My introduction to the film My Dinner with André came from a rather unlikely source – a Mad magazine parody called My Dinner with André the Giant. In the years since its release, My Dinner with André has inspired numerous tributes and parodies, including a Far Side comic and an episode of the the first season of Frasier called “My Coffee with Niles.” My Dinner with André is a unique film that I revisit every few years; usually when I’m looking for something insightful, but primarily because the extended conversation at the heart of the film is quite entertaining.
The film stars actor/playwright Wallace Shawn and director/actor André Gregory playing fictionalized versions of themselves. The movie opens with Shawn preparing to meet Gregory at an expensive New York City restaurant. Gregory was an early supporter of Shawn’s work; however, the one-time colleagues have not spoken to each other for years. Shawn is filled with trepidation at the prospect of meeting with Gregory. Over the years, he heard that Gregory had left his successful career as a director and traveled the world in search of spiritual enlightenment. Shawn’s concern is heightened when he hears that a mutual friend ran into Gregory in an obscure part of town, sobbing because he had just seen Ingmar Bergman’s film Autumn Sonata and was moved when Charlotte (Ingrid Bergman) says, “I could always live in my art, but never in my life.”
Despite his concerns, Shawn agrees to have dinner with Gregory, and duration of the film consists of their wide-ranging and deeply philosophical conversation. Gregory begins by describing his artistic and spiritual pursuits after leaving the theatre. He goes to Poland to work with his friend, director Jerzy Grotowski; he travels to Findhorn in Scotland and the Sahara; and finally he stays at photographer Richard Avedon’s estate in Montauk, where he participates in a rebirth ritual in which he’s nearly buried alive.
Shawn is fascinated by Gregory’s stories, but he wonders if such pursuits are practical, especially if you have a wife and family as Gregory does. During the second part of the film, Shawn playfully challenges Gregory’s philosophical outlook and in the process begins to his see the world around him in a new light.
My Dinner with André is an eloquent and understated film that can be enjoyed on a number of levels. Gregory is an engaging raconteur whose stories are intriguing and often quite amusing. His interaction with Shawn is so relaxed and natural that you feel like you’re eavesdropping on a conversation between two friends who haven’t seen each other in a long time. Director Louis Malle keeps the film moving at a brisk, efficient pace. The restaurant is elegant, but the décor doesn’t overshadow the actors. Interestingly, although the film is set in New York City, the restaurant scenes were actually filmed at the Jefferson Hotel in Richmond.
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Noreen shares this review:
America Singer lives in llea, which was once the United States, but now is a country with a caste system, a monarchy, and lots of rebel groups. Her family is in the third caste, which is not great but is also not terrible. However, an opportunity to better their lot appears when the Palace sends out a call for The Selection. Each province can send one young woman to live in the palace and vie for the honor of marrying Prince Maxon Schreave. Sound familiar? Yes, it’s the Bachelorette meeting royalty in a dystopian land. But, you want to keep reading.
America also has a secret. She is in love with Aspen, the son of a neighbor who is in a lower caste. They meet secretly at night in a tree house in America’s yard. Aspen is the sole provider for his family. He is constantly working and is always hungry. As America’s family keeps pushing her to enter the contest, Aspen seems to be withdrawing, indicating hat he has found another woman. America finally agrees to enter, and, of course, is selected.
The characters were interesting and constantly developing. Plus the descriptions of everyday life in the castle, including clothes and meals, were wonderful. The relationships among the women vying for the Prince’s hand provide humor and some intrigue.
Equally intriguing is the relationship that develops between America and Prince Maxon. She is completely up front with the prince about not wanting to win, while admitting that she’d like to stay, if only for the food and clothes. Prince Maxon is obviously interested. Enter Aspen who is now a military guard. America is caught between her feelings for Aspen and the Prince. How will it end? We need to wait for the next book.
The Selection ends with us waiting to see who America will choose and how it will work out. And I do want to know.
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ROAR! Watch out! It’s a velociraptor! Never fear – did you know that velociraptors were only as big as your family dog? Any budding paleontologist will love this fun take on dinosaurs that tells us a little more about the realities of what they looked like when they lived. Kids will read about comparisons to the modern day that really put these creatures into perspective.
