Whether you’re new to job hunting, or you have been searching a while, you will definitely need a resume. That much is well-known; the next step may not be so easy, but we can help! Williamsburg Regional Library has an extensive collection of books and instructional DVDs to help get you started on your resume or polish up your existing document. General purpose books like Resume Empower: Shattering the Paper Ceiling cover lots of standard advice like having multiple resumes prepared for the multiple jobs that you apply for. Others are geared towards specific careers such as Expert Resumes for Teachers and Educators, by Wendy S. Enelow or specific situations such as McGraw-Hill’s Resumes for the 50+ Job Hunter.
On April 21, 2015 Ed Joyner from Colonial Williamsburg is coming to the Williamsburg Library Theatre to tell the public about the hiring process from a Colonial Williamsburg Foundation Recruiter’s perspective, sign up early for this extremely useful and entertaining event. We have several other financial literacy events next week for Money Smart Week, including investing and applying for financial aid.
Searching and applying for jobs can be a daunting and lonely task, but remember Williamsburg Regional Library is here to help!
Check the WRL catalog for Resume Empower.
Check the WRL catalog for Expert Resumes for Teachers and Educators.
Check the WRL catalog for Resumes for the 50+ Job Hunter.
Check the WRL catalog for an instructional DVD about job hunting Effective Resumes and Job Applications.
To ask about these or if you have any questions call us on 259-4050 or stop by the Adult Services desk.
As the song goes, “Fish got to swim and birds got to fly”, but that doesn’t mean they have to be happy about it. What if what we thought we knew about our friends in the animal kingdom turned out to be vicious stereotyping. The revelatory volume, What Animals Really Like blows all our assumptions about animals out of the water.
As the book begins, Mr. Herbert Timberteeth is debuting a song of his own, “What Animals Like Most.” His choir is composed of cows, monkeys, frogs, and a menagerie of other animals. He’s not expecting them to go off-book.
Things start off well: “We are lions, and we like to prowl. We are wolves, and we like to howl. We are pigeons, and we like to coo.”
But then things take a turn: “We are horses, and we like deep-sea diving. We are worms, and we like to bowl. We are warthogs, and we like to parachute.”
Children will enjoy this irreverent story and its surprising twists. Very ambitions storytellers might even choose to find a tune to which they can sing Mr. Timberteeth’s song.
Check the WRL catalog for What Animals Really Like.
Gordon “Rank” Rankin, Jr., is incensed when he starts to read a novel by a college friend, Adam Grix, whom he hasn’t seen in twenty years, and finds himself unmistakably but very imperfectly portrayed in the novel. He sits down at his computer and fires off email after angry email to his old friend, over a three month period, trying to set the record straight, trying to put into words the events of his life that led to the fateful night in their second year of college when Rank left their circle of friends and never went back.
Rank is particularly incensed that Adam mentions, in the early part of his novel, that the character’s mother had died. “It did nothing,” Rank writes to Adam. “[i]t was just a thing that had happened to this guy – his mom died, by the way. Background information. It’s mentioned once and never again.” Rank is furious that his mother’s death could be portrayed as no big deal.
Rank was always big. His size led those around him to see him more as an intimidating physical presence than as a deeply thinking, caring soul. When he was young, everyone perceived him to be older. Inside the body of a man, his teenage self hadn’t matured into someone who could stand up to those who wanted to use his bulk for their own purposes. His “tiny screaming lunatic” father, hopping around and complaining about the “punks” who frequented his Icy Dream ice cream parlor, got Rank to intimidate older classmates who would, simply by being teenagers, scare off family type clientele.
One of Rank’s punches in the Icy Dream parking lot, when Rank was fifteen, resulted in brain damage to a “smart-ass town punk” he’d known all his life. That moment, when Rank heard the sound of Mike Croft’s head crack against the pavement, was the beginning, he realized later, when the gods started messing with him. His life became like the board game from the seventies, Mouse Trap, where a “series of random plastic doodads” were “set up to interact with one another in frankly stupid and unlikely ways (the boot kicks the bucket, out of which falls the ball, which rolls down the ramp), and at the end of this rickety and dubious process, down comes the mousetrap.”
