Sunday Short: 'Daughter of Necessity' by Marie Brennan

When the news reaches her, it will break her heart. She will fling herself from the walls of Ithaka, and her sole victory will be that none among her suitors will ever claim her.
Ah! This is such a lovely, lyrical piece of writing. A retelling of a smaller story from The Odyssey, Brennan has a wonderful sense of rhythm and character, of weaving a story as Penelope does her loom. It's just a little bit magical. 

Oscars 004

About  three years ago, I got it into my head to watch every film ever nominated for an Oscar. It's a pretty insane feat, given that the nominees are well into the thousands, but it's a project I'm yet to regret embarking on. It's just a hell of a lot of fun and has given me this sort of startling education in the history of cinema and narrative. While I've been watching films on an ad hoc, out of order basis over on tumblr, I am finally starting to be able to cross full years off my list, and as I do, I'll be recapping them here. 


If the last Oscars had women on show, the fourth year was all about genre. From domestic dramas to westerns, science fiction, mafia, prison, war films, romance and newspaper, this round of nominations was as diverse as it was interesting. It really sets up what would, by the sixties, be a pretty common array of movies, but I imagine back in 1932 it would've been an incredible showcase.

I'm really interested in the shift in tonality too. If there's one thing really apparent from this era of cinema, it's that the happy endings or the tragic ones were popular. There's exceptions to the rule - All Quiet on the Western Front being an obvious example, but the fourth Oscars - or 1931 films - seemed to dip their toe a little deeper into shades of gray. Min and Bill, The Criminal Code, The Public Enemy and Laughter all steer away from total happiness or utter bleakness. They're bittersweet narratives which start to explore the muddy waters of character and theme, instead of staying in the shallows.

Of course, there's still plenty of that too - Tabu is a straight up Romeo and Juliet style tragedy, The Royal Family of Broadway, Trader Horn and Morocco are pretty typical comic romances, and a few - like Just Imagine retain all the old tropes of the era while also being, well, totally off the wall. I haven't seen too many sci-fi musicals on Mars is all I'm saying. 

Three Films to Watch
1. The Public Enemy. Clips of this are shown throughout the six season run of The Sopranos, utilised in telling Tony’s story, and it’s easy to see why. This is such a great early gangster film, demonstrating some of the best aspects of the form. Plus James Cagney is quickly becoming one of my favourite actors from this era of Hollywood, and he is on point in this.

2. Min and Bill. This one took me by surprise. It’s rare for a small film like this starring a rugged woman like Marie Dressler to receive acknowledgement now, let alone back in 1931, and in a lot of ways, it should’ve been nominated for more. It’s a realised story, with one of my favourite tropes – created families – beating at the big, old heart of it.

3. Morocco. I really do feel that Morocco should have won best picture this year. It’s beautifully made, sensual and heartbreaking,

(Honourable mentions goes to A Free Soul and Tabu)

Three Films to Miss
1. Cimarron. This is probably the first time I’ve really disagreed with a Best Picture winner. Cimarron is bloated, boring and a bit by the numbers.

2. The Doorway to Hell. Not necessarily a bad film, but gangster movies are a dime a dozen in this era of cinema, and this one is pretty forgettable.

3. Whoopee! Another one that’s totally silly and relies on racial stereotypes and blackface to tell a weak and offensive story. 




Mona Fall 2014


How lovely is this fall collection from Mona? All pastels and olives which you wouldn't think would work together, but create this really lovely set of looks. I'm loving the dresses particularly, and the mid-stopping sleeve length. It's really sweet.

You can view the full collection over at the website.







