroy, crime fiction’s self-proclaimed demon dog, the CIA, FBI, Mafia and Hollywood are all involved in the assassination of “Bad-Back Jack”. The rat-a-tat-tat of Ellroy’s short, slang-centric sentences boosts what would still be a fine secret-history yarn to be something powerful and electric.

Style, Fitness & Mind-Enhancement

ABC of Men’s Fashion – Hardy Amies

Best For: Wardrobe Rules Classic style is forever – which is 99 per cent true in the case of this pocket encyclopaedia written in 1964 by a Savile Row legend. When you get to ‘B’, you can be amused by 150 words on ‘Bowler Hats’, but skip ‘Beachwear’ at your peril: “A plain navy blue shirt with white linen trousers will always outshine any patterned job.”

Men of Style – Josh Sims

Best For: Brushing Up Style guides can often be more decorative than useful, but this one, by the venerable fashion journalist Sims, profiles the best-dressed men of the past century so that you can steal for your look the things that make them so undeniably well-dressed.

Men and Style – David Coggins

Best For: Excavating Your True Look It is hard to be stylish if you haven’t grasped what ‘style’ means for you. Coggins understands that it stretches beyond clothes (although they are mightily important) to the influence of your father – yes, him! – your school days, your surroundings and more.

Thinking, Fast And Slow – Daniel Kahneman

Best For: Mind Games Why is there more chance we’ll believe something if it’s in a bold typeface? Why do we assume a good-looking person will be more competent? The answer lies in the two ways we make choices: fast, intuitive thinking, and slow, rational thinking. This book has practical techniques for slower, smarter thinking, so you can make better decisions at work, home and life in general.

How Not To Be Wrong – Jordan Ellenberg

Best For: Number Crunching If the maths you learned in school has slipped your mind, there’s something to be said for this book helping you to re-grasp numbers: a powerful commodity in a post-truth world. You’ll learn to how to analyse important situations at work and at play – and how early you actually need to get to the airport.

Happiness By Design – Paul Dolan

Best For: Living The Good Life As figures prove, we’re all stretched and stressed. So how can we make it easier to be happy? Using the latest cutting-edge research, Dolan, a professor of behavioural science, reveals that wellbeing isn’t about how we think, it’s about what we do.

The Chimp Paradox – Steve Peters

Best For: Retraining Your Brain Peters helped British Cycling, Ronnie O’Sullivan, and other pro sports stars win more. He says our brains are emotional (the chimp bit), logical (human) and automatically instinctive (like a computer). We can’t shut off the monkey, but with work, the other two parts can control it. Reading this won’t make you World Snooker Champion, but you will be empowered to make more successful choices in life.

Reasons To Stay Alive – Matt Haig

Best For: Mental Wellbeing Aged 24, Haig was diagnosed with severe anxiety and depression and contemplating suicide. His memoir of coming back from the brink is an honest, moving and funny exploration of triumph over failing mental health that almost destroyed him.

The World’s Fittest Book – Ross Edgley

Best For: Getting Into The Right Shape Quite the claim in the title there, but ‘fitness adventurer’ Edgley backs it up with straightforward and achievable ways to lose weight, tone up and get shredded. Less about following fitness plans (result) and more about applying basic concepts so you can exercise in the right way.

Feet In The Clouds – Richard Askwith

Best For: Running On Empty If you love exercising, you’ll love this dispatch from the world of fell running. If you don’t, then reading about the people who commit to running up and down mountains will help you understand why they love it, and maybe some of their motivation will rub off on you.

Real Fast Food – Nigel Slater

Best For: Cooking IRL Encouragement to eat out of the pan, ingredients in tins and the secret to a perfect bacon sandwich: Slater has over 350 recipes that take less than 30 minutes and don’t require much cheffing, written so any fool can follow them. His take on bacon? Smoked streaky, nearly crisp, untoasted white bread dipped in the bacon fat, no sauce.

Five Quarters – Rachel Roddy

Best For: Pasta Perfection Italian food done simply and totally authentically. The author moved to Rome from the UK on a whim in 2005 and taught herself how to cook like an Italian nonna. Veggies will find a lot to love in this one, too.

Roast Chicken And Other Stories – Simon Hopkinson

Best For: English Classics A book beloved by chefs and food writers, for good reason: Hopkinson makes everything, even the offal, sound absolutely delicious. He picks 40 ingredients, explains why they’re essential, then gives a few recipes for each. Cooking, he says, is about making food you like to eat, not showing off.

Made In India: Cooked In Britain – Meera Sodha

Best For: Takeaway At Home Totally debunking the ‘it’s too hard to make good curries’ myth, this splendid work also has pictures showing important stages of recipes, not just a food-porn shot of the final dish. Also tons of delicious things even curry-house connoisseurs might not have heard of.