Rank’s emails to Adam are at times hilarious, but often, and in the long run, downright heart-breaking. Rank can’t escape his body and can’t escape how people react to his bulk. He gets a hockey scholarship to college – based on his bulk and on a letter from his high school coach and social worker, Owen Findlay, the social worker assigned to him after he busted Mike Croft’s head – and still his life seems scripted by uncaring gods playing around to see what he would do. He feels forced to give up that scholarship when he’s asked to butt heads with the opposing team; he will not relive the experience with Croft. He falls in with a group of friends — geeky, frail Adam in particular — with whom he shares stories from his life. He tells Adam about Mike Croft, about his mean little father, about his mother and about her death. He now writes to Adam: “I pulled off hank after bloody hank of flesh and just handed them over and you were so coy, you averted your eyes and pretended to be embarrassed like the rest of them when really you were squirreling away all those hanks and secretly stitching them together and building Frankenstein’s monster.”
We never read what Adam writes back to Rank, but we know he stops replying soon after Rank starts. It’s okay, though. We let Rank write his life’s story to his once-friend, and read the “bloody hanks of flesh” that make up his life. Rank gets it all out, all the anger, all the history. It’s tempered with love, but you don’t notice it until you’re finished and you sit there stunned and almost in tears.
I listened to this book as an audiobook download. The narrator, Macleod Andrews, is a perfect reader for the book. The book itself lacks some of the normal punctuation one would normally expect in a novel, but this is a series of emails – relatively well-punctuated and correctly-spelled emails — but still emails where the tense and voice may change depending on the tone. On second listening, and in skimming the text, I have to say this has become one of my favorite books of all time. It’s probably one of the most entertaining and raw portrayals of a character I’ve ever encountered.
“The lion tries to ignore it when the gazelles whisper behind his back. He pretends not to see the zebras looking down their noses at him. The wildebeests call him ‘bad kitty’ just because he’s eaten half the neighborhood. It hurts. It really does.”
So, the lion, timber wolf, and great white shark decide to go vegetarian. It goes just about as well as you might think. Carnivores just can’t ignore their natural instincts. They try disguising themselves as less threatening animals, but that doesn’t work either. Finally, they seek out the great horned owl for advice. What he tells them changes everything.
Check the WRL catalog for Carnivores.
This is a powerful history. It is a story of survival, loss, atrocity, renewal, guilt, luck, sadness, and hope. Three Minutes in Poland is a painstakingly-researched book that grew out of a home movie made by David Kurtz, the author’s grandfather. In 2009, Glenn Kurtz happened upon the movie in a family closet. Having emigrated to the United States years before, David, his wife, and friends toured Europe in 1938, just before the outbreak of World War II. David Kurtz, with his 16 mm movie camera, sporadically recorded the excursion, including three minutes documenting a small Polish town from which the family had come.
The significance of those three minutes in 1938 was immediately clear to the author. Within a year the Holocaust had started. By 1942 most of the 3000 Jews from the town had been murdered. This short record offered a rare pre-war snapshot of the Jews of Poland, happy and thriving. With unrelenting determination, Glenn Kurtz undertook a project to identify the faces captured in his grandfather’s home movie. He wanted to learn more about the small town, what it meant to his grandfather, his extended family, and the Jews who lived there. Kurtz’s book not only chronicles that research, it brings to life again some of the lost souls who died during the Holocaust.
In writing this book Kurtz traveled around the globe. He followed leads throughout North America and made friends and discoveries in Israel, Poland, and England. Despite how few people survived, Kurtz assembled an extensive network to identify and interview individuals with first-hand knowledge of the town and its people. He focused on the survivors to reconstruct this town documented in his grandfather’s home movie. In particular, the author spent many hours talking with Morry Chandler (whose granddaughter identified him as one of the waving children in the home movie).
Three Minutes in Poland is an intimate portrait of how many Jewish families were devastated, and yet some managed to survive. Throughout his well-crafted book, Kurtz weaves a story of past, present, and future that engages the reader. The personal element of reconstructing his heritage notwithstanding, much of Three Minutes in Poland also is a reminder to never forget the victims of the Holocaust. Through intelligence, perseverance, and skill, Kurtz presents a compassionate history that will move and inspire almost any reader.
Check the WRL catalog for Three Minutes in Poland.
The Graveyard Book was originally published as a novel in 2008 to a flurry of well-deserved praise, eventually earning the Newbery Medal, Carnegie Medal, and Hugo award. The story follows a boy named Nobody Owens, nicknamed Bod, who, as a very young child, flees to a graveyard after his parents are murdered by a man named Jack. The ghosts, after a heated discussion, extend to Bod the Freedom of the Graveyard, which protects him and allows him to interact freely with the dead. Of course, there is a limit to what a ghost can do, so Bod is assigned a Guardian, named Silas, who is neither living nor dead, and who can go out into the world of the living and procure the supplies that the boy needs. He begins his new life amongst the stones and tombs, protected from harm as Jack continues to search for his missing victim.