Sunday Short: 'Boys and Girls' by Alice Munro

Henry Bailey suffered from bronchial troubles. He would cough and cough until his narrow face turned scarlet, and his light blue, derisive eyes filled up with tears; then he took the lid off the stove, and, standing well back, shot out a great clot of phlegm – hss – straight into the heart of the flames. We admired his for this performance and for his ability to make his stomach growl at will, and for his laughter, which was full of high whistlings and gurglings and involved the whole faulty machinery of his chest. It was sometimes hard to tell what he was laughing at, and always possible that it might be us. 
I've been late to the Alice Munro train, but stories like 'Boys and Girls' are everything I want in a short story. It's the brutality and the romance of farm life rolled into this glimmer of a story. A snapshot of domestic rural life, but so much more than that too. Munro has such a wonderful manner of description and grounded horror, of disappointment and of compelling and evocative characters. This left me with all the feelings, which is a pretty perfect way to start a Sunday.

You can read 'Boys and Girls' over on the Women in Lit website.

'In Cold Blood' by Truman Capote (43/52)


The Clutter family is murdered in 1959, an act incomprehensible to the citizens of Holcomb, Kansas. Truman Capote's chilling true crime novel, In Cold Blood, explores motive and aftermath, the personal and the social, past, present and future of the crime.

I read Breakfast at Tiffany's last year and didn't love it, so my expectations were pretty low coming into this one. I had seen Capote a few months before which had really sparked my interest for the story and framed it pretty well for me, but the book was a bit of a slow start regardless. The beginning seems too poetic, particularly for non-fiction, but it quickly finds its speed.

The result is a moving and intimate piece of journalism, a revealing and compelling character study and a pretty damn amazing narrative. Capote doesn't just tell this story, he explores all facets of it, from friends to family, to the people involved to distant, third party people. It presents such a rounded view, both of the intricacies of the case and the effects, its hard not to fall in both horror and love.

5 out of 5.

Need Supply Highland Punk


Ugh, it is stupid hot in Queensland at the moment, so in true catch-22 form, I'm yearing for cooler weather. It doesn't help that I keep finding all these gorgeous wintery collections from the side of the world currently freezing their butts off. Need Supply's new line, titled 'Highland Punk', is basically everything I love. Lived in and all layered and knock kneed. It's pretty magical.

You can view the full collection over on the Need Supply website.





    

N00b Recap: The X-Files: 1x01 - Pilot + 1x02 - Deep Throat

I've never seen an episode of The X-Files. The series started back in '93 when I was just three years old, but as an avid sci-fi consumer, procedural lover and a bona fide geek, it's always felt like a looming gap in my pop cultural knowledge. So, hey! This is my Newbie Recap to The X-Files! I'll be watching and recapping two episodes every Thursday. Without further adieu:

1x01 - Pilot

A procedural start! Girl running through dense woods, she falls. A lone figure emerges in a haze of spacey light. Wind erupts and, in one last blaze of white light, she's gone.

Police find her a few days later, with a couple of bite marks sunk into her lower back. "It's happening again, isn't it?" one of the investigators calls, and hey, it's a pretty great opening.


Cut to Dana Scully bad bitchin' her way into FBI headquarters. All I knew about Scully prior to this episode, is what The Simpsons parody told me about her, but I was surprised by how much and how quickly I fell in love with her. Rational, competent, and the foil to Mulder's more crazed genius (but we'll get to that later), I was also surprised at how much of her character seems to be imitated in shows I love - like Cuddy in House, MD and Joan in Elementary. She's one half of a balance beam, and more fully realised in a few short scenes than a lot of women characters can procure in seasons. In a moment, we learn she's ambitious, intelligent, a doctor who was recruited out of medical school and into the FBI.

In a lot of ways, she also plays as exposition. In this scene, she sets up Fox Mulder or, as she describes him, Spooky Mulder. Mulder has an obsession with the extraterrestial cases in the FBI, colloquially known as the x-files, and the big bosses hire Scully to report on him and the cases. "Debunk them?" she asks.