Each page describes one specific dinosaur from the littlest Microraptor to the largest Argentinosaurus and everything in between. Readers will learn about how much they weighed, how big they really were and so much more. There is a great section of this book that tells the reader about the process archeologists use when they find new dinosaur bones and when they preserve them. To add to the wonderful information, there are two fold-out pages that open up to show each of the dinosaurs discussed in the book in comparison to one another and to the other present day animal comparisons. This holistic look at the end of the book ties together each of the previous pages.
Adults and children will enjoy going through this book in individual, small group or large group settings and hearing the reactions from the groups will surely be fun. Grab this book for a wonderful look at these ancient and mysterious animals.
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Zhang Yimou’s masterpiece Raise the Red Lantern opens with a young woman preparing to make a fateful decision. In 1920 China, Songlian (Gong Li), a 19-year-old university student, is forced to abandon her studies after her father’s death left the family destitute. With few options available, Songlian tearfully tells her mother that she’s decided to marry a wealthy man. When her mother advises her that as the wife of a rich man she will be little more than a concubine, Songlian stoically replies, “Let me be a concubine. Isn’t that the fate of a woman?” It’s a powerful scene staged with stunning simplicity; Songlian is shown in close-up addressing her mother, who remains off-camera. At end of her speech, tears slowly roll down her cheeks belying sadness and resignation to her fate.
Songlian becomes the fourth wife (or, as she’s referred to throughout the film, the Fourth Mistress) of Master Chen (Ma Jingwu). He lives on a vast estate with three other Mistresses and a cadre of servants. Each Mistress has her own apartment in the compound; however, like birds in a gilded cage, their life of luxury comes at a steep price: their freedom.
At first, Songlian is treated well by the Mistresses and the servants. The first night in the estate, her apartment is festooned with red lanterns, she receives an elaborate foot massage, and Master Chen comes to visit. She soon learns, however, that this treatment is the exception rather than the rule. On a daily basis, the master decides which Mistress he will spend the night with, and the Mistress he selects will choose the menu for the evening, receive the red lanterns and the foot massage, and garner the most attention and respect from the servants. This ritual has fostered an environment of fierce competition, as the Mistresses vie daily for Master Chen’s affections.
As Songlian adjusts to life as Master Chen’s Fourth Mistress, she gets to know the other women on the estate: Yuru (Jin Shuyuan), the First Mistress and the mother of Chen’s son; Zhuoyan (Cao Cuifen), the Second Mistress, described as having the face of the Buddha but the heart of a scorpion; and Meishan (He Saifei), the Third Mistress, a former opera singer. There is also Yan’er (Kong Lin), a longtime servant who dreams of becoming a Mistress herself.
Songlian is savvy enough to understand the peculiar dynamics of the Chen household and implements a few schemes of her own to curry the Master’s favor. Despite her initial success, she soon finds herself double-crossed by one of the Mistresses. When Songlian eventually discovers that another Mistress is involved in an illicit affair, she unwittingly sets into motion a series of events that threaten the fragile structure of the Chen household.
Raise the Red Lantern is a visually stunning film that uses color and cinematography to great effect. The color red is a central motif that connects the key visuals. The red of the lanterns is reflected in the reds of the cheongsams worn by Songlian and the other mistresses. The impressive architecture of Master Chen’s estate is complemented by Yimou’s use of overhead shots. The setting’s beauty stands in stark contrast to the grim fates that await the mistresses. Gong Li, whose films with Yimou include To Live and Shanghai Triad, delivers one of her finest performances as Songlian.
Raise the Red Lantern was nominated for an Academy Award for Best Foreign Language Film, and, in 2001, Yimou developed a ballet based on the film. In recent years, Yimou has directed a number of popular films, including Hero and House of Flying Daggers. Fans of Yimou’s later films may want to check out Raise the Red Lantern, one of the best films of the 1990s.
Raise the Red Lantern is in Mandarin with English subtitles.
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In many of director David Fincher’s films, there’s an aura of unease; the sense that what you’re seeing onscreen can’t be trusted and the real story is far more sinister than you’ve been led to believe. In The Game (1997), an investment banker is led down a nightmarish rabbit hole after signing up for a virtual reality game. In The Girl with the Dragon Tattoo (2011), based on Stieg Larsson’s novel, a disgraced journalist uncovers dark family secrets while investigating a mysterious disappearance. A similar sense of unease hangs over his latest film Gone Girl, a dark and haunting adaptation of Gillian Flynn’s equally dark and haunting bestselling novel.