The story is wistful and haunting. The reader feels the great loss that Bod has experienced, yet he is himself too young to understand it fully. It’s not that the ghosts make bad parents; it’s just that a bit of emptiness haunts the margins of the book: the reader’s knowledge of the family life and friends that this little boy has been denied by virtue of his situation. This sense of longing can’t easily be shrugged off. Even leaving the graveyard puts him in serious risk, as the killer Jack can reach him if he wanders outside the gates.
The novel has been adapted by P. Craig Russell, who has won Harvey and Eisner awards for other projects, and who also created a exceptional graphic adaptation of a previous Gaiman book, Coraline. In this instance, the adaptation was done by Russell, but he only drew one of the chapters himself. Each chapter is done by a different artist, seven in all, and the illustrations are stunning. Sometimes having multiple artists can adversely affect the continuity of the visual storytelling, rending it difficult to recognize a character from one section to the next, but not in this case. Each section is unique, but all of the artists do a remarkable job of capturing the atmosphere of the book.
Recommended for readers of science fiction, horror, and graphic novels. Although the book is marketed as being for young teens, it is appropriate for adult readers as well.
Check the WRL catalog for The Graveyard Book, Volume 1
Woodland critters are very skittish. The slightest noise can send them scampering away. So, when a few bunnies sitting under a tree by a lake hear a sudden “PLOP!” they are off and running. They warn the fox, who warns the monkey, and soon all of the animals are running for their lives. All except the big brown bear.
The big brown bear is not scared of things; things are scared of him! He wants to find this “PLOP!” that is stepping onto his turf. So, the big brown bear forces one of the bunnies to take him back to see the “PLOP!” When the two return to the lake, they hear the “PLOP!” again. This time the bunny notices where the sound is coming from and is no longer afraid. The big brown bear, however, has a different reaction.
This is a story about bravery and the fear of the unknown. Children will quickly realize what caused the “PLOP!” and will find humor in each animal’s overreaction. Colorful illustrations fill the page and even make use of photographs. A picture of cake is created by combining a photo with hand-drawings, while the texture of the big brown bear’s fur looks like real yarn. Pictures of a knife and glass appear to be clip art inserted into the illustrations. This is another title perfect for a storytime audience.
Check the WRL catalog for The Terrible Plop.
Refreshing and reinventing old superheroes has become somewhat fashionable recently, with rather mixed results. Some characters, like Batman, have seen so many iterations that it is difficult to separate them all, or find new ground to cover without being completely repetitive or utterly discarding canon. One good thing that has come out of this trend is the resurrection of old characters that never caught on, but were worthwhile for one reason or another.
The Green Turtle was a World War II superhero with a very limited run. He was created by a cartoonist named Chu Hing, who was one of the first Asian-Americans to enter the American comic book industry, a business with limited diversity, especially back in 1944. Hing obscured the face of his protagonist so that, even if he was not allowed to make his character officially of Chinese descent, there is enough obfuscation for the reader to make their own decision about his heritage.
It is this character that has been brought back to life in The Shadow Hero. Living in Chinatown are two immigrants and their son, Hank. Each parent brings with them shadows of their old life and unfulfilled expectations from their new life. Hank is the reluctant heir to a melting pot of their issues. There certainly isn’t any early indication of his superhero future, as he is quite content to work in his father’s grocery store, nursing the hope to eventually pass it on to his own son someday. But no superhero comes to being without some trauma, and his parent’s legacies eventually, violently, come to alter their offspring’s future in unimagined ways.
Gene Luen Yang, author of the Printz Award winning American Born Chinese, brings a strong sense of time, place, and culture in this story. I don’t think I’ve ever read a superhero story where family and cultural heritage is this central to the creation and continued development of the character. The people surrounding Hank encompass a wide range of types without sinking in to caricature. His mother is especially complicated, being infuriating and relatable in equal measure. Parents want what’s best for their child, but so often their view of what is best is founded on what they perceive to be missing from their own life.
Recommended for readers of graphic novels, superhero stories, and anyone with an interest in stories about family dynamics.
Check the WRL catalog for The Shadow Hero.
Barbara is a fifth-grader who lives with her big sister and her older brother. She sticks out from her peers for myriad reasons: she wears a different pair of animal ears every day; she is completely unable to interact with people in a normal manner; and she is obsessed with her quest to kill giants. She tells stories of many bloody, violent battles with the monsters, and sees signs of an impending attack that no one else notices. Armed with Coveleski, the Giant Slayer (the name she gave her war hammer), she is tough, smart, and in many ways completely unlikable. When finding herself cornered, either physically or emotionally, she lashes out with a vicious intensity.