Why We Sleep – Matthew Walker

Best For: Ruling The Land Of Nod Everyone knows that they should get more, better sleep, but actually trying to do so can be stressful enough to cause lack of sleep. This bestseller unpicks exactly what happens when your head hits the pillow. More importantly, it explains why and how to get your head right beforehand.

How To Be A Woman – Caitlin Moran

Best For: Opposite Sex Education Since this is the book that “every woman should read”, according to one of its many, many amazing reviews, then surely every man would benefit from reading it, too? A feminist manifesto disguised as a hilarious memoir (or is it vice versa?) from one of the UK’s funniest writers.

The Power of Now – Eckhart Tolle

Best For: Spiritual Enlightenment The author was approaching 30 and borderline suicidal, when he had an epiphany, separating what made him happy real from what was, mostly, the bullshit dragging him down. Years trying to understand how he saw the light meant he can explain it, better than the others who have tried, so you can do the same, too.

Sit Down and Be Quiet – Michael James Wong

Best For: Boosting Body And Mind The genius of this yoga and mindfulness manual for the modern man is in the way it presents those two practices as things you already do in some ways (habits from childhood and sport, mainly). Then, the ways you’re not doing them – physical and mental techniques – are put forth in a non-preachy manner.

Knowledge

A Short History of Nearly Everything – Bill Bryson

Best For: Well, Nearly Everything We could have put this in the science section, given it is a scientific history ranging from the Big Bang to mankind. Anyway: now think of your best-ever teacher. Bryson is like that – curious, witty, in love with his subject – and learning along with him is a pleasure.

Sapiens – Yuval Noah Harari

Best For: A Selfie Of Ourselves Humans came to rule the world, according to this global bestseller, because we mastered fire, gossip, agriculture, mythology, money, contradictions and science. Harari himself is a master of distilling big ideas and concepts, and his book full of them will make your smarter.

Prisoners Of Geography – Tim Marshall

Best For: Mapping It All Out How and why countries do stuff to other countries because of the landscape, the climate, the culture and the natural resources available: that’s geopolitics. And to get a grip on why the world is how it is – no more important time to do that than right now – you read this.

Stasiland – Anna Funder

Best For: Cold War Stories In East Germany, the Stasi was the state security apparatus, which investigated the country’s citizens to an astonishing degree. A few years after the Berlin Wall fell, Funder met with former spies, handlers and resistance operatives, all with incredible tales.

The Plantagenets – Dan Jones

Best For: Past Glory One of the breed of young historians making history TV must-see again, Jones also writes big, juicy, novelistic books. This is the one that takes in 280 years of England and its kings from 1120, including Crusades, Black Death, civil war, war with France, heroes, legends, sacking of cities and all the rest of it. Truly stirring stuff.

Life 3.0 – Max Tegmark

Best For: AI, OK? Artificial intelligence is going to change humanity perhaps more than any other technology, so you kind of owe it to yourself to know what’s coming down the pipe. Tegmark smartly and succinctly puts forward all the arguments for and against the rise of the robots – because rise they will.

Seven Brief Lessons on Physics – Carlo Rovelli

Best For: Demystifying The World, Quickly As it says on the tin: between six and eight short essays about life, the universe and everything, which will tease and enlarge your brain, not tie it in knots. Perfectly formed into 96 pages that deliver a masterclass in relativity, quantum mechanics and mankind’s place in time in space.

The Sixth Extinction – Elizabeth Kolbert

Best For: Reaching The End Times No prizes for guessing that number six on the list of mass extinction events is happening now, as humankind reduces species diversity on Earth like nothing since the asteroid that finished off the dinosaurs 65 million years ago. This book, grippingly, reports on what’s happening now, and those times before.

Behave – Robert Sapolsky

Best For: Why We Do What Do Every one of us is a student of human behaviour, so a book that gives you a distinct advantage over our classmates can only be A Good Thing. That it’s written by a scientist with a sense of humour nailing his mission to demystify complex science is a massive bonus also.

The Making Of The Atomic Bomb – Richard Rhodes

Best For: Explosive Insight An epic recollection of how mankind came to harness, then unleash, the power of the atom. From the first nuclear fission to the bombs that dropped on Nagasaki and Hiroshima, Rhodes marshals a huge cast of scientists (and spies) and leaves no stone unturned.

Inspiration

Long Walk To Freedom – Nelson Mandela

Best For: Genuine Inspiration The short version of Mandela’s life is widely known, but his detailed and moving autobiography, published in 1994, the year he became president of South Africa, is a never-to-be-forgotten account of his fight against apartheid.