Andrew has already reviewed Flynn’s book, so I will keep the plot description to a minimum. The film opens with Nick Dunne (Ben Affleck) heading to work at the bar he runs with his twin sister Margo (Carrie Coon). It’s Nick and his wife Amy’s (Rosamund Pike) fifth anniversary, but he’s not exactly celebrating. Once successful journalists in New York, Nick and Amy lost their jobs and moved to his hometown in Missouri to help take care of his mother, who was diagnosed with cancer. The move was difficult on a marriage that seemed, to outward appearances, perfect in every way.
Shortly after opening the bar, Nick gets a call from one of his neighbors, concerned that there may have been a disturbance at Nick’s house. Nick arrives home to find the cat outside and Amy missing. Worried, Nick calls the police, who discover ominous signs of a struggle. The subsequent investigation into Amy’s disappearance yields clues that the Dunne marriage had its secrets.
Gone Girl is a twisty and lurid tale that transfers well to film thanks to Flynn’s keen screenplay, a stellar cast, and Fincher’s savvy direction. Flynn preserves the structure of her novel, and the story is told from Nick and Amy’s points of view. The well-edited sequences are aided by great visual cues, like Amy using different colors of ink in her diary to reflect changes in the marriage.
The casting is spot-on. Ben Affleck delivers one of his best performances as a man whose attempts to be seen as the good guy often fall short of expectations. Rosamund Pike brings a cool detachment to Amy that serves her character well. The outstanding supporting performances include Tyler Perry as defense attorney Tanner Bolt, and Missi Pyle as Ellen Abbott, the outspoken host of a television crime show.
Fincher’s direction ties everything together. Gone Girl is long, but the pacing is never sluggish. He starts with the central mystery and uses flashbacks and shifts in perspective to provide the background and context. Music also plays an important role in setting the mood of Gone Girl. The score by Trent Reznor and Atticus Ross is effectively chilling and helps build tension throughout the film.
Taut and well-paced, Gone Girl is the perfect match of director, actors, and source material.
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Everyone knows the tale. A little girl adventures into the woods and finds herself in the home of three bears, but what would happen if the tables were turned? Leigh Hodgkinson has taken the traditional tale and flipped it on its head.
In this story, a lonely bear finds himself in the heart of a big city. Lost and confused, the bear goes to an apartment building and takes the elevator up to find a place to rest. The new version of the story has many parallels to the traditional one with finding a good snack, a place to sit, and a place to take a nap. However, there is a surprising twist at the end that will have readers smiling. Hodgkinson has tied the old and new together in a seamless way.
This story is perfect for group story time for children in lower elementary school or any lovers of the original Goldilocks and the Three Bears. It would also be a great partner book for the original story and could be read as a sequel. This version has modern and colorful illustrations that make reading the story even more entertaining. Children will love to look at the details of the book and see what happens to the bear on each page.
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Rachael shares this review:
As a longtime fan of Mary Wollstonecraft Shelley’s Frankenstein, I picked this up as soon as I saw the subtitle. The book is told in free verse — but don’t be thrown if you are not a poetry lover – from Mary’s perspective about her young life from age 14 through her early 20’s, during which she ran away with the charismatic poet Percy Bysse Shelley to travel Europe with his coterie of fellow intellectuals and artists, and she wrote Frankenstein, before she was even 20 years old .
I fear this book won’t be very popular for those not inclined to pick up historical fiction, poetry, or the gothic classic, Frankenstein, but it is full of romance, scandal, and adventure in a format that doesn’t keep you waiting. The brief but dense poetic format offers one scandalous tidbit after another, and the title of each of the poems/entries make it easy to flip back to earlier moments in the story or character introductions. I would almost call this a celebrity gossip special, 19th century style, if it also weren’t so beautifully written, and didn’t so carefully explore Mary’s joys and struggles as a young woman who is intellectually voracious, determined to write, and in love with an inspiring yet unstable man (did someone say “bad boy?”)
I think young women will be able to relate to Mary’s growth as a young woman, as a writer, and in her relationships with others and the world; her strength and frequent acts of informed fearlessness also make her a character to admire. Hemphill’s choice to write this book about Mary’s formative years as a writer has offered the additional benefit of making her relatable by exploring the often raw and complicated formative years of young adulthood, and the strength and genius that is possible from them.