Offsetting her brutal ferocity is Sophia, a sunny, gentle girl who is new to the neighborhood and is fascinated by Barbara’s stories of giants and the imminent war. As damaged as Barbara so obviously is, she cannot completely cast Sophia aside, and the reader gets glimpses of what looks like desperation for normalcy peeking through her façade. But Barbara is pretty expert in keeping people from hurting her emotionally, and even Mrs. Molle, the school psychologist, finds Barbara a tough case to figure out.
Heavy in the air is a secret, something so terrible that it is driving Barbara into a world of fantasy in order to find some solace. So strong is her emotional shutdown, that even people’s words are blacked out whenever the topic is mentioned. Bit by excruciating bit, her secret is revealed to the reader, as she finds herself unable to keep things contained and her raw pain is brought to the surface
Graphic novels can be a fantastic medium for delving into tough, sensitive topics, as the art can make a reader comprehend those quiet moments of complete emotional devastation better than any possible combination of words. The illustrations by JM Ken Niimura are subtle and explosive as appropriate. Joe Kelly’s writing is nuanced and tense. Recommended for readers of graphic novels, and anyone who likes journeys of self-awareness or coming-of-age stories.
Check the WRL catalog for I Kill Giants.
In It’s a Tiger! a boy runs from a tiger that seems to be following him. Through the jungle, underground, on the sea, everywhere he goes he finds the tiger. Does the tiger want to eat him, or does he just want to hear a story? Given that this is a picture book recommended for preschoolers and kindergarteners, you can probably guess which.
This book is great for storytime and a natural for doing call and response. As children learn the rhythm of the book they will pick up on the prompt for their part: “A TIGER!” You could also integrate movement by having the children mime the boy’s actions as he ducks, climbs, tiptoes, and swims away from the tiger. The ending always gets a good reaction from the audience as well, as a new animal enters the picture.
Mr. La Rochelle has written an entertaining, interactive book perfectly illustrated with Tankard’s bold and colorful pictures.
Check the WRL catalog for It’s a Tiger!
As someone once quipped, “they don’t have issues, they have an entire subscription.” Six dogs of varying breeds make up this sled dog team, and each has their own flavor of neurosis. Dolly is the lead dog, and is consumed with an existential crisis, constantly wondering why she was chosen to lead, and whether or not she has the skills to be successful. Winston is a purebred Samoyed, and bears the heavy burden of his blue blood with mounting desperation as his chances of passing on his valuable genes seem slimmer as each season passes. Buddy, a strong but not particularly bright wheel dog, has been used several times for mating, but this has confused him about his exact relationship with the mother of his pups. Venus, Buddy’s unwilling partner in puppy making, has to fend off his amorous advances and her increasing frustration with her lack of choice in these matters. Guy is determined to take over the lead position from Dolly and is willing to manipulate the other dogs into helping him. And finally there is Fiddler, part philosopher, part devil’s advocate; he seems to be able to figure out everything, except what he actually wants for himself. The owners of this motley crew are a man and a woman who intentionally moved far away from all other people, and are dealing with their enforced solitude with varying levels of success.
The dogs live to run, and it is only in their long stretches of down time that they are forced to turn to social drama as an antidote to boredom. Buddy flirts, Venus rebuffs, Dolly questions, Guy plots, Winston preens, and Fiddler philosophizes. For all the soap opera-like drama as they jockey for their rightful place in the world, either real or perceived, the dogs are relatable and quite often funny. Somewhat gloomier is the relationship between the humans, who each only have one other person they can interact with. For both parallel stories, nerves can only fray so much before something drastic will occur.
The story is an engaging, quick read. Some of the humor is more appropriate for an older crowd, especially Buddy’s repeated attempts to compliment Venus based on her litter-making skills. Recommended for readers of graphic novels and character-driven stories.
Check the WRL catalog for Mush! Sled Dogs with Issues
The Stuff of Legend: Book 1: The Dark, by Mike Raicht and Brian Smith, Illustrated by Charles Paul Wilson III
A lot of admonishments are made about not judging a book by its cover. But as I was browsing our shelves, I came across this dark little volume and was immediately intrigued. Mimicking a dinged up, ink spattered journal, its rather grandiose title The Stuff of Legend was set above the drawing of a stuffed bear. Its face set with a sense of purpose, the bear steps towards the reader as if walking towards its destiny, glancing at the toys behind it with a look of either challenge or warning. It is an arresting image, but despite the ominous subtitle, The Dark, I picked up the book fully expecting the fluffy cuteness of the bear to be the reader’s companion through the story, juxtaposed against whatever low-level gloom the authors threw at the character. After just a few pages I realized I was entirely off base.
