TCM has some information.
The Overlook Hotel is more than just a home-away-from-home for the Torrance family. For Jack, Wendy, and their young son, Danny, it is a place where past horrors come to life. And where those gifted with the shining do battle with the darkest evils. Stephen King's classic thriller is one of the most powerfully imagined novels of our time.The Guardian explores the differences between the book and the novie. Horror Novel Reviews says, "Let me say from the start that I consider The Shining (Stephen King’s third published novel) to be the scariest book I’ve ever read." Kirkus Reviews describes it as "Back-prickling".
Brush your teethPlease join us as we share a drink of your choosing with the bloggers at the T Stands for Tuesday weekly gathering.
And pour a cup of black coffee out
I love to watch you do that every day
The little things that you do
just as the elders shouldn’t have pretended that the past was free of the problems of the present, so should we in the present not pretend that the past is dead. (As Faulkner reminds us, “it’s not even past.”) We’ve yet to stop trying to use the myth of the “bad color” monster to make America great again, though The Village offers the hope that the kids will know — and vote — better.Common Sense Media gives it 4 out of 5 stars. MTV says, "There's allegory to be found within the twist — oppressive rule through fear in the name of safety cannot prevent violence and death, even in the most extreme of settings — but a shoehorned moral cannot heal the severe whiplash the audience just experienced." Empire Online closes by saying, "The denouement will infuriate and enthral, but Shyamalan's latest is made with elegance."
Maurice Seton was a famous mystery writer -but no murder he ever invented was more grisly than his own death. When his corpse is found in a drifting dinghy with both hands cut off at the wrists, ripples of horror spread among his bizarre circle of friends. Now it's up to brilliant Scotland Yard inspector Adam Dalgliesh and his extraordinary aunt to uncover the shocking truth behind this writer's death sentence before the plot takes another murderous turn.a quote that struck me:
Autumn had never been his favorite season, but in the moment which followed the stopping of the engine he wouldn't have changed this mellow peace for all the keener sensitivities of spring. The heather was beginning to fade now but the second flowering of the gorse was as thick and golden as the first richness of May. Beyond it lay the sea, streaked with purple, azure and brown, and to the south the mist-hung marshes of the bird reserve added their gentler greens and blues. The air smelt of heather and woodsmoke, the inevitable and evocative smells of autumn
It was a dark autumn night. The old banker was walking up and down his study and remembering how, fifteen years before, he had given a party one autumn evening. There had been many clever men there, and there had been interesting conversations. Among other things they had talked of capital punishment. The majority of the guests, among whom were many journalists and intellectual men, disapproved of the death penalty. They considered that form of punishment out of date, immoral, and unsuitable for Christian States. In the opinion of some of them the death penalty ought to be replaced everywhere by imprisonment for life. "I don't agree with you," said their host the banker. "I have not tried either the death penalty or imprisonment for life, but if one may judge a priori, the death penalty is more moral and more humane than imprisonment for life. Capital punishment kills a man at once, but lifelong imprisonment kills him slowly. Which executioner is the more humane, he who kills you in a few minutes or he who drags the life out of you in the course of many years?"You can read the entire story online here.
"Both are equally immoral," observed one of the guests, "for they both have the same object - to take away life. The State is not God. It has not the right to take away what it cannot restore when it wants to."
Among the guests was a young lawyer, a young man of five-and-twenty. When he was asked his opinion, he said:
"The death sentence and the life sentence are equally immoral, but if I had to choose between the death penalty and imprisonment for life, I would certainly choose the second. To live anyhow is better than not at all."
A lively discussion arose. The banker, who was younger and more nervous in those days, was suddenly carried away by excitement; he struck the table with his fist and shouted at the young man:
"It's not true! I'll bet you two million you wouldn't stay in solitary confinement for five years."
"If you mean that in earnest," said the young man, "I'll take the bet, but I would stay not five but fifteen years."
Critics of the time read the film as an anti-Nazi allegory, but modern viewers will see more timeless effects in Dreyer’s Rembrandt-like compositions and lighting, his fluid camera movement, and above all, the sexually supercharged performance of Lisbeth Movin as Anne, whose sensuality is equated by the narrow minds around her with satanic power.DVD Talk says,
The spiritual horror film Day of Wrath seems to be a condemnation of the inquisitors of the Holy Office and a criticism of religion... at first. ... this tale has no villains, only people playing their pre-ordained roles in a repressed society where the church seems to rule all. Absalon may be pitiless but he is also sincere to the bone, and willing to be ruthlessly merciless with himself when made aware of his shortcomings. The cruelest torturer is a man with a soul trying to do his best.Rotten Tomatoes has a 100% critics score.
