#peter cochran

[empirearchives]

“I find fault, and quarrel with Napoleon, as a lover does with the trifling faults of his mistress, from excessive liking, which tempts me to desire that he had been all faultless; and, like the lover, I return with renewed fondness after each quarrel.”

— Lord Byron

Source: Byron, Napoleon, J. C. Hobhouse, and the Hundred Days, By Peter Cochran (x)

[burningvelvet]

Some thoughts on the topic of Byronism, Byronic Heroes, Byron himself, and Mr. Darcy, Mr. Rochester, and their respective authors...

This was inspired after I was tagged in a post (thank you @bethanydelleman !) asking whether Mr. Darcy should be considered a Byronic Hero or not. I start with my response before delving off, but I refer back at the end and it all ties in.

On Mr. Darcy: to Byronic, or not to Byronic? That is the question...

Whether or not Mr. Darcy should be considered a Byronic Hero is a complex question, as is the concept of the Byronic Hero itself.

I think there two versions of Darcy, and general pop culture tends to conflate them. There is Misunderstood Darcy (pre-"redemption" arc; aka what many think of him pre-Elizabeth's discovery of his true personality) and then there is True Darcy (post-"redemption" arc; "oh he's not rude, just socially awkward and proud"). Misunderstood Darcy has aspects of the Byronic, whereas True Darcy isn't Byronic at all.

Is Darcy Byronic? I recognize that he has Byronic elements that would make the general populace view him as Byronically aligned, so it doesn't bother me too much if people call him such, but without fully going into the debateable qualifications of the Byronic Hero, I don't think he is truly Byronic.

My interpretation of "Byronic" as a concept:

"Byronic" is not an easily defined term. A lot of academics have their own preferred methods of classifying the Byronic and there is no one fixed definition or interpretation. "Byronic" originally referred, of course, to the themes and tropes presented in the characters of Byron, who was one of the best-selling and most influential writers of the 1800s.

However, even applying the term "Byronic" solely to Byron's own corpus is an act of over-generalization. Many of Byron's purported "Byronic Heroes" are drastically different from each other or have little in common, as Byronist Peter Cochran noted in his review of Atara Stein's "The Byronic Hero in Film, Fiction and Television" (https://petercochran.files.wordpress.com/2012/07/stein-green-lapinski-ii.pdf).

I believe there are two main types of Byronic Hero: the Broad Byronic and the Byronist's Byronic.

The Broad Byronic is the modern pop cultural conception of Byronism which has been applied to practically every rebellious anti-hero. You can find thousands of articles analyzing why thousands of characters are or aren't Byronic, from Jack Sparrow to Batman to Luke Skywalker and ad infinitum. If you try hard enough, anything can be Byronic.

The Byronist's Byronic is like the Orthodox Byronic, the more traditional sense of the term. Academics who take the stritcer Byronist's Byronic approach mainly focus on Byron's direct literary descendants, like the Brontës and Pushkin, who were thoroughly obsessed with Byron and whose works/characters are directly and obviously inspired by Byron's own works. Heathcliff and Eugene Onegin are the most commonly cited examples and are Byronic by all standards.

Over time, "Byronic" has taken on a life of its own, leading to what I dubbed as "the Broad Byronic." I personally believe there is sort of a Byronic spectrum wherein I would place Heathcliff on one end and maybe Mr. Rochester on the other, considering his salvation plotline, which I feel is huge to his character and which Heathcliff lacks (as he openly declares at the end, he has no regrets for his actions).

Peter Cochran's interpretation of the Byronic Hero

Peter Cochran was a writer, professor, & one of the best Byronists (scholars of Byron) & I often defer to his opinion. His website is a haven for Byronism. His interpretation of the Byronic Hero is very much representative of the orthodox Byronist's Byronic.