The story has some familiar elements: a young boy and some toys that come alive, but only when humans are not there to witness the transformation. One of the toys is even a piggy bank, but this book is definitely not a Toy Story knock-off. Set in 1941, with the boy’s father off fighting in the war, a great and unexpected evil is about to invade the world. Straight out of every child’s nightmares, the Boogeyman is in the closet. One night his nightmarish tentacles emerge from behind the door to snatch the boy, leaving the toys behind in shock. Should they venture in after him to save their owner? Or should they maintain their directive of non-interference?
Obviously, if all the toys decided that discretion is the better part of valor, this story would have ended after only a few pages. Instead we follow a few brave toys who volunteer (or get volunteered) to go into the darkness after the boy. The world on the other side of the door is truly transformational, and the long quest begins.
When I finished book 1, my only thought was that I needed to get book 2 as soon as possible. The story is gloomy, yet riveting and absorbing. The artwork is appropriately dingy in sepia with dark shadows staining every scene. So far, four books in the series have been published, and there is a promise of a fifth volume later this year. Recommended for readers of graphic novels, light horror, an adventure books.
Check the WRL catalog for The Stuff of Legends
How to Hide a Lion is about the unlikely friendship between a girl and a lion. Unfortunately, “Moms and dads can be funny about having a lion in the house”, so the girl embarks on the ambitious task of hiding the lion from her parents. This friendly lion is easier to hide than a ferocious lion would be, but he is still rather large. He’s also very difficult to move when he’s sleeping, which proves to be their downfall.
This picture book is a bit of a throwback, as it is very reminiscent of oldies but goodies like The Story of Ferdinand and Madeline. Part of that similarity may come from the sketched illustrations, but it also comes across in the quaint quality of the story. This is a great book for either storytime or one-on-one, perhaps paired with a few classic titles.
Check the WRL catalog for How to Hide a Lion.
Throughout their 30-year history, the band Sonic Youth won critical acclaim for their distinctive dissonant, guitar-driven sound. Led by the husband and wife team of Kim Gordon and Thurston Moore, the band enjoyed commercial success in the early ‘90s with the release of Goo (1990), featuring the single “Kool Thing,” and as a headlining act with the 1995 Lollapalooza festival.
Sonic Youth continued to release records and tour until the announcement in 2011 that Kim Gordon and Thurston Moore were divorcing after 27 years of marriage. Fans were shocked. How could a marriage and musical partnership that seemed solid dissolve so suddenly and publicly? Kim Gordon offers thoughtful, well-balanced insight into her career and personal life in her candid memoir, Girl in a Band.
Gordon opens with Sonic Youth’s final concert at the SWU Music and Arts Festival in Itu, São Paulo, Brazil. A month prior to the show, Sonic Youth’s record label issues a press release announcing Gordon and Moore’s divorce. While the band members try to remain professional as they complete their South American tour, the tension is evident. Gordon observes that for a couple and a band who embraced artistic and musical experimentation while maintaining a stable family unit, the end was “another cliché of middle-aged relationship failure—a male midlife crisis, another woman, a double life.”
Gordon’s path to musical success was a bit unconventional. The daughter of a sociology and education professor at the University of California, Los Angeles (UCLA) and a homemaker, she grew up interested in visual arts, eventually attending York University in Toronto, Canada and the Otis Art Institute in Los Angeles. She had one sibling, an older brother named Keller. Of all the relationships Gordon discusses in her memoir, her relationship with Keller is the most complex. Growing up, Gordon adored her brother, despite his constant teasing, which occasionally turned cruel. After a troubled adolescence, Gordon and her parents learned that Keller suffered from paranoid schizophrenia. According to Gordon, Keller and his mental illness “shaped who I was, and who I turned out to be.”
Gordon moved to New York in 1980, intending to become part of a thriving art scene that included Cindy Sherman and Jean-Michel Basquiat. I’m more familiar with Kim Gordon’s music than her art, and I especially enjoyed reading her recollections of the New York art world in the late ‘70s and early ‘80s.