Although this book seems limited to the historical fiction and YA genres, it has much wider appeal characteristics. Teens who gravitate toward gothic and/or historical drama will find this an interesting and fast read, as will anyone who enjoys celebrity drama and scandal without a lot of excess prose. This also offers appeal to both teens and adults that appreciate YA realistic fiction about the struggles and revelations of young adulthood. Young women will also admire Mary’s self-determination, even though Mary’s love affair with Shelley may be questioned by today’s higher standards for the marital and gender equality in relationships. Adult fans of Philippa Gregory and 19th century English literature will enjoy this, as well as literature buffs who may enjoy the insight that this biographical fiction may offer into readings of Mary’s written work (I couldn’t help but constantly compare the monster/creator relationship in Frankenstein to the strained relationship between Mary and her adored yet rejecting father).
This book was interesting, packed with drama, and nicely written. I will share that there is a character list at the end of the book that may be helpful as one needs refreshing about the large cast of characters that populate the story. Enjoy this on a rainy day.
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Every year, parents of students at suburban Australia’s Pirriwee Public School look forward to Trivia Night. The combination costume party and trivia competition is a major fundraiser and the highlight of the school’s active social scene. The competition’s theme pays homage to Elvis Presley and Audrey Hepburn; however, Trivia Night will be anything but routine this year. A late caterer, unusually potent cocktails, a rain storm, and simmering tensions among parents result in a riot and an accidental death that might really be a murder. What events could plunge an ordinary parents’ night into chaos? Liane Moriarty explores this question in her latest novel, Big Little Lies.
Everything begins rather innocently when Madeline Martha Mackenzie meets Jane Chapman, a young single mother and newcomer to Pirriwee. Both women have children starting kindergarten: Madeline’s daughter Chloe and Jane’s son Ziggy. They spend the afternoon together, and Madeline introduces Jane to Tom, the proprietor of a café called Blue Blues, and Celeste White, mother of twin sons named Max and Josh. The women bond over coffee then spend the morning at their children’s kindergarten orientation.
At first, the orientation is routine; the parents socialize while the children meet their teachers and classmates. Towards the end of the orientation, an event occurs that divides the parents and teachers, and puts Ziggy and Jane in the middle of a controversy. Amabella, the daughter of a wealthy and powerful woman named Renata Klein, accuses Ziggy of bullying her during the orientation. Ziggy denies Amabella’s accusation, and Jane and her new friends believe him, although Renata and her supporters start a petition to get Ziggy suspended from the school.
Although Jane supports her son, a secret about his father causes her to question what she knows about her son and the incident. She is not the only one with an emotionally fraught personal life.
Madeline enjoys a comfortable life with her second husband, Ed; their children, Chloe and Fred; and her teenage daughter, Abigail. However, her former husband, Nathan, has moved to Pirriwee with his new wife, Bonnie, and their daughter, Skye, who is in the same class as Chloe. Not only does Madeline have to face Nathan and his new family at school functions, but Abigail has formed a close bond with Bonnie that threatens Abigail’s relationship with Madeline.
To the casual observer, Celeste’s life with her husband, Perry, and the twins is perfect in every way; however, a dark truth lies at the heart of this seemingly charmed family.
As the school year goes on, Madeline, Jane, and Celeste balance their complicated family lives with school projects, gossip, and rivalries. The parents of Pirriwee Public School are taking sides and forming alliances, setting the stage for a fundraiser that ends in disaster.
Big Little Lies starts out as a light and frothy read about mothers navigating the tricky social dynamics at their children’s school, but it turns into a provocative exploration of the effects of bullying and domestic violence. Moriarty makes it known early in the novel that a death will occur at Trivia Night, and the clues she plants along the way heighten the effect of the events at the fundraiser.
The story primarily centers on Jane, Madeline, and Celeste and their families; however, an entertaining – but frequently unreliable – Greek chorus of fellow parents and investigators provide additional depth and context to the story.
With a large cast of characters and a nuanced narrative, Big Little Lies is a fast-paced novel that’s a quirky mix of Desperate Housewives and David Lynch’s seminal show Twin Peaks.
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His journey begins with a trip to his local library to return two books: How to Build a Submarine and Memoirs of a Shepherd. He tells the librarian that he’s also looking for some books, and she directs him to Room 107, located in the library’s basement. When he reaches Room 107, he encounters a cantankerous old man sitting behind a desk. He impulsively tells the older man that he’s looking for books on tax collection in the Ottoman Empire, and he’s presented with three books: The Ottoman Tax System, The Diary of an Ottoman Tax Collector, and Tax Revolts and their Suppression in the Ottoman-Turkish Empire.