In his essay "Byron's 'Turkish Tales': An Introduction," Cochan provides a brief analysis of the Byronic Hero, which I have sectioned out the most relevant parts of:

"Much has been written about him; what few writers say is that he has so many facets that it's misleading to treat him as a single archetype. [..] The Byronic hero is a human dead-end. He is never successful as a warrior or as a politician [..] he is never successful as a lover. [..] The Byronic Hero is never a husband, never a father, and never a teacher [..] He bequeaths nothing to posterity, and his life ends with him. He is to be contrasted with the Shakespearean tragic hero, who has to be something potentially life-affirming, such as a father (Lear) or a witty conversationalist (Hamlet) or a great soldier (Macbeth, Coriolanus, Antony) or a lover (Romeo, Antony). If they were not such excellent people, their stories would not be tragic. The Byronic Hero is not tragic: he's just a failure, and leads on to the Superfluous Man of Russian literature - as Pushkin demonstrated, when he created the Byronically-fixated Eugene Onegin. [..] The Byronic Hero must never be witty, or be brought in contact with a critical intelligence [..] if he were, his tale would lose its imagined grandeur [..] In his gloom, failure, and rejection of humour The Byronic Hero aligns not with the heroes of Shakespearean tragedy but with the villains of Shakespearean comedy: Shylock, Malvolio, and Jacques. [..] I would suggest that The Byronic Hero is either a closet gay, or a poorly-adjusted bisexual - a problem that Byron would have known all about."

On Mr. Rochester and Mr. Darcy

In his introduction to Charlotte Bronte's Jane Eyre: Modern Critical Interpretations, legendary literary critic Harold Bloom explained that Mr. Rochester is Charlotte Brontë taking the Byronic Hero, killing him, and then rebirthing him. I fully agree with Bloom's interpretation:

"[Rochester's] transformation heralds the death of the Byronic hero [..] Rochester is, in this sense, a pivotal figure; marking the transition from the Romantic to the modern hero [..]"

I would argue that what Austen does to Mr. Darcy is a lighter, pre-Byronic attempt at doing what Brontë did with her transformation of the Byronic in Mr. Rochester. Women growing to sympathize with rude men and then (directly or indirectly) inspiring them to change for the better. Women taking the Byronic and not just going "I can fix him," but instead "I'll tell him off, and then maybe he'll fix himself." Like Darcy, Rochester has two versions, pre-redemption and post-redemption. This is not Byronic, but their pre-redemption selves are, with Mr. Rochester being much, much more so than Darcy, and being considered an archetypal Byronic Hero (rightfully so in my opinion, his come-to-God ending aside).

Also, what Darcy and Rochester are redeemed for differs greatly; I'm not equating their moral or personal failures, and I know that Rochester clearly has more of them (if any anti-Rochester, pro-Darcy fan is out there, pls don't kill me for comparing them).

On Austen and Byron:

Austen started writing P&P when Byron was 8-years-old, so she definitely wasn't influenced by the actual Byron in creating Mr. Darcy. However, Austen did read Byron's work later on, or at least his poem The Corsair, which was his best-selling work at the time and which is one of his most cliché "Byronic" works. She did write some works, like Emma and Persuasion, after reading The Corsair, but I haven't read these yet and I'm not the biggest Austen scholar, so I don't know if she was ever actually influenced by Byron or not. I'm positive that people have analyzed this before. Lots has been written on Austen/Byron. They also shared a publisher, though they never met.

On Byronic (the writer) VS Byronic (the writer's characters):

To further confuse us, "Byronic" by its literal definition can refer to the Byronic Hero OR Byronic as in Byron the Man. Many conflate these things, but they are separate. This adds to the case of the Broad Byronic. Many of Byron's contemporaries created characters that were direct and obvious tributes or parodies of him, including Mary Shelley's The Last Man, Percy Shelley's Julian and Maddalo, and Thomas Love Peacock's Nightmare Abbey. They all knew Byron personally. Mary Shelley openly put Byron into several of her novels, as explained in "Byron and Mary Shelley" by Ernest Lovell Jr. and "Unnationalized Englishmen in Mary Shelley's Fiction" by William Brewer. Other notable examples of this are Caroline Lamb's Glenarvon (Lamb was Byron's ex) and Dr. John Polidori's The Vampyre (Polidori was Byron's doctor) in which both titular characters were/are clearly known by readers to be caricatures of Byron. The Vampyre was the first vampire novel, and was not only a caricature of Byron but also based on Byron's short story Augustus Darvell. So all modern "Byronic" vampires, including Dracula, are really Byronic as in Byron the Man, although they sometimes may overlap with the Byronic Hero. As I said, easily confusing!