Gordon was asked to write an article about music, and she chose to focus on the onstage interactions between men. Her article was well-received and inspired her to start making music herself. After meeting Thurston Moore, they formed a band that eventually became Sonic Youth. Their early years were a bit of a struggle as they balanced day jobs with the process of recording, touring, and developing an audience. From the beginning, Sonic Youth had a distinctive musical and artistic aesthetic that carried over into fashion in 1993 when Gordon co-founded the clothing line X-Girl with Daisy Cafritz.
Rather than delve into the minutiae of every Sonic Youth song or album, Gordon focuses her discussion of Sonic Youth’s music on songs and albums that are especially meaningful to her. Along the way, she includes fascinating stories and anecdotes about the musicians she toured or worked with, including Public Enemy’s Chuck D and Nirvana’s Kurt Cobain.
Told in short, fast-paced chapters, Girl in a Band is an engaging memoir and an entertaining account of an influential period in American alternative music.
Check the WRL catalog for Girl in a Band.
Karla Kuskin has written over fifty books for children. She has also won the NCTE (National Council of Teachers of English) Award for Excellence in Poetry. Under My Hood I Have a Hat is a simple and simply darling portrayal of a child’s experience on a snowy day. Our little hero and her dog head inside after playing and building a snowman. The girl describes all the layers that have kept her warm as she takes them off. And again, as she dresses to head back out to the cold. Children will definitely identify with the process.
Fumi Kosaka who was born and raised in Japan has created bright illustrations with a soft look and plenty of gentle humor. I don’t if it is possible to read Under My Hat… without a smile.
Check the WRL catalog for Under My Hood I Have a Hat.
Meet Barb Colby and Lily Stanton, longtime friends and heroines of Amanda Filipacchi’s sharp and witty fourth novel, The Unfortunate Importance of Beauty. Barb is a costume designer and Lily is an acclaimed pianist. Despite their talents, their lives are defined more by their physical appearance than their accomplishments. In response, Barb and Lily set out to subvert society’s perceptions and expectations of their looks.
Barb Colby is in her late 20s, but she looks like an unattractive 40-year-old with bad teeth and unkempt hair and clothing. Strangers typically regard her with a mix of pity and contempt; however, Barb’s appearance is actually a skillful disguise. In reality, Barb is a stunning beauty, but instead of flaunting her appearance, she hides it because she believes it was responsible for the death of a close friend. Gabriel, a successful chef, killed himself after falling in love with her. In his suicide note he wrote that her beauty had “grown so painful for me to behold.”
Wanting to be loved for who she is and not her beauty, Barb uses her design talents to create a fat suit and a wardrobe of dowdy clothing. Whenever she goes to bars or restaurants with her friends, she makes a point of engaging men in conversation then exposing their shallow views on beauty before removing the costume to reveal her true appearance. Her resolve is tested when she meets a man who may be in love with more than her physical beauty.
Lily Stanton is also in her 20s, but her appearance is very different from Barb’s. Her friend very bluntly describes her as being “extremely ugly—the kind of ugliness that is inoperable.” Lily is deeply in love with a former co-worker named Strad, a fellow musician who’s only interested in dating beautiful women. One afternoon, Strad and Lily attend a recital and he’s so moved by the music he tells her that he could “fall in love with—and marry—any woman who could create music like that.”
Realizing that her talent may be the only way she can attract Strad, Lily resolves to compose music that’s so alluring he has no choice but to fall in love with her. She starts by composing music that will make people desire objects, such as office supplies or books, and soon develops a lucrative career composing music for companies seeking to increase sales through the suggestive power of music. The piece she composes for Strad brings success; however, complications cause her to reconsider her plan.
Barb and Lily are supported in their artistic and personal endeavors by their close friends: Georgia, a successful novelist; Penelope, an aspiring potter who survived a horrific kidnapping; and Jack, a former police officer who rescued Penelope. Collectively, the group is known as the Knights of Creation, and they meet regularly to work on various artistic and literary projects. Gabriel was also a member, and before his suicide he arranged for the group to receive a series of letters. These letters reference Lily’s hopeless crush on Strad and an unsolved murder that was allegedly committed by a member of the group. His final letters warn the group that the killer has planned to murder Strad if Lily doesn’t get over him. The group’s attempt to protect Strad leads to a strange dinner party that serves as his introduction to the Knights of Creation.
Filipacchi’s breezy narrative is pitch perfect and never gets too heavy-handed. Barb and Lily’s attempts to transcend their physical appearances result in provocative and often hilarious situations as they struggle to find love and acceptance for who they are, not how they appear. Several intriguing subplots, including one concerning a missing laptop, help flesh out the secondary characters.