"FBI's most unwanted" is how Mulder introduces himself, and it's a bad start for him and Scully, even as he proves to know more about her than she anticipated. He wastes no time diving in with her as well, presenting to her on the most hilarious old projector (oh, nineties) the not so hilarious image of the body of the dead girl we opened with and the chemical compound found on her and the rest of the dead girls with the same bite marks. The chemical compound is organic, but unrecognisable. "Do you believe in extraterrestrials?" Mulder asks, and we have the question perhaps of the series. Scully debunks, Mulder hopes. They investigate.


Our Team Science, Team Alien fly out to Oregon to investigate the murders which, at this point, is a few kids deep. The flight enters turbulence, and character-wise, it's an interesting scene. Scully panics, reasonably so, but Mulder doesn't even flinch. He's totally despondent about it, almost lethargically so, like he'd anticipated no less. I haven't warmed to Mulder quite as quickly as I have to Scully yet, mostly because I'm so accustomed to the lenience TV gives to it's ~genius bros~ and it grates on me more than I can say. Anyway, we'll see.

Mulder and Scully end up at a picturesque little town, and end up chatting to the local mortician within a few minutes of their arrival. Mulder's arranged to have his body exhumed, a fact revealed only shortly after Scully uncovers the fact the cases have already been investigated. Mulder plays the genius card. I...roll my eyes a little.

By the time they get to the cemetery though, the slow burn of information comes to an end as we receive a lot of it very quickly. The coroner charges in, hurling accusations at Mulder and Scully, who politely come back at him with one that implies he didn't do his job very well with the other dead kids. He gets called away by his daughter, and we find out that one of the other dead kids died of exposure in the summer. They exhume the grave, the coffin dropping, rolling, cracking open to expose a corpse that is decidedly not human.

Mulder calls alien, Scully calls ape - orangutan to be specific, but neither accounts for the small metal tube found in the body's nose.


They also don't account for the fact that all the bodies found have been from the same graduating class, treated by the same psychologist. We're off to hospital, where we find two more students, Peggy and Billy, who've been in the hospital for four years after a car accident. Billy's in a waking coma, and Peggy, while conscious, seems similarly impaired. Peggy has a psychotic episode, and Mulder wastes no time getting her down and finding the same two bites on her as on all the other bodies.

Cue the conversation this pilot's been asking. Have these teens been abducted by aliens? The script presents both sides of the argument, however backed up at this point, through Mulder and Scully. Mulder believes, Scully doesn't, which I'm guessing now (and from The Simpsons parody), is going to be a recurring theme.


Mulder and Scully head out to investigate the woods at night, Scully taking the time to pick something currently unseen off the ground. And then it happens. The same blaze of light in the cold open. The same solitary figure. It's a man from the Sheriff's department though, brandishing a shotgun, and Mulder and Scully are ordered away.

In the car, Scully presents her findings. What she'd picked up was some sort of soil, only sandy, or chalky almost, something that could perhaps be used in a sacrifice. It all goes to shit though when another blaze of light hits them both, and Mulder realises they've lost nine minutes, something he views as irrefutable proof for an abduction. Scully's still not convinced.


Back at the motel, there's a blackout, and Scully discovers three marks on her body not unlike the ones on the victims. In a panic, she finds Mulder, in a strangely charged scene, she shows him and he identifies them for what they are - mosquito bites. It might seem like an odd scene, but it does really well to chip away at the barrier dividing the two for now, allowing for the moment of intimacy that follows. Mulder's sister disappeared when she was just a girl, and his obsession with aliens comes across as more of a desperate need to find her - a boy trying to explain away an inexplicable loss. His ability to apply behavioural models to crime meant he was snapped up by the FBI, which he utilised to investigate his sister's disappearance. They're interrupted with the news that Peggy, the girl from the hospital, has died.


They're distracted from Peggy's body by the fact that the alien / ape corpse is gone, and then from that by Teresa, the daughter of the coroner we saw earlier in the episode at the cemetery. She reveals that she's been having blackouts, waking up suddenly in the woods. That it's been happening ever since she graduated four years ago, and that the same thing happened to the other students who've been dropping like flies. She's terrified. Her terror is contained though when her father and the detective, who reveals suddenly to be Billy's father - the boy in the coma - show up and take her away.