The boy plans to check out the books and leave the library as quickly as possible; however, he’s told that the books can only be read in the library. He’s travels down another corridor, where he meets a man wearing what appears to be sheepskin. The sheep man takes the boy to the Reading Room and the boy gets another surprise: the Reading Room is a jail cell. The old man locks him in the cell and tells him that he must spend the next month memorizing the content of the books. At the end of the month, the man will question him about the books. If the man decides that the boy has mastered the content, he will set him free.
Later that evening, the boy receives another mysterious visitor: a mute girl who brings him a gourmet dinner. Communicating through hand gestures, the girl tells him that her vocal chords were destroyed. After she leaves, he finishes the dinner and starts reading The Diary of an Ottoman Tax Collector.
The Strange Library has many elements familiar to readers of Murakami’s work: quirky characters, surreal settings, and sense of melancholy or impending loss. Murakami’s characters in this novel are nameless except for the ones mentioned in The Diary of an Ottoman Tax Collector. This approach is very effective; the boy is an ordinary boy whose seemingly routine trip to the local city library takes an unusual and ominous turn.
The lavish color illustrations highlight the surreal nature of the narrative, and the repetitive images, including birds, eyes, and insects, reinforce the unusual nature of the boy’s journey and the people he encounters along the way.
Haunting and poignant, The Strange Library is a quick read compared to many of Murakami’s works, but the engaging prose and fantastic illustrations may inspire readers to make return trips to Room 107.
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Everyone makes mistakes. Kate Banks and Boris Kulikov have created a wonderful tale about how to turn mistakes into learning experiences and even see that mistakes we are afraid to make can be just what we need.
The Eraserheads features three unlikely friends, a crocodile, an owl, and a pig, who are all erasers. These three each have their special skills. One helps a little boy with his math, another with words and letters, and the last one with anything not involving big animals. They catch his mistakes and help him to correct them. One day, the little boy drew a picture of a road but ran out of space. Crocodile decided to help and began to erase to make more space, but Crocodile accidentally erases the whole picture and the three friends are stranded on a blank paper with nowhere to go. The little boy draws them into other adventures with giant waves, tropical islands, and exotic animals. Soon the animals are stuck in a precarious situation and they have to work together to find a solution. Ultimately, they accomplish their goal and make it back home to the tops of their pencils and are ready to help the boy again with more confidence than before.
This story is a beautifully illustrated book that would be best for lower elementary students. Students will be able to creatively think about the adventure the characters go on and gain the most from the moral of the story. Young students will be able to draw parallels to some mistakes they have made and see that mistakes are part of the learning process. Read this during one-on-one reading time or group story time. For a more interactive experience, encourage the children to come up with new adventures for the characters.
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The Giver is a very interesting book, and is unlike what I have ever read before. It showed how being the same as everyone else is a bad thing, not a good thing. It teaches people how to copy others, but to be themselves.
The book starts out in a community where everything is the same. Jobs, families, and houses are all assigned. Joys and tragedies, such as snow, war, or sunsets, were all taken away. The only person who even knows of such things is known as the Receiver of the memory. Eventually, as the Receiver grows older, he will die, just like anyone else. The people cannot lose the memories, so they must transfer them to someone else.
A boy named Jonas is selected to become the new Receiver. As Jonas learns more and more about the past and how things used to be, he begins to want to be like that now. While Jonas was pondering about what to do, he stumbles upon a book about the art of Receiving. Jonas learns that if he, as a Receiver, crosses the border into another community, the memories will return to the people living in his community. In the middle of the night, Jonas leaves his community and runs away. The government tries to find him and stop him, but it was too late, he had gotten too far away.
I would definitely recommend this book.
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Jan shares this review:
As the main character, Jody says near the beginning, “The upside of being a military kid was that you got to see a lot of cool places. The downside was that every time you made a friend, you had to move away.” And her friend Vivian adds, “My mother thinks I’m having this great international experience, but changing schools all the time is just the same horrible experience over and over.”
Jody and her two friends Giselle and Vivian live on an American Army base in Berlin in 1990, shortly after the fall of the Berlin Wall. They are brought together by their love of music and they travel by train each week to music lessons in East Germany with Herr Muller. They are scheduled to attend a music competition in Paris and they all know it will be their last time to perform together as they are all moving away. On their way home from a music lesson they witness an attempted murder and the adventure begins, sending them across international borders as they desperately try to save the life of a young man.