The Other Hand, also known as Little Bee, is a 2008 novel by British author Chris Cleave. It is a dual narrative story about a Nigerian asylum-seeker and a British magazine editor, who meet during the oil conflict in the Niger Delta, and are re-united in England several years later. Cleave, inspired as a university student by his temporary employment in an asylum detention centre, wrote the book in an attempt to humanise the plight of asylum-seekers in Britain. The novel examines the treatment of refugees by the asylum system, as well as issues of British colonialism, globalization, political violence and personal accountability.from the back of the book:
This is the story of two women. Their lives collide one fateful day, and one of them has to make a terrible choice, the kind of choice we hope you never have to face. Two years later, they meet again -the story starts there...I liked the book, the way it was written, how the characters were revealed... I wasn't blown away by "the magic" of the book (the back of the book says, "The magic is in how the story unfolds"), but I think sometimes the copy on the cover is over-sell.
I do not have to describe for you the tea that Sarah made for me when she came down into the living room of her house that morning.The New York Times says,
We never tasted tea in my village, even though they grew it in the east of my country, where the land rises up into the clouds and the trees grow long soft beards of moss from the wet air. There in the east, the plantations stretch up the green hillsides and vanish into the mist.
The tea they grow, that vanishes too. I think all of it is exported. Myself I never tasted tea until I was exported with it. The boat I traveled in to your country, it was loaded with tea. It was piled up in the cargo hold in thick brown paper sacks. I dug into the sacks to hide.
After two days I was too weak to hide anymore, so I came up out of the hold. The captain of the ship, he locked me in a cabin. He said it would not be safe to put me with the crew. So for three weeks and five thousand miles I looked at the ocean through a small round window of glass and I read a book that the captain gave me. The book was called Great Expectations and it was about a boy called Pip but I do not know how it ended because the boat arrived in the UK and the captain handed me over to the immigration authorities.
Three weeks and five thousand miles on a tea ship -maybe if you scratched me you would still find that my skin smells of it. When they put me in the immigration detention center, they gave me a brown blanket and a white plastic cup of tea. And when I tasted it, all I wanted to do was to get back into the boat and go home again, to my country. Tea is the taste of my land; it is bitter and warm, strong, and sharp with memory.
It tastes of longing. It tastes of the distance between where you are and where you come from. Also it vanishes -the taste of it vanishes from your tongue while your lips are still hot from the cup. It disappears, like plantations stretching up into the mist. I have heard that your country drinks more tea than any other. How sad that must make you -like children who long for absent mothers. I am sorry.
While the pretext of “Little Bee” initially seems contrived — two strangers, a British woman and a Nigerian girl, meet on a lonely African beach and become inextricably bound through the horror imprinted on their encounter — its impact is hardly shallow. Rather than focusing on postcolonial guilt or African angst, Cleave uses his emotionally charged narrative to challenge his readers’ conceptions of civility, of ethical choice.The Guardian says,
Part-thriller, part-multicultural Aga saga, the book enmeshes its characters in the issues of immigration, globalisation, political violence and personal accountability. Lists of themes are often review-speak for "worthy but dull", but not in this case. Cleave immerses the reader in the worlds of his characters with an unshakable confidence that we will find them as gripping and vital as he does. Mostly, that confidence is justified.The Washington Post says, "Despite the cutesy title (the book was more sensibly published in Britain as "The Other Hand") and the coy book-flap description ("It is a truly special story and we don't want to spoil it"), "Little Bee" will blow you away" and closes with this: ""Little Bee" is the best kind of political novel: You're almost entirely unaware of its politics because the book doesn't deal in abstractions but in human beings."
The introspective hero of Wings of Fire and A Test of Wills (Edgar award nominee) returns in a provocative new mystery. Inspector Ian Rutledge, haunted by memories of World War 1 and the harrowing presence of Hamish, a dead soldier, is "a superb characterization of a man whose wounds have made him a stranger in his own land" (The New York Times Book Review).Kirkus Reviews concludes, "Best for those who like their mystery melodramas written the old-fashioned way." Publishers Weekly calls it a "fine period mystery".
A dead woman and two missing children bring Inspector Rutledge to the lovely Dorset town of Singleton Magna, where the truth lies buried with the dead. A tormented veteran whose family died in an enemy bombing is the chief suspect. Dubious, Rutledge presses on to find the real killer. And when another body is found in the rich Dorset earth, his quest reaches into the secret lives of villagers and Londoners whose privileged positions and private passions give them every reason to thwart him. Someone is protecting a murderer. And two children are out there, somewhere, in the dark...