I Am Zlatan – Zlatan Ibrahimovich

Best For: Ego Boosts And Footy Boots He is, by his own account, one of the greatest footballers of the modern age. Whether or not you agree, his life story is fascinating, and he gets stuck in on the page as on the pitch. “If Mourinho lights up a room, Guardiola draws the curtains.”

H Is For Hawk – Helen Macdonald

Best For: Grasping Nature’s Power This multi-award winning memoir has a most unusual premise. The author, when “a kind of madness set in” after the death of her father, drives up to Scotland from Cambridge to buy a goshawk for £800 and spends a year training it.

Do No Harm – Henry Marsh

Best For: Surgical Precision Marsh is a consultant neurosurgeon and this, his first volume of memoirs, is a glimpse inside his mind and, indeed, those of his patients. He has little time for NHS middle management, and is as precise with (literally) cutting remarks and insightful asides as he is with his scalpel.

Touching The Void – Joe Simpson

Best For: Life Or Death Scenarios Picture the scene (it starts on page 68 of this adventure classic, if you need some help): you are up a mountain, in difficult conditions, when you slip and fall. You are hanging from the rope tied to your companion, but he has to decide: if he doesn’t cut the rope, you likely both die. What would you do? A real-life version plays out in this astonishing story.

Fear And Loathing In Las Vegas – Hunter S Thompson

Best For: Madness And Mayhem The inventor of gonzo journalism recalls – lord only knows how – a drugs binge to Vegas with his attorney. In lesser hands, this would have been boring, because reading about other people being high is almost always dull. With Thompson in charge, this trippy travelogue fizzles with mad energy.

Unreasonable Behaviour – Don McCullin

Best For: Life Behind A Lens As life stories go, this one takes some beating. A 15-year-old with no qualifications ends up as one of the great war photographers, taking in Vietnam, Africa and the Middle East. He also takes a bullet in the camera and is pushed to physical and emotional extremes in the theatres of conflict.

Fever Pitch – Nick Hornby

Best For: The Fannish Inquisition The best book ever written about what it’s like to be a football fan, despite the glut of titles that has followed it since it was published in 1992. Hornby’s Arsenal addiction can be mapped onto any club, and his insight and honesty ring so very true.

The Story Of The Streets – Mike Skinner

Best For: Rapper’s Delight It will come as no surprise to anyone who has paid attention to lyrics by The Streets that the book written by the man behind them displays both a love of words and a refreshingly honest look at the world. Part guide to the highs and lows of fame, part unpicking of hip-hop as an art form, all good.

How Not To Be A Boy – Robert Webb

Best For: The Male Comedians’ memoirs are ten-a-penny, but this one stands out because the star of Peep Show goes deep into the difficulties of being ‘different’ as a boy in the 1970s and 1980s, his complicated early family life and what it means to be a man in today’s world. Of course, it’s very funny, too.

Steve Jobs – Walter Isaacson

Best For: Getting To Apple’s Core As well as the amazing tale of the rise, fall and rise again of Apple, and the stories behind its iconic products, Issacson’s official biog of geek god Jobs does one thing few official biogs do: print the negative stuff. Jobs could be, often, a douchebag, and learning that along with the positives makes this a must-read.

Fast Company – Jon Bradshaw

Best For: Taking A Punt Six profiles of legendary gamblers and chancers, including pool legend Minnesota Fats, tennis hustler Bobby Riggs and poker players Pug Pearson and Johnny Moss. “Money won is twice as sweet as money earned,” says Paul Newman as Eddie Felson in The Color Of Money. Here’s proof.

Killing Pablo – Mark Bowden

Best For: Crowning The Kingpin Even if you have watched Narcos on Netflix, this biography of Pablo Escobar will still make your jaw drop. That TV show, as good as it is, only scratched the surface. Bowden, a newspaper reporter, interviewed dozens of sources, allowing him to piece together Escobar’s remarkable ascent and descent.

The Right Stuff – Tom Wolfe

Best For: Reaching For The Stars “This book grew out of some ordinary curiosity,” said its author in 1983, four years after it was published. Yet there is nothing ordinary about it. Wolfe wondered what made a man want to sit on top of a giant tube of fuel and be hurtled into space. In the lives of US Navy test pilots and the Mercury astronauts, he found the answers, and with them wrote an all-time great non-fiction book.

The Lost City of Z – David Grann

Best For: Exploring Your Options One of the reviews called this “the best story in the world, told perfectly” and that’s fair enough, really. In 1925, British explorer Colonel Percy Fawcett went missing in Brazil while searching for a mythical settlement. This book investigates why, and the author embarks on his own Amazonian quest.

Outliers: The Story of Success – Malcolm Gladwell

Best For: Secrets Of Success Gladwell is most well known for The Tipping Point, but this book about what high achievers have in common is a more in-depth and engaging read. A big part of what makes people make it big is the hard yards: doing something for 20 hours a week for a decade, or about 10,000 hours. Start tomorrow? Why not?