Without their musical connection the three would not have been friends at all, as Giselle’s father is a general and the base commander, while Jody’s father is enlisted. Jody feels she can’t invite the general’s daughter over as even the adults in the enlisted housing area wouldn’t like it. Of course, parents’ ranks shouldn’t make a difference to the children, but this book accurately reflects that they do.
Second Fiddle is an exciting adventure that sneaks in some history about the fall of the Berlin Wall and the Cold War. Try it if you are interested in the military lifestyle and the people who lead it. It will be a great start for conversations.
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The brash T-Rex in this imaginative story will be a big hit with story time listeners. He talks directly to the audience throughout, boasting of his powerful physique and hunting prowess, but his attempts to hunt fail again and again. The illustrations provide a clue as to the reason for this, which parents are more likely to pick up on than children: his two front teeth are too big for his mouth. Yes, this dinosaur is about seven years old, in T-Rex years. The full-bleed illustrations are done in bold strokes and psychedelic colors, and the text is laid out in an endless variety of configurations and colors. Another book with a child narrator who addresses the audience to charming effect is Juster’s Hello, Goodbye Window. The McMullans, who jointly wrote and illustrated the book, have done a series of books with unusual narrators, most of whom are vehicles: I Stink! stars a garbage truck; I’m Dirty! is about a backhoe loader; and the forthcoming I’m Brave! is told by a fire truck.
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There’s a little bit of the voyeur in all of us. Admit it, when you walk by someone’s house, especially at night, you glance up to the window in case someone walks in front of it. You glance over at the car next to you to see if the driver’s picking his nose. You listen, even if accidentally, to those one-sided cell phone conversations. And, if you’re like Rachel Watson, you look for the beautiful couple living in the house beside the tracks every day, and wish for their golden lives.
Rachel herself is a mess. The ride home from London is occupied by a cold, canned (blecch!) gin and tonic, the night in her rented bedroom passed with a bottle or two of wine, and the commute back with a hangover. In the aftermath of a bitter divorce, broke, drinking to the point of blackout, it’s no wonder Rachel projects her desire for a better life onto the couple she names Jess and Jason. Until one day when she sees Jess kissing a stranger in the garden. And Jess, that is to say Megan Hipwell, goes missing, so Rachel feels compelled to interject herself into the investigation.
That’s not the only place Rachel makes herself an intruder. Truth is, Rachel’s old house, where her ex and his new wife and their baby live, is only a couple of doors down from the Hipwells (Scott is the husband). Rachel spends far too much time–some of it drunk–hanging around the neighborhood, and second wife Anna Watson is first creeped out, then downright angry. Could Rachel’s hanging around, even getting close to Scott, have anything to do with Megan’s disappearance?
The story is split among three first person narrators: Rachel, who has the lion’s share, Anna, and Megan herself. Megan’s story is basically a flashback, gradually revealing to the reader what was happening in her life in the year before her disappearance. Rachel and Anna split the narrative for the present day, and their mutually hostile attitudes color the reader’s take on the story. Is Rachel the dangerous alcoholic Anna believes her to be? Is Anna the manipulative mistress who destroyed Rachel’s marriage and put her on the downward spiral?
That conflict–to which Megan’s life and disappearance provide a backdrop–is the principle mover to the story, and someone looking for a fast-moving mystery is bound to be disappointed. Nor are the revelations as shocking as those in Gone Girl, which the publisher compares it to. That doesn’t mean that it slacks off, only that the pacing is more a slow build-up to one explosion rather than a string of firecrackers.
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It doesn’t seem like you’d find romance, emotional conflict, and a profound cultural shift in a grease-filled garage, but Wayne Harrison has found a way to do it–and for some reason that setting gives the themes a lot of punch. I mean, who would expect that guys who spend their lives elbow-deep in transmissions, radiators, and carburetors would live deeply-felt lives?
Harrison’s story centers on Nick Campbell’s Out of the Hole garage, where legendary mechanic Nick has taken on 17-year old Justin as a Vo-Ag intern. Over the course of a summer, Justin practices diagnosing and repairing the good old cars with names like Barracuda, Chevelle, Challenger, Firebird, GTO. Those cars could be completely disassembled, re-engineered and rebuilt to burn the rubber off the fat racing tires. Think Greased Lightning or just about any Springsteen car. And Nick is a master, even written up in Road Rage magazine for his seemingly encyclopedic knowledge of just what it takes to milk that last bit of torque to create the unconquerable street car.