'Edward Giobbi: An Artist Comes to Memphis' explores Giobbi's lasting connection with the people he met during the year he spent in the city. It's such a vibrant and emotional exhibition, and it's on view now through September.on their Facebook page. This photo also came from the Dixon FB page:
In 1959, Edward Giobbi married Elinor “Ellie” Turner, a Memphis native then living in New York. ... When the Giobbi family returned to the United States in 1960, they settled in Memphis. The Turners were (and are) a well-known family in Memphis. Ellie’s brother ... was one of Mr. Dixon’s closest friends, and was one of the founding trustees of the Hugo Dixon Foundation (which formed the Dixon Gallery and Gardens). The Giobbi family only spent one year in Memphis, but it was long enough for Edward to attract an interested local audience.I had three particular favorites from this exhibition: Times of Day, 1973; Study for a Religious Painting, 1971; and Up Yours Irene, 1955-2013. I can't find photos online but will add them here if I'm able.
From one of Granta's Best of Young British Novelists and Man Booker Prize nominee Sanjeev Sahota -a sweeping,The New York Times calls it "deeply affecting". The NPR reviewer opens by saying, "Sunjeev Sahota has written what I suspect will be finest novel of the year." The Guardian calls it "a brilliant and beautiful novel" and says, "Sunjeev Sahota’s second novel makes a nonsense of common assumptions about what it means to write a political novel." The Telegraph says, "The main characters are superbly well drawn."
urgent contemporary epic, set against a vast geographical and historical canvas, astonishing for its richness and texture and scope, and for the utter immersiveness of its reading experience.
Three young men, and one unforgettable woman, come together in a journey from India to England, where they hope to begin something new -to support their families; to build their futures; to show their worth; to escape the past. They have almost no idea what awaits them.
In a dilapidated shared house in Sheffield, Tarlochan, a former rickshaw driver, will say nothing about his life in Bihar. Avtar and Randeep are middle-class boys whose families are slowly sinking into financial ruin, bound together by Avtar's secret. Randeep, in turn, has a visa wife across town, whose cupboards are full of her husband's clothes in case the immigration agents surprise her with a visit.
She is Narinder, and her story is the most surprising of them all.
The Year of the Runaways unfolds over the course of one shattering year in which the destinies of these four characters become irreversibly entwined, a year in which they are forced to rely on one another in ways they never could have foreseen, and in which their hopes of breaking free of the past are decimated by the punishing realities of immigrant life.
A novel of extraordinary ambition and authority, about what it means and what it costs to make a new life -about the capaciousness of the human spirit, and the resurrection of tenderness and humanity in the face of unspeakable suffering.
By following a handful of young men, Sahota has captured the plight of millions of desperate people struggling to find work, to eke out some semblance of a decent life in a world increasingly closed-fisted and mean. If you’re willing to have your vague impressions of the dispossessed brought into scarifying focus, read this novel.The Times of India concludes, "as a depiction of the stark realities that unlucky, unqualified immigrants face, it is unlikely to be bettered." The Atlantic says, "Only portraits like Sahota’s can describe the experience of being a migrant." Kirkus Reviews has a positive review.
The exhibition is drawn from the Patricia Phelps de Cisneros Collection and is co-organized by the Museum of Biblical Art, New York, and Art Services International, Alexandria, Virginia.One of my favorites from this exhibit is their featured piece:
Power & Piety is filled with works of fine and decorative art created for the many churches that populated Latin America, religious works of art created for the home, and objects intended for private devotional use. Ranging from paintings of saints to furniture used in devotional practices, these works illuminate how both piety and social ambition fueled the production and conspicuous consumption of religious art in these culturally rich societies.
|Juan Pedro López, Our Lady of Solitude, 18th Century|
How else but through the film’s profound spirituality—achieved via the combination of shocking visuals, the dismissal of other explanations (i.e. medical or psychiatric), and the terrifying reality of the horrors of evil—does one explain such extreme responses over the years? The Exorcist continues to affect audiences, transcending what it means to be “a horror film” through its unparalleled construction, and the balance of visceral imagery designating the resonant emotional and spiritual questions therein. Other filmmakers have attempted to out-do Friedkin’s work, but the horror genre almost never allows for the degree of insight or good intentions that is accomplished through such graphic content. The Exorcist realizes a unique stability between image and substance that audiences cannot disregard, and which has established the picture as an indisputable classic of its genre.Rolling Stone gives it 4 out of 4 stars. Empire Online concludes, "Fans should see it again, first-timers should believe the hype. Non-believers should suffer eternal damnation." Roger Ebert gives it 4 stars. Rotten Tomatoes has a critics score of 86%.