Their attention drawn back to the missing corpse, they make the decision to check out the other two bodies, only to find out they've already been taken. Scully says that Peggy's watch stopped too, just like there's did, and Mulder connects dots only he can see - Billy has killed them all. That all the kids have felt the pull to the woods like Teresa, and that Billy wakes up in those paused minutes and gets them.


There's the same chalky, sandy substance on Billy's feet, and the team takes off into the woods, only to be stopped by the detective and the coroner. Billy's there already, holding onto Teresa, the wind circling them manically. There's another blaze of light, only this time, they get left behind, their bite marks disappearing and Billy waking from his coma.

Back at FBI headquarters, Billy, hypnotised, recalls the abduction, the experimentation by aliens, the fear of it all. The terror they'll come back. Mulder is beyond pleased, but Scully has more work to do yet. In a meeting with the big bosses, she recounts the story and meets their disbelief. The only piece of evidence remaining is the small metal tube recovered from the nose of the corpse, and she leaves it with them. For the first time in the episode, our point of view shifts away from Scully, and with an FBI agent, who takes the vial and re-homes it at the Pentagon, in a lab with many more of it's kind. Mulder calls Scully later that night. The file on the case is gone.


I like a good procedural. I know some people get up in arms over the form, citing it as uninspired, but I really think the opposite. A procedural can do amazing things at exploring different types of crime or conduct, and says things about the people attracted to it. From Law & Order to Criminal Minds, House MD and The Wire, procedural can unravel a profession and a narrative structure so effectively.

The X-Files seems on track to do this. It does a pretty awesome job of setting up questions for the series to answer (or not), without seeming ham fisted or preachy, and the effect is a pretty compelling pilot. Even with a few things aging poorly (the coffin falling, the tech, Mulder's backwards cap), it has a few timeless elements too. Particularly in Scully, who, for me, anchored the episode with her rationality, her intelligence, and general awesomeness. I'm really interested in seeing where it goes next.

1x02 - Deep Throat


And luckily, I don't have to wait that long. Since 1963, six pilots have gone missing from Ellens Airforce Base after flying experimental aircrafts. Another has gone missing four months prior to Mulder picking up the file, the missing pilot's wife having contacted the FBI after receiving no assistance or further information from the Base. "I thought you were only interested in paranormal cases," Scully tells him, but Mulder knows something we don't.

Shortly after accepting the case, Mulder gets accosted by a man by the name of Deep Throat (?) who tells him to drop it. This seems to take Mulder by surprise which surprised me a little. Mulder seems the sort to have heard this a bit. The situation is aggravated though when Scully calls him later, and Mulder realises his phone is being tapped. Things are getting dark, stakes are being raised.


Scully and Mulder head out and visit the wife of the man we saw in the cold open. At this stage, he's been missing for months and all her enquiries are being redirected. She takes them to another military wife who had the same thing happen to her husband. Only, her husband's been returned to her, a shell of his former self.

There's a lot of spooky stuff happening in this small town, and Scully and Mulder's presence seems to aggravate things on a base level. From the military wives to journalists, small town bar keeps, they're not just lifting a rug but blowing at the dust bunnies who've made their home there. It doesn't help that strange lights have started up at night, something Mulder and Scully head out to investigate.

They run into a couple of stoner kids (Hi, Baby Seth Green!) who tell them they think the bright lights are UFO's being released from a base. Needless to say, Mulder is intrigued. Scully rightly points out that they are pretty high. ("You could've shown that kid a picture of a flying hamburger and he would've told you that was exactly what he saw.")


In the car, Mulder is ecstatic. He shows Scully some blurry photos, and states his case that the military is experimenting with alien technology in their aircrafts. Scully tells him he is cray.