Hit Makers – Derek Thompson

Best For: Being In With The In Crowd If you want to know why Star Wars is so popular, and why nothing ever really goes viral, then Thompson is your man. His study of pop culture’s most beloved items ranges from Game Of Thrones and Taylor Swift to Pokémon Go and Spotify.

Factfulness – Hans Rosling, Ola Rosling, Anna Rosling Rönnlund

Best For: Rebooting Your World Knowledge Bill Gates has a website on which he posts book recommendations, and liked this one so much he paid for every US college graduate in 2018 to get the ebook version. You might want to join those four million ex-students and be delighted to have much of what you know about the world put right by fascinating hard facts.

Bad Blood – John Carreyou

Best For: Fraud Or Flawed? It’s the story of the age: 19-year-old founds a medical start-up; raises $700m on the promise of a blood-testing machine that never really exists; her $10bn company collapses, with $600m of investors’ money gone. Was it just Silicon Valley hot air or a massive, deliberate fraud?

Doughnut Economics – Kate Raworth

Best For: The Future Of Your Money Experts are divided about Raworth’s ring-shaped model of how economics should be – the flow of money and trade keeping humans and Earth in good shape – but they are all talking about it. She recognises systems and effects, such as climate change and social movements, which standard economics ignore. Her argument is powerful.

Distraction

Me Talk Pretty One Day – David Sedaris

Best For: First-Person Hilarity The best of several collections of brilliant essays from the American humourist deals partly with his moving to Normandy in France, and partly with his life before that, in rural America and New York City. One of these every morning on the way to work would banish commuter blues immediately.

How To Lose Friends & Alienate People – Toby Young

Best For: Tragic Tragicomedy Young is now a right-leaning columnist and social media ‘star’. In a previous life, he got a job on the American magazine Vanity Fair, and dropped the ball spectacularly. Anyone who’s ever felt like a square peg in a workplace round hole (so, that’ll be everyone, then) will find much to laugh at here.

Our Dumb Century – The Onion

Best For: Mocking The Decades In terms of jokes-that-work-per-page hit rate, this is probably the funniest book in the world. Before social media, The Onion’s parody news site was the funniest thing online (they still do pretty good). This special project magnificently takes the Michael out of news and newspapers from 1900 to 1999. In today’s fake news era, this has become even more hilarious.

Spoiled Brats – Simon Rich

Best For: Eye-Watering Laughs Rich writes the sort of charming and amusing essays that Steve Martin and Woody Allen used to do, and there are a dozen in this volume. But it’s the novella Sell Out that makes this a must-read. A Brooklyn pickle-maker falls into the brine and is fished out 100 years later, to face the hipsters who have taken over his town. Your correspondent cried with laughter.

I, Partridge – Steve Coogan

Best For: Pitch-Perfect Parody A spot-on mocking of celebrity autobiography and a celebration of Britain’s best-loved failed chat-show host and digital radio DJ. Even better than reading this with Partridge’s voice in your head is listening to the audiobook, with Coogan-Partridge in absolutely magnificent form.

The Photo Ark – Joel Sartore

Best For: All Creatures Great And Small As ambitions go, it’s lofty and admirable: take a picture of all 12,000 species living in the world’s wildlife sanctuaries and zoos before an increasing number of them become extinct. As of May 2018, 12 years in, Sartore was two-thirds of the way there. This book covers the first 6,000 species.

Essential Elements – Edward Burtynsky

Best For: Seeing The World Through New Eyes Burtynsky is a Canadian photographer who uses a large camera to take vast-scale images of our changing planet, from seemingly endless rows of workers in Chinese factories to aerial views of oil fields in California. He makes the sort of images you can spend hours finding new things in.

Greatest Of All Time: A Tribute To Muhammad Ali – various

Best For: Knockout Storytelling Anyone saying “print is dead” hasn’t encountered this beautiful object, which has collector’s editions at £11,000 and a regular version 110 times cheaper yet almost as powerful. Ali is still sport’s most celebrated story, and the words and pictures on the 652 foot-square pages here tell that tale in the absolute best possible way.

Kenneth Grange: Making Britain Modern – various

Best For: Design Classics, UK Style A hero of industrial design as good as his more famous peers at Apple or Braun, Grange devised dozens of iconic products including Kodak cameras, Anglepoise lamps, Wilkinson Sword razors, parking meters and the Intercity 125 train. This catalogue of his career is a beautifully designed book full of beautifully designed things.

The Classic Car Book – Giles Chapman

Best For: Four-Wheeled Nirvana Quite simply a treasure trove of thousands of photos of awesome automobiles from the 1940s to the 1980s, with nerdy spec data and potted histories of cars, marques and makers.

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