In the latest installment of this beloved and bestselling series, changes are afoot at the No. 1 Ladies' Detective Agency. Mma Makutsi, who has recently been promoted to co-director, has been encouraging Mma Ramotswe to updateto more modern office practices. An unusual case, however, will require both of them to turn their attention firmly to the past. A young Canadian woman who spent her early childhood in Botswana requests the agency's help in recalling her life there. Precious and Grace set out to locate the house that the woman lived in and the caretaker who looked after her many years ago. But when the journey takes an unexpected turn, they are forced to consider whether some things are better left in the past.favorite quotes:
Mma Remotswe dispenses help and sympathy with the graciousness and warmth for which she is so well known, and everyone involved is led to surprising isights into the healing power of compassion, forgiveness, and new beginnings.
Tall people could forget that the world might look quite different if you were short; and of course well-off people had a marked tendency to forget how things might look if you were poor. We have to remind ourselves, she thought. We have to remind ourselves how the world looked when viewed from elsewhere.
Marriage was all about honesty, and being open, but she had always felt that just about every married person had something, some sorrow or secret, that was not shared, that was a private area of their lives that might not be shared with a spouse. It could be something sad or painful, or it could be something just mildly embarrassing, some tiny failing or silliness, some moment of mild shame, but it was no reflection on the marriage that this thing should be kept tucked away. We are the people we want ourselves to be, and then there are the people we actually are: sometimes it is easier to be the people we want ourselves to be if we keep at least some things to ourselves.
Now permanently resettled on the island of his birth in the Outer Hebrides, ex-Detective Inspector Fin Macleod has been employed by a local landowner to oversee security on a sizeable estate. His security detail at the Red River Estate brings Fin into contact with elusive local poacher and former school friend Whistler Macaskill.Eurocrime calls it "an atmospheric novel" and "a good, solid mystery novel" and says, "The main strength of the novel is the wonderful depiction of the island, and the love which the men (mainly) have for it." The Independent says, "The Chessmen offers an almost visceral experience: we, too, are walking these windy cliffs and peat bogs".
As Fin pursues Whistler across the moors, they are forced into temporary shelter by a massive storm. When they emerge the next morning,
they are greeted by the aftermath of a freak natural phenomena -a "bog burst"- that has drained an entire loch of its water, revealing a mud-encased light aircraft in its wake. Struggling through the muck, Fin and Whistler are appalled by what they find inside: the body of their friend and former bandmate Roddy Mackenzie, whose single-prop plane disappeared in the area more than seventeen years earlier -just as Roddy was becoming an international rock star. Worse, the condition of the skeletal remains makes it clear Roddy was murdered rather than killed in the crash.
As he closes in on the truth behind the death of Roddy Mcknzie, Fin is confronted by the ghosts of his youth -and by the painful and unexpected ways in which the events of the past have warped the contours of the present.
Deep in gambling debt, the celebrated Brazilian novelist Beatriz Yagoda is last seen in Copacabana, holding a suitcase and a cigar and climbing into an almond tree. She abruptly vanishes, seemingly without a trace.The New York Times has a positive review and says,
In snowy Pittsburgh, her devoted American translator, Emma, hears the news and, against all common sense, flies immediately to Brazil. There, in the sticky, sugary heat of Rio de Janeiro, Emma and the author's children conspire to solve the mystery of Yagoda's curious disappearance and stanch the demands of the colorful characters left in her wake, including a rapacious loan shark with a zeal for severing body parts and the washed-up editor who launched Yagoda's career years earlier.
Idra Novey's exhilarating debut is a madcap blend of mystery, romance, noir, and humor that flirts with the absurd while remaining deeply rooted in the devious heearts of its characters.
Novey has wholly eluded the hazards of writing about writers. Instead, this lush and tightly woven novel manages to be a meditation on all forms of translation while still charging forward with the momentum of a bullet.
Ways to Disappear is concerned not just with truth and the risks of its misplacement and misinterpretation, but with the importance of close reading. It's a delightful, inventive paean to writing that generates "real emotion" and "genuine unease." At one point Beatriz's publisher likens literature to steaks on a grill, testing both "for density" as well as "for something tender in the middle yet still heavy enough to blacken the air." This book is seared to perfection, medium rare.Kirkus Reviews calls it "Delightful and original." Publishers Weekly says it's a "briskly paced first novel" and calls it "a clever literary mystery and a playful portrait of the artist as a young translator."