Overnight, the missing pilot is returned home, on first glance, in full health, but it quickly becomes apparent that he has no memory of what has happened and, in the words of his wife, "is not himself." He appears mellow and simple, with an academic knowledge of his life. Mulder tests him a little more abstractly, and the missing pilot folds like a house of cards. "I think they rewired that man's brain," Mulder says, and darker seeds are planted, hinting at things to come, but more on that later.

Leaving the scene, they're accosted once again by men in suits. Their photos are destroyed, files ruined, intimidated, and ordered to leave town. Mulder is stuck between indignant and mortified, and the combination proves a fuel, propelling him back towards the base on his own in the dead of night. Those bright lights are back, only this time, Mulder's on the runway, ready for them. A triangular craft hovers, lingers, the proof Mulder wants.


It's short lived. He's grabbed by soldiers, and in one of the more harrowing scenes of the series so far, his memory is tampered with. Rewired, as he'd earlier stated. Meanwhile, Scully's on his tail. The journalist who'd harassed them earlier in the episode turns out to be a security operative from the base. Holding him at gunpoint, she makes him guide her back to the base and exchanges him for a confused and uncharacteristically quiet Mulder. He doesn't know how he got there, but does know who he is, so small victories, I guess.

Scully writes her report, and Mulder, jogging around a local running track, is confronted again by Deep Throat. "They're here, aren't they?" Mulder asks.

"They have been here for a long, long time."


This is such a dark turn for a series only two episodes in. It sticks with the procedural structure, but twists it dramatically, using our expectations not as something to meet, but to revert. The sequence with Mulder in the military hospital was HORRIFYING, and left you genuinely unsure of his future in the series (I can only imagine what it would've been like at the air date), and the questions posed in the Pilot are restated dramatically. If Episode 1 was naive, this episode is all about starting to set us straight.

Conspiracy and government secrets are being clearly set up as major themes for the series, an interesting choice steering us away from a typical monster of the week structure and into some deeper, more disturbing questions. It'll be interesting to see just how deep it decides to go.

Stray Thoughts in 1x01 + 1x02
- I didn't realise the I Want to Believe poster was actually in the show (it appears in Mulder's office). I thought it was just a promotional tool!

- Lol, nineties fashion.

- So far, the VFX have been pretty tame, which has done really good things in terms of the aging of the series. The simplicity of the alien lights, the boils on the pilot and the bites on the abducted kids have been really good at straddling that line of could-be-couldn't-be in terms of alien-ness.

- I definitely warmed more to Mulder in episode 2, but I think he is very much a part of this stock of weird male genius' which does get my back up a little. It's such a tired trope nowadays that I have to keep reminding myself that this was twenty years ago and not in the time of Elementary, Sherlock, House, Forever, etc.

What did you think though? Love it? Hate it? And how does it stack up with the rest of the series?

'Sex Criminals' by Matt Fraction and Chip Zdarsky (42/52)


Suzie is a lot of things. The daughter of a dead man, of an alcoholic mother, librarian to a going-out-of-business library, and a woman who can freeze time whenever she orgasms. The latter is just a quirk until she meets Jon, an actor, who shares her ability. Together they decide to use their time-stopping orgasms to rob a local bank and save Suzie's library.

Oh, this is just so much fun. Suzie's a delightful protagonist, sweet and whip smart and so fully realised, and Jon is such a fun match for it. His banter, and both general, fun insanity and actual mental health conditions make him an equally rounded and compelling character. The mythos of the series is introduced beautifully too, one step at a time, but never in a way that feels patronising or like its been dumbed down for a reader. All in all, a hell of a lot of fun.

I can't wait to see where it goes next.

4 out of 5 sex police women.

'Morning Glories Volume 4: Truants' by Nick Spencer and Joe Eisner (41/52)


Morning Glories Academy is an illustrious school for genius children, but there's more to it than appears. Shrouded in mystery, the school is a home for murder, backstabbing, time travel and strange powers, and in volume four, things come to an explosive head.