Nick is married to Mary Ann, a beautiful, intelligent woman who runs the business end of the shop, and with whom Justin inevitably falls in love. Even after his apprenticeship is up, Justin flees his unwelcoming school for the camaraderie of the shop, and eventually takes a job there. Old-timer Ray, Bobby the ex-con, Nick and Mary Ann are the friends and uncomplicated family Justin needs. But Nick and Mary Ann suffered a tragedy while he was gone, and it’s having an effect on the shop–Nick’s work is getting dangerously shoddy and he and Mary Ann are barely talking. Mary Ann turns to Justin for comfort, which turns into a sexual relationship. Now 19, Justin sees a perfect future in which he takes Mary Ann for himself. There’s one problem: Nick.
Justin still regards Nick as a mentor, a combination father figure, brother, and teacher. And the opportunity to work on Nick’s latest project, restoring and racing a Corvette ZL-1, one of two in existence, is irresistible. The owner also has a big dream to build a chain of shops specializing in customizing those big engines. See, the future is here. The EPA’s new emissions restrictions essentially require computerized controls, and those can’t be diagnosed by guys listening to spark plugs and tasting the gasoline. Plus they make the cars wimpy–no more living and dying on the line for cash or pink slips with the new generation.
Harrison pulls off both sides of the story with seeming ease. The world of cams and quarter-mile racing opens up even to the most auto-phobic, and the interaction between the characters is natural enough to touch the heart of any gearhead. As those worlds head towards collision, neither set of readers will be able to ignore the power of the writing.
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In this corner, weighing in at three pounds, with a chemical punch that rules the body is The Brain! And in this corner, managed by clueless trainers and sycophantic followers, is Everything Else! It’s the eternal match-up of Nature vs. Nurture! Tonight’s referee is Herman Koch, but there are no rules about punching below the belt, no timekeepers, and judges who can’t score the bout until it’s way too late. Ding!
OK, that’s a poor imitation of the ongoing boxing match between those who say criminals are born and those who say they are made. As a story, The Dinner is more like a tag-team wrestling event with a fundamental questions at its heart: Does a parent’s love encompass protecting their children from the consequences of their deeds?
Herman Koch has structured his approach to the question as the progressive courses of a dinner (hence the title) between two brothers and their wives. Paul, the narrator, is a teacher; his brother Serge a politician cruising to the top of Dutch political life. We see everything through Paul’s eyes, beginning with the bitter aperitif of Paul’s loathing for his pretentious brother and ending with a horrific after-dinner drink at a nearby pub. This single viewpoint frequently breaks the action up as individuals and pairs leave the table for private conversations we aren’t privy to, or we follow along as Paul does things the others don’t know about.
Over the course of the evening we learn that Paul’s son Michel and Serge’s son Rick were involved in a terrible crime. Paul recognized the boys from security footage, but the police and public haven’t, and every day brings new and more strident calls that the criminals be brought to justice. Does Paul have the courage to confront his son, to tell his wife, brother, and sister-in-law, to expose the boys and ruin both families? And does Paul’s bitterness have roots in a deeper conflict?
Koch has successfully incorporated the technology that has rendered so much other fiction out-of-date. Swapped cell phones, stolen emails, YouTube videos, and deleted voice mails all play a significant role in bringing the conflict into the open, and in offering a solution to the dilemma. But at its core, this is a story about people, ethics, and that old battle of Nature vs. Nurture. That one’s not going away any time soon.
Check the WRL catalog for The Dinner
(Coming in Summer 2015 as a Gab Bag – I’ll post that as soon as it’s up)
Rafe had just started middle school and had decided to make it a great year. He wanted to fit in with the cool kids, unlike in the previous years. In order to do so, Rafe decides to break some rules. He pulls the fire alarm, sells gum to other students, and he even decides to run around the school without any clothes on! The school’s administration becomes fed up with it and decides to expel him for the rest of the year. At first, Rafe was excited for a break from school until he found out that he was required to go to summer school.
To find out what happens next, you have to read the second book, Middle School – Get Me out of Here. I enjoyed reading this book because it shows how most middle school students act, while keeping it comedic.
I would recommend this book to all middle school students, especially those who enjoy reading comedies.