As many academics (and Lord Byron himself) have noted, many of Byron's fans wrongly conflated his characters with himself. Although many of Byron's works were indeed semi-autobiographical, he himself said that they were not intended as actual depictions of himself, and that he was annoyed when people thought so. Many fans who met him would write they were shocked to find he was nothing like the Byronic Heroes of his works. He was humorous, he smiled often, he was somewhat of a dandy and much of a rake (self-confessedly), he was an aristocrat, he was considered by many to be effeminate, etc. -- all elements that are not typically expected of the Byronic Hero.

In reference to his drama The Deformed Transformed (which contains the characters Satan and Caesar) Mary Shelley wrote to him in a letter:

"The Critics, as they used to make you a Childe Harold, Giaour, & Lara all in one, will now make a compound of Satan & Caesar to form your prototype, & your 600 firebrands in Murray's hands will be in costume." [John Murray was Byron's publisher]

Here, Mary mentions how many of Byron's readers expected him to be just like his characters Harold, Giaour, & Lara, who fans assumed were his self-insert characters, as they each had strong similarities. However, these characters were more similar to "alter-egos" than actual "self-portraits." My personal interpretation is that Byron was writing these very similar dark anti-heroes and villains in order to channel the darker aspects of his subconscious, or what Jung would call his Shadow Self, to try to purge or subdue it. Though he lived before the field of psychology officially existed, Byron was very interested in all things psychological, and he used his writing as a method of self-therapy (see: Touched with Fire written by psychologist Kay Jamison, which contains one of the most thorough & reliable psychoanalyses of him).

As Bloom explains in the essay I mentioned, and as countless other academics have explained, Charlotte Brontë and many other women in the early 1800s were obsessed with Byron and his works. Byron's English-speaking fan base has always been primarily female, especially in the beginning of his career. Byron's fans wrote him letters revealing their differing interpretations of him and his Byronic Heroes (but again, most didn't really differentiate between the two).

Likewise, I think the Brontë sisters may have conflated Byron with his Byronic Heroes. Mr. Rochester is such a strong example of Byron the Man and has so many similarities to him that when reading Jane Eyre I felt like I was reading Lord Byron fanfiction. It's clear that Charlotte Brontë was familiar with his biography. For example (one of countless), in chapter 17 Rochester sings what he calls "a Corsair song" -- as I mentioned earlier, The Corsair was one of Byron's greatest hits, and Jane Eyre is set around the time The Corsair was published, and Byron also wrote songs and was also known for his good voice.

Although the Brontë sisters were each influenced by him, they took their own individual spins on the Byronic, and their works reveal the dynamicism of these themes. In my opinion, Emily employs the Byronist's Byronic most raw and faithfully (and maybe even takes it further), Charlotte punishes, redeems, and transforms the Byronic with much influence from Byron the Man, and Anne presents the Byronic most critically and realistically, asking "what if the Byronic Hero were real, and really got married -- what would that look like?" and having perhaps the most (Broadly) Byronic heroine ever, who is also later redeemed by the end, and has her veil of Byronic mystery removed much like Darcy did.

[phantomladyoverparis]

Jeanetta Cochrane (1967), dir. Peter Whitehead

[sidlesbitch]

every CSI Miami episode:

02x17 - Money for Nothing

[genevieveetguy]

How am I supposed to get experience when you won't give me a shot?

Boston Strangler, Matt Ruskin (2023)

[ask-sebastian]

Haus am See - Peter Fox!

[the-quotable-alberta-hansard]

December 6, 2021

Mr. Guthrie: One should not buy into a naive narrative that the oil and gas sector is inherently bad for the environment.

[ad-j]

WATCHLIST 2022: Hostiles

[letterboxd-loggd]

Jeanetta Cochrane (1967) Peter Whitehead

February 1st 2023

[marryat92]

The coffee-room was full of midshipmen, and, as I was anxious about my chest, I enquired of one of them if he knew when the waggon would come in.

“Do you expect your mother by it?” replied he.