The Unfortunate Importance of Beauty succeeds as both a quirky mystery and a meditation on beauty itself.
Check the WRL catalog for The Unfortunate Importance of Beauty.
Cock-A-Doodle-Moo! poses an interesting question. What can a rooster do when he can’t wake up all the folks on the farm? What if he can only whisper “cock-a-doodle-doo” instead of his usually LOUD announcement of the day’s start? After several valiant efforts that leave the animals fast asleep, rooster is getting very concerned. Finally, he resorts to pecking at a cow. And he begins to teach the cow how to crow. Your audience will laugh and laugh at the cow’s efforts to master rooster’s wake-up call.
The illustrations and typography show the rooster’s frustration and the laughter of the other farm residents as they are finally awakened by cow’s version of cock-a-doodle-moo.
I’ve used this many times with groups and I’ve had great success. Pictures, type, and text all join together for a pleasing story experience.
Check the WRL catalog for Cock-A-Doodle-Moo!
Lola (Franka Potente) receives a call from her boyfriend, Manni (Moritz Bleibtreu). He’s worried and scared. Lola was supposed to help Manni deliver a bag containing 100,000 Deutsche Marks to Ronnie (Heino Ferch), a mobster; however, she failed to meet him, leaving Manni no choice but to take the subway. During the ride, Manni panics when he sees a police officer. He gets off the subway, leaving behind the bag of money. He has 20 minutes to come up with 100,000 Deutsche Marks or else Ronnie will kill him. Lola tells him not to worry; she will meet him and they’ll figure out a way to get the money. Desperate, Manni tells her that he’s prepared to rob a nearby supermarket if Lola doesn’t show up. Lola urges Manni to wait for her, and then she thinks about possible sources of money. After considering several possible options, she decides to ask her father, a bank manager, for the money. With no time to waste, Lola sprints out of her apartment and spends the next 20 minutes running through the city in a frantic attempt to get the money in enough time to save Manni.
Will Lola find 100,000 Deutsche Marks and save Manni’s life? Anything can happen in the course of 20 minutes, and Run Lola Run presents three possible outcomes to this scenario. The same basic sequence of events unfolds with each iteration of Lola’s run, but subtle differences and twists of fate alter the resolution to Lola and Manni’s dilemma.
A fast-paced and entertaining exercise in style, Run Lola Run takes a simple and straightforward premise and embellishes it with surreal animation sequences, rapid-fire editing, and a surprisingly tender love story. The movie is only 81 minutes long and Tykwer keeps the story tightly focused; there’s not a wasted scene in the film. Although the scope of the film is limited to Lola’s run, brief interludes between the scenarios establish how deeply Lola and Manni care for each other. In these scenes, they discuss their love and their fears of what might happen should one of them die. As Lola and Manni, Franka Potente and Moritz Bleibtreu bring a wonderful intensity to their roles that makes their characters’ predicament all the more urgent.
Run Lola Run is an energetic thriller and a clever meditation on the vagaries of fate.
Run Lola Run is in German with English subtitles.
Check the WRL catalog for Run Lola Run.
Florence Carala (Jeanne Moreau) and Julien Tavernier (Maurice Ronet) appear to be a pair of lovers innocently planning a passionate rendezvous. Their ardor is palpable and their sentiments are almost poetic. “I won’t leave you, Julien,” Florence tells him, her eyes brimming with tears. “Without your voice, I’d be lost in a sea of silence,” Julien replies. Then the conversation takes an ominous turn. They make plans to meet later that evening at a café once Julien removes the one obstacle standing in the way of their happiness—Florence’s husband and Julien’s boss, Simon Carala (Jean Wall), a wealthy arms dealer.
Julien carries out his plan with calm and calculating efficiency. A former Foreign Legion parachutist, he uses his military training to secretly enter Simon’s office. The men have a brief confrontation before Julien shoots Simon, staging the scene to look like a suicide. Julien slips out of the building the same way he entered and conceals the evidence before getting in his car. As he prepares to leave the office, he glances up and discovers he’s left behind a critical piece of evidence. Julien races back into the building to retrieve the incriminating item; however, as he’s riding up in the elevator, a maintenance worker turns the power off, trapping him between floors. Shortly after Julien goes back to the office, his car is spotted by a young couple, Louis (Georges Poujouly) and Véronique (Yori Bertin). Louis has a criminal record, but that doesn’t deter him from stealing Julien’s car, taking Véronique along for the ride. Later that evening, the couple drives past the café where Florence and Julien planned to meet. Florence sees the car speed past the café and believes that Julien has run off with another woman. While Julien struggles to find a way out of the elevator, a despondent Florence wanders the streets of Paris looking for him. Meanwhile, Louis and Véronique continue their crime spree in Julien’s car. They know Julien and his background, and in addition to stealing his car, they check into a hotel under the name Mr. and Mrs. Julien Tavernier. This scheme sets in motion a series of events that could separate Florence and Julien forever.