Check the WRL catalog for Middle School. The Worst Years of My Life
Check the WRL catalog for the audiobook of Middle School. The Worst Years of My Life
Lily Brown’s love of her world infuses her paintings. She paints things she knows, like fruit at the corner market and stars in the sky. But she also changes them, so the fruit laughs and sings and stars “come down to earth to hang around in sidewalk cafes and shine when the sun goes down.” And when she changes them, she makes new worlds. Her love of her family always brings her back to their world at the end of the day. The vibrant, full-bleed watercolor illustrations combine impressionistic but mature pictures of Lily Brown with the images from her own paintings. Pair this with The Hello, Goodbye Window to focus on children’s self-expression at story time. Invite the children to paint their families and favorite things during craft time. The author is perhaps best known for her young adult novel The First Part Last, which won the Michael L. Printz Award, the highest honor for young adult literature. The illustrator, E.B. Lewis, has won numerous Coretta Scott King awards and honors.
Check the WRL catalog for Lily Brown’s Paintings.
There’s nothing so tempting to readers as the opportunity to rewrite the books they enjoy. (Even though sometimes it leads to chaos.) And how meta is it for fictional authors to give happy endings to “flawed classics?” At their best, authors exploring fictional characters from different points of view–villains reconsidered, offstage characters allowed their own voices, principal characters followed beyond the ends of the original story–increase the reader’s understanding and pleasure in the original book.
If that’s what you’re after, don’t pick up Alias Hook. If you’re interested in a story that recasts the hero in an awful light and turns the two-dimensional villain into a grievously abused victim with a tiny chance at redemption, Alias Hook is a terrific place to go.
Gifted with magic and music, leader of boys who don’t want to grow up, recruiter of girls who take all responsibility until they ask too much, what character better represents eternal boyhood than Peter Pan? At least that’s the Pan that Hook cannot escape, despite trying for 300 years. This Pan is competitive, but only on his own rules, (which include keeping Hook alive while allowing the Lost Boys to kill his crew), controlling the environment to his own advantage, and of course ruling the Indians and mermaids that live in Neverland at his pleasure.
Granted, Hook is not that nice a guy–the spoiled rich son of a merchant, he became a privateer in the 1680’s and was imprisoned as a pirate by the French enemy. Released into the poverty and bitterness, his hatred took him on a path that led him to Neverland. He still dresses as the Restoration dandy he was, but underneath all that lace and rich cloth, he longs for redemption and an end to his captivity. With the arrival of Stella Parrish–a WOMAN! in NEVERLAND!–he may just achieve that.
Jensen leads us on a trip through Neverland, including the land of the fairies, the Indian village, and the mysterious path leading to the beautiful loreleis who lure unwary sailors to their death. In each, she shows us a rich and mythical place where wisdom and adulthood are held at bay by the mercurial boy. It is plain early on that Hook (and just how did he lose that hand?) must forge his own destiny and find a way to escape Pan’s world; but how? The answer is as simple and as mythical as it is emotionally rewarding.
Check the WRL catalog for Alias Hook
Jessica shares this review:
Frank Ross, a fair-minded farmer living in Arkansas in the 1870s, tries to intervene when a barroom fight breaks out one day in Fort Smith. One of the fighters, Ross’s own farmhand Tom Chaney, takes the opportunity to kill and rob the farmer. Chaney then flees on horseback to Indian Territory.
Ross’s fourteen-year-old daughter Mattie is angry. She is beyond angry. She wants blood and she wants justice. She is going to hunt down the man what done kilt her pa.
Mattie is not stupid. She is stubborn, impatient, and unforgiving, but she is not stupid. She knows she can’t go blazing off into the frontier without help, so she goes in search of a man with enough grit to get the job done. The man who matches that description is the one-eyed Rooster Cogburn, technically on the side of the law– he is a U.S. marshal– but of very questionable repute. You don’t kill twenty-three men in four years without getting some rough edges.
Slightly more respectable is a Texas Ranger named LaBoeuf, who has his own reasons for tracking Tom Chaney, but Mattie doesn’t want him interfering with her search– and LaBoeuf doesn’t want a teenaged girl interfering with his search. It is under a very uneasy truce that the girl, the ranger, and the marshal agree to pursue the outlaw together.
If you’ve seen the John Wayne movie adaptation (1969) or the Coen brothers adaptation (2010), you know what’s coming: adventure, and lots of it. There are bandits. There are fight scenes. There are more fight scenes. There are galloping horses and perilous injuries and there are snakes, lots and lots of snakes, all conveniently gathered into the pit that Mattie falls into.
I have no idea if True Grit is typical of its genre– I’ve never read another Western except for Brokeback Mountain, which probably