“O no! but I expect my uniforms — I only wear these bottle-greens until they come.”

“And pray what ship are you going to join?”

“The Die-a-maid — Captain Thomas Kirkwall Savage.”

“The Diomede — I say, Robinson, a’n’t that the frigate in which the midshipmen had four dozen apiece for not having pipe-clayed their weekly accounts on the Saturday?”

“To be sure it is,” replied the other; “why the captain gave a youngster five dozen the other day for wearing a scarlet watch-riband.”

— Frederick Marryat, Peter Simple

The 'King's Arms' coaching inn by Richard Stirzaker, 1823.

[watchingalotofmovies]

Boston Strangler

Boston Strangler    [trailer]

A reporter becomes the first journalist to connect the Boston Strangler murders. As the mysterious killer claims more and more victims, she attempts to continue her investigation alongside a colleague, yet the duo finds themselves stymied by the rampant sexism of the era.

The movie that comes to mind is Zodiac. It's not as exhaustive as that one, but it's also about how difficult investigations can be in real life. I enjoy movies that show that.

The film adds another layer by describing how, besides trying to solve the already complicated case, the two women had to fight to be taken seriously by colleagues and institutions.

As for the case itself, while the movie seems to take some factual liberties, it's still a hard to believe story.

[burningvelvet]

“A possible subtitle for Onegin would be, ‘Reading Byron will ruin your life.’”

— Byronist scholar Peter Cochran on Alexander Pushkin’s Eugene Onegin; from The Little House at Kolomna by Pushkin Review.

[phantomladyoverparis]

Jeanetta Cochrane (1967), dir. Peter Whitehead

[hughungrybear]

7 Comfort Movies

Tagged by @imlivingformyselfdontmindme (post here). I have to confess that I have not seen the inside of a cinema since the pandemic. However, I do have tons of subscriptions from different streaming services and most of my favourite movies are old anyway lol 😅

In no particular order

1. It Happened One Night (1934, United States)

Starring Clark Gable, Claudette Colbert

Synopsis: In Frank Capra's acclaimed romantic comedy, spoiled heiress Ellie Andrews (Claudette Colbert) impetuously marries the scheming King Westley, leading her tycoon father (Walter Connolly) to spirit her away on his yacht. After jumping ship, Ellie falls in with cynical newspaper reporter Peter Warne (Clark Gable), who offers to help her reunite with her new husband in exchange for an exclusive story. But during their travels, the reporter finds himself falling for the feisty young heiress.

2. Crazy Little Thing Called Love (2010, Thailand)

Starring Baifern Pimchanok, Mario Maurer

Synopsis: A junior schoolgirl Nam (Pimchanok Luevisetpaiboon) falls in love with her schoolboy senior Chone (Mario Maurer) but is afraid to show her feelings to him, partly because Chone is everyone’s idol, and Nam regards herself as unpopular, homely-looking, and average. She has nothing that can make him notice her. But with the support of her three best friends, Nam revolutionizes herself, starting with her looks and activities to get him to notice her.

3. That Thing Called Tadhana [Fate] (2014, Philippines)

Starring Angelica Panganiban, JM de Guzman

Synopsis: A story about a broken-hearted girl who meets a boy in a not-so-normal way. Together, they go to places and find out "Where do broken hearts go?"

4. Koe no Katachi [A Silent Voice] (2016, Japan)

Starring Miyu Irino, Saori Hayami

Synopsis: As a wild youth, elementary school student, Shouya Ishida sought to beat boredom in the cruelest ways. When the deaf Shouko Nishimiya transfers into his class, Shouya and the rest of his class thoughtlessly bully her for fun. However, when her mother notifies the school, he is singled out and blamed for everything done to her. With Shouko transferring out of the school, Shouya is left at the mercy of his classmates. He is heartlessly ostracized all throughout elementary and middle school, while teachers turn a blind eye. Now in his third year of high school, Shouya is still plagued by his wrongdoings as a young boy. Sincerely regretting his past actions, he sets out on a journey of redemption: to meet Shouko once more and make amends.