Man, I have such mixed feelings on this series. On the one hand, I love it. Boarding schools! Murder! Time  travel! Created families! Varied and competent female characters! It hits so many of my buttons! On the other hand, the mystery is occasionally a bit much - more than simply mysterious and heading towards totally disorienting. It can take pages to refind your footing in the narrative, and when you finally regain it, so much has happened you have to reread it a few times to catch everything. The designs are gorgeous, but occasionally characters can look very similar, which does little to help with the disorientation. You're expected to retain a lot of knowledge about characters, which I appreciate given my tendency to inhale that, but with a rapidly growing cast, it can make it difficult to absorb everything.

Great story, great characters, but it's not always easy to keep up with.

3.5 out of 5 time reset circles.

Oscars 003

About  three years ago, I got it into my head to watch every film ever nominated for an Oscar. It's a pretty insane feat, given that the nominees are well into the thousands, but it's a project I'm yet to regret embarking on. It's just a hell of a lot of fun and has given me this sort of startling education in the history of cinema and narrative. While I've been watching films on an ad hoc, out of order basis over on tumblr, I am finally starting to be able to cross full years off my list, and as I do, I'll be recapping them here. 



If the first two years of the Oscars were representations of what was to come (while never straying too far from the norm), the third year was where things started to get interesting. From documentary, to war commentaries, strange science fiction, political dramas, ruined women and big budget aviation, 1930 was a year of diversity in cinema. 

Looking back too, it was a year that showcased some of the best actresses of the decade (and perhaps, all time) - particularly in Greta Garbo, Gloria Swanson and Norma Shearer who would continue to dominate for a few years yet. Norma Shearer, who won Best Actress for her dynamic turn in The Divorcee as a woman embarrassed by her adulterer husband becoming a woman about town herself to return the favour, is wonderful, and perhaps one of the more underrated actresses of the era. She'd actually be a little typecast in the role too, taking on similar ones in 1931's A Free Soul (for which she'd be nominated as well), Let Us Be Gay (1930),  Strangers May Kiss (1931) and Riptide (1934). 

It's a role similar too to the ones played by Greta Garbo in Anna Christie and Gloria Swanson in The Trespasser, demonstrating the few roles available to women of the era. These were each roles in which a woman was ruined and sought salvation in or from men. It makes for an interesting juxtaposition to the other roles women were nominated for - generally strong, weeping mother  roles, which lends a whole new weight to the idea of Madonna, Mother or Whore. (If you played the Madonna in this era, you certainly wouldn't get a nod for it).

On the other end of the spectrum is the building theme of disillusionment with war. There's a teetering balance between patriotism and anger at the scope of war, and the genre of war films could almost become its own category. From Wings (1928) which won Best Picture in the first ever Academy Awards through to All Quiet on the Western Front (1930) which won this year, you can see a dark plunge in subject matter. Wings was certainly critical of war, but All Quiet on the Western Front is brutal. It not only emphasises the tragedy of war, but highlights the futility of it, and the tendency for middle aged men to use boys like toy soldiers. It's a marked difference, and for the rest of the years, the Oscars will pendulum swing between hearty patriotism like The Patriot, War Horse and The Dirty Dozen and harrowing character studies like The Deer Hunter, The Hurt Locker and Apocalypse Now.

All in all, a really strong year for the Oscars, and one that really captures the start of cinema's diversification and the start of its attraction to shades of grey instead of just black and white. 

Three Films to Watch
1. All Quiet on the  Western Front. There's a reason this film is such a classic. It's wonderfully made, and both harrowing and compelling in its commentary on war. What makes it even more tragic is that this 1930 film still had World War II, Korea, Vietnam and Afghanistan ahead of it.

2. The Big House. One of the greatest prison films of all time, this film is darker than a lot of the films of the era and contains some amazing visuals across the board, from it's use of shadows and light, to its art department and its angles. 