Elevator to the Gallows is a well-constructed thriller that moves at a brisk and tense pace. Instead of relying on surprise plot twists to generate suspense, Malle effectively uses the consequences of the characters’ actions to heighten the tension. It is also a rather stylish and atmospheric film. Henri Decaë’s glorious black and white cinematography and Miles Davis’s distinctive and moody score bathe the action in an air of melancholy.
The mood of the film is also reflected in the performances. As the desperate Florence, Jeanne Moreau brings a heartbreaking vulnerability that’s echoed by Maurice Ronet as Julien, her equally besotted lover. Although their phone conversation sets the murder plot in motion, Moreau and Ronet do not share any scenes together; however, they are convincing as a couple willing to do whatever it takes to be together.
A classic example of French New Wave Cinema, Elevator to the Gallows is one of Louis Malle’s best films.
Elevator to the Gallows is in French with English subtitles.
Check the WRL catalog for Elevator to the Gallows.
April is National Poetry Month, and today’s review centers on a film that celebrates the beauty of poetry—Il Postino: The Postman, a whimsical tale of the friendship between a postman and a famous poet.
Based on Antonio Skármeta’s novel Ardiente Paciencia, the film is set in the early ‘50s in a remote Italian village. Lifelong resident Mario Ruoppolo (Massimo Troisi) lives with his father, a fisherman. One of the few literate people in the community, Mario’s a simple man whose knowledge of life outside the village comes from newsreels at the cinema and the occasional postcard from relatives in America.
Life passes uneventfully in the village until the day Mario sees a newsreel announcing the arrival of Chilean poet Pablo Neruda (Philippe Noiret). Neruda has been exiled from his native country for political reasons and he plans to stay in the village until he can safely return to Chile. Mario’s unfamiliar with Neruda’s poetry, but he’s impressed by his celebrity status, especially his adoring female fans.
Neruda’s arrival provides Mario with an unexpected job opportunity. The local postmaster needs a temporary postman to deliver mail to Neruda. Eager to learn how he can impress women, Mario accepts the job and begins an awkward, but persistent, campaign to become friends with Neruda. Charmed by Mario’s earnest attempts to understand poetic conventions, Neruda becomes a friend and mentor to the shy postman. When Mario falls in love with Beatrice Russo (Maria Grazia Cucinotta), the niece of the village’s café owner, he uses Neruda’s advice—and his poetry—to win her heart.
Il Postino is a charming film that gently and eloquently explores the transformative power of friendship and poetry. Mario has a great enthusiasm for life, but a limited frame of reference until he meets Neruda. He’s eager to understand Neruda’s work and his discussions with the poet introduce him to new ways of expressing his thoughts and feelings. As his friendship with Neruda blossoms, he demonstrates a newfound level of confidence in the way he speaks and carries himself. It’s a subtle change beautifully captured by Massimo Troisi’s elegant and understated performance. Philippe Noiret is delightful as Neruda, and under Michael Radford’s deft direction the friendship between Mario and Neruda never feels forced or gimmicky. Neruda’s poetry is an integral part of the plot, and the poems used in the film are a perfect fit for the central themes and storyline.
Il Postino was the final film of Massimo Troisi, who also co-wrote the screenplay. A case of rheumatic fever as a child left him with a serious heart condition and he needed a heart transplant. He postponed the surgery so he could finish the film. In June 1994, he died of a heart attack hours after completing the project. He received posthumous Academy Award nominations for Best Actor and Best Adapted Screenplay; the film was nominated for Best Picture and Best Director and Luis Bacalov won for Best Music, Original Dramatic Score.
The film received a new round of publicity several years ago when opera composer and librettist Daniel Catán developed an operatic version. The opera, featuring tenor Plácido Domingo as Pablo Neruda, opened in 2010 to positive reviews.
Il Postino: The Postman is in Italian with English subtitles.
Check the WRL catalog for Il Postino: The Postman
WRL has several collections of Neruda’s poetry, including The Poetry of Pablo Neruda