5. While You Were Sleeping (1995, United States)

Starring Sandra Bullock, Bill Pullman

Synopsis: Lonely transit worker Lucy Eleanor Moderatz (Sandra Bullock) pulls her longtime crush, Peter (Peter Gallagher), from the path of an oncoming train. At the hospital, doctors report that he's in a coma, and a misplaced comment from Lucy causes Peter's family to assume that she is his fiancée. When Lucy doesn't correct them, they take her into their home and confidence. Things get even more complicated when she finds herself falling for Peter's sheepish brother, Jack (Bill Pullman).

6. Empire Records (1995, United States)

Starring Ethan Embry, Rory Cochrane, Robin Tunney, Liv Tyler, Renee Zellweger, Anthony LaPaglia

Synopsis: Joe (Anthony LaPaglia) runs Empire Records, an independent Delaware store that employs a tight-knit group of music-savvy youths. Hearing that the shop may be sold to a big chain, slacker employee Lucas (Rory Cochrane) bets a chunk of the store's money, hoping to get a big return. When this plan fails, Empire Records falls into serious trouble, and the various other clerks, including lovely Corey (Liv Tyler) and gloomy Deb (Robin Tunney), must deal with the problem, among many other issues.

7. Clerks (1994, United States)

Starring Brian O'Halloran, Jeff Anderson, Jay and Silent Bob

Synopsis: Dante (Brian O'Halloran) is called in to cover a shift at his New Jersey convenience store on his day off. His friend Randal (Jeff Anderson) helps him pass the time, neglecting his video-store customers next door to hang out in the Quick Stop. The uneventful day is disrupted by news that one of Dante's ex-girlfriends has died. After attending her memorial service, Dante muses over staying with current girlfriend Veronica (Marilyn Ghigliotti) or reuniting with ex Caitlin (Lisa Spoonhauer).

Tagging @lost-my-sanity1, @telomeke, @bengiyo @shortpplfedup and anyone who sees this and would want to play 😊

[likeclarabow]

2023 Books Read

Our Wives Under the Sea - Julia Armfield (Dec 31-Jan 2)

See You Yesterday - Rachel Lynn Solomon (Jan 2-Jan 3)

All Dressed Up - Jilly Gagnon (Jan 4)

She Gets the Girl - Rachael Lippincott & Alyson Derrick (Jan 5-Jan 6)

Ready Player One - Ernest Cline (Jan 6-Jan 10)

Jamaica Inn - Daphne Du Maurier (Jan 10-Jan 13)

Greywaren - Maggie Stiefvater (Jan 14-Jan 16)

The Ballad of Never After - Stephanie Garber (Jan 17-Jan 22)

By the Book - Jasmine Guillory (Jan 22-Jan 24)

Portrait of a Thief - Grace D Li (Jan 25-Feb 4)

Pride and Prejudice (reread, audiobook) - Jane Austen (Jan 31-Feb 6)

Macbeth (reread) - William Shakespeare (Feb 6-Feb 10)

Normal People - Sally Rooney (Feb 18-Feb 22)

All the Dangerous Things - Stacy Willingham (Feb 23-Feb 25)

The Diary of Mary Berg - Mary Berg (Feb 17-Feb 27)

The Witch Haven - Sasha Peyton Smith (Mar 4-Mar 11)

Americanah - Chimamanda Ngozi Adichie (Feb 26-Mar 12)

The Witch Hunt - Sasha Peyton Smith (Mar 19-Mar 22)

Jonny Appleseed - Joshua Whitehead (Mar 19-Mar 28)

The Mysterious Affair at Styles - Agatha Christie (Mar 25-Mar 29)

Last Violent Call - Chloe Gong (Mar 30-Apr 1)

Beartown - Fredrik Backman (Apr 1-Apr 4)

People We Meet on Vacation (reread) - Emily Henry (Apr 5-Apr 7)

Notes on an Execution - Danya Kukafka (Apr 8)

Kiss Her Once For Me - Alison Cochran (Apr 8-Apr 10)

If You Could See the Sun - Ann Liang (Apr 11-Apr 15)

Murder at the Vicarage - Agatha Christie (Apr 15-Apr 19)

The Appeal - Janice Hallett (Apr 19-Apr 20)