3. Hallelujah. This film really surprised me. It was so rare to see one African American character in a film in the thirties, let alone to have a film with a full cast of them. It's a compelling film too, about religion and family and  love and lust. King Vidor's previous credits include the stirring film, The Crowd which embodies a lot of the same themes - particularly that of parent-child relationships, and he'd go on to direct War and Peace with Audrey Hepburn. His range is pretty amazing, and this is a really important film from his body of work. 

Three Films to Miss:
1. Disraeli. Suspiciously thin for a political film, this feels more like a Lifetime telemovie than an Oscar nominated feature.

2. Hell's Angels. A film that the biopic (The Aviator) is infinitely more interesting than the original subject matter. It's a well shot film, and the spectacle of it is impressive, just the plot is a little tedious, and the film is loooong. 


3. The Love Parade. Silly, sexist and kind of just bad. I can barely believe it was nominated so far across the board. 


Darling I'm a Nightmare Dressed as a Daydream


Monthlies: October by Sophie Overett on Grooveshark

I have been jamming HARD to Taylor Swift's new album '1989' over the last week or so, so you should probably count yourself lucky it isn't just that album under the guise of a mixtape. Blank Space is by far my favourite song on the album though, so that one won out for this guy.

I spent the most of October really trying to hit a deadline and wrote some 30,000 words over the course of the month - a pretty mean feat if I do say so myself. It's made it stressful, successful and straight up exhausting all at once, and has capped itself with a pretty nasty cold - meaning I didn't quite meet the deadline I'd worked so hard for. It's left me a bit of an unhappy mix of disappointed and frustrated. I've been sickness-inclined most of my life and it often feels like something that hinders me on a path to wilder ambitions when the reality of it is I probably get sick from the pressure I put on myself to constantly achieve.

So many people have told me I'm not a good relaxer, and the reality of it is that I find it very difficult to just chill. I even turn recreation into something I can check off a list - catch up on this show, go for a walk, read this book - as if the only way I can feel good is ultimately to feel like I've accomplished something. It's probably not the best state of mind.

On a much lighter note, my life's been all family this month. We finally laid my grandfather's ashes to rest, my brother went and came home from a school exchange to Japan and my sister's back in town. It's been a pretty nice feeling and forced me out of my own head for a while and into the chaos of family life. It doesn't look set to stop in November either, so it may be a different story by the end of next month.

How about you though? How was your October? What have you got planned for November?

'Daughter of Smoke and Bone' by Laini Taylor (40/52)


Karou has two lives. On the one hand, she is a seventeen year old art student living in Prague suffering from a break up with an asshole ex. On the other, she's the ward of a created family of chimeras, travelling the world on the hunt for teeth, a precious bounty for the chimera sorcerer, Brimstone. While on a mission, she's confronted by the angel, Akiva, and her two lives conjoin and skyrocket towards a third one, old and new alike that could bring about the end of the world as she knows it.

This book came recommended by so many different people in my life that I was actually a little nervous to pick it up. If I didn't like it, I'd have a lot to answer to. It didn't prove to be an issue though. Laini Taylor's world building is as close to perfect as anything I've read. The depth and the scope are rich with history and life, with vivid, evocative detail. She has a thrilling lead in Karou too, who's journey is so defined, so perfectly carved out that you really do feel like you've been on it with her.

The supporting characters are pretty terrific too - from serpent Issa to bovine Brimstone, the sweet and snarky Zuzana, even asshole Kaz. It rounds out a story that explores morality and war and child soldiers and the brutality of total power. It's pretty magical.

5 out of 5 lost sketchbooks.

Sunday Short: 'Out of Skin' by Emily Carroll


There's been a real surge in recent years of beautiful, one shot webcomics, and Out of Skin by Emily Carroll is as pretty close to perfect as they come. It's beautifully drawn, beautifully told, and creepy as hell, and makes for some pretty great Halloween (or, well, just post-Halloween) reading.

You can read it here.