The Black Spider - Jeremias Gotthelf (Apr 20)

Molly of the Mall - Heidi L.M. Jacobs (Apr 21-Apr 22)

The Dark Descent of Elizabeth Frankenstein - Kiersten White (April 23-Apr 25)

Sense and Sensibility - Jane Austen (April 26-Apr 28)

Happy Place - Emily Henry (Apr 29)

Us Against You - Fredrik Backman (Apr 30-May 3)

The Great Gatsby - F. Scott Fitzgerald (May 3-May 5)

Juniper and Thorn - Ava Reid (May 6-May 10)

Meet Me at the Lake - Carley Fortune (May 11-May 12)

Cloud Atlas - David Mitchell (May 12-May 19)

Anne of Green Gables (reread) - L.M. Montgomery (May 19-May 22)

Anne of Avonlea (reread) - L.M. Montgomery (May 24-May 26)

Anne of the Island (reread) - L.M. Montgomery (May 26-May 30)

The Winners - Fredrik Backman (June 2-June 6)

Rebecca - Daphne Du Maurier (June 7-June 8)

Peril at End House - Agatha Christie (June 9)

The Many Lives and Secret Sorrows of Josephine B (reread) - Sandra Gulland (June 11-June 12)

Tales of Passion Tales of Woe - Sandra Gulland (June 13-June 14)

The Last Great Dance on Earth - Sandra Gulland (June 14-June 15)

Frankenstein in Baghdad - Ahmed Saadawi (June 15-June 18)

Crooked House - Agatha Christie (June 22-June 24)

Northanger Abbey - Jane Austen (June 20-June 30)

I Must Betray You - Ruta Sepetys (June 30-July 1)

Pageboy - Elliot Page (July 2-July 4)

This Time It’s Real - Ann Liang (July 6)

The Last Word - Taylor Adams (July 6-July 7)

The Fiancée Farce - Alexandria Bellefleur (July 7-July 8) 

The Guilt Trip - Sandie Jones (July 8)

Camp Zero - Michelle Min Sterling (July 8)

The Berry Pickers - Amanda Peters (July 8-July 9)

Family of Liars - E. Lockhart (July 9-July 11)

The Last House Guest - Megan Miranda (July 11-July 12)

The Last Tale of the Flower Bride - Roshani Chokshi (July 14-July 21)

Rolling in the Deep (audiobook) - Mira Grant (July 20-July 21)

Wunderland - Jennifer Cody Epstein (July 21-July 23)

The Stationary Shop of Tehran (July 24-27)

Yellowface - R.F. Kuang (July 27-July 29)

These Violent Delights - Micah Nemerever (July 29-Aug 3)

Wuthering Heights - Emily Brontë (Aug 3-Aug 5)

Begin Again - Emma Lord (Aug 6-Aug 8)

Medicine Walk - Richard Wagamese (Aug 8-Aug 12)

419 - Will Ferguson (Aug 16-Aug 19)

Harlem Shuffle - Colson Whitehead (Aug 21-Aug 24)

Ballet Shoes (reread) - Noel Streatfeild (Aug 25-Aug 26)

Songs for the Missing - Stewart O’Nan (Aug 28-Aug 31)

You’re Not Supposed to Die Tonight - Kalynn Bayron (Sept 1-Sept 2)

I’ve Got Your Number - Sophie Kinsella (Sept 2)

The Adult - Bronwyn Fischer (Sept 3)

Nine Liars - Maureen Johnson (Sept 4-Sept 6)

Small Things Like These - Claire Keegan (Sept 6)

The Honeys - Ryan La Sala (Sept 15-Sept 19)

20,000 Leagues Under the Sea - Jules Verne (Sept 12-Sept 20)

Beowulf - Unknown (Sept 8-Sept 21)

The Mirror Crack’d From Side to Side - Agatha Christie (Sept 21-Sept 25)

Better Than the Movies - Lynn Painter (Sept 26-Sept 30)

Annihilation - Jeff VanderMeer (Oct 4-Oct 7)

And Don’t Look Back - Rebecca Barrow (Oct 7)

Hallowe’en Party - Agatha Christie (Oct 8-Oct 9)

Cannibal Island - Nichlolas Werth (Oct 9-Oct 22)

The Final Gambit - Jennifer Lynn Barnes (Oct 17-Oct 22)

Stalin’s Nomads: Power and Famine in Kazakhstan - Robert Kindler (Oct 16-Oct 24)

Six of Crows (reread) - Leigh Bardugo (Oct 25-Oct 30)

Crooked Kingdom (reread) - Leigh Bardugo (Nov 3-Nov 7)

Sadie (reread) - Courtney Summers (Nov 9-Nov 10)

The Invisible Man - H.G. Wells (Nov 6-Nov 13)

Hamlet - William Shakespeare (Nov 6-Nov 13)

A Good Girl’s Guide to Murder (reread) - Holly Jackson (Nov 11-Nov 15)

Good Girl, Bad Blood (reread) - Holly Jackson (Nov 15-Nov 18)

As Good as Dead (reread) - Holly Jackson (Nov 20-Nov 23)

Red White and Royal Blue (reread) - Casey McQuiston (Nov 25-Dec 5)

The Secret History - Donna Tartt (Dec 18-Dec 22)

The Day of the Jackal - Frederick Forsyth (Dec 24-Dec 25)

Emily Wilde’s Encyclopaedia of Faeries - Heather Fawcett (Dec 25-Dec 27)

Murder in the Family - Cara Hunter (Dec 28)

Three Holidays and a Wedding - Uzma Jalaluddin, Marissa Stapley (Dec 29)

The Book of Cold Cases - Simone St James (Dec 30-Dec 31)

[undine66770]

Introduction Post (pinned) I figured since I've made some new boop-friends and such, I might make a brief little introduction post about me and what you'll expect to see on my blog... even though it's kind of in my blog intro itself. *You can call me Undine! (she/her) it's nice to meet you all and as said before I had so much fun exchanging boops with everyone.

I like a bunch of stuff, but mainly I'm really into things from days gone by such as the oldies but goodies. We're talking:

Music. My listening scope is the 20s-60s; but with a main focus on the '50s-'60s. I even have a big ol' Spotify playlist compiled of my favorite oldies if you're interested in listening to that! There's even earlier music in there too. If you want to check out what kinds of artists I mainly listen to, I have a last.fm profile. It'll give you a better idea! But some of my favorites at the moment are Jim Reeves, Perry Como, Dean Martin, Sanford Clark, Elvis Presley, Buddy Holly, Gene Vincent, Eddie Cochran, Ricky Nelson, Lola Albright, Hank Williams, Webb Pierce, Faron Young, Starset, Vitas.... Obviously this list is not exhaustive and you can go to my Lastfm and pretty much my tastes are there! I mainly like rock n' roll and classic country but again, Lastfm will tell you!

Movies. I'll admit I don't really have the attention span for much movies but on the occasion that I do, the Golden Age of film is probably my go-to. I have a lot of stuff on my watchlist... procrastination is a big thing with me.

TV series, too. I like the older TV series but I'm into modern stuff as well (I promise I'm not just a boomer, the modern stuff applies to everything else too! /j). I really like the noir and detective noir genres. Some examples of TV series I like include Dragnet, Peter Gunn, Johnny Staccato, Adventures of Ozzie and Harriet, the Addams Family, BBC's Merlin (still need to finish), Doctor Who (although unfortunately I've not been able to catch up in a long time so no spoilers please!)

Old-time radio. Dragnet (which originally started as OTR) and Broadway is my Beat are some examples of what I'm into. So going into this, you will probably see me post people or things from the medias above, or others also. Other things I like include:

Pokémon. A bit rusty as I've not played a mainline game nor completed one in a while although wanting to get back into it soon but still like it.

RWBY

History

Worldbuilding and writing!!

Playing video games

Photography, one day I hope to learn how to become a great photographer. Besides the above, I'll just browse and reblog things that I think are neat or that I like - variety is to be expected, my blog doesn't really follow a theme. And that is pretty much basically everything that I can think of, off the top of my head! If I think of anything else or get any new interests I will edit this post with the edit date. Welcome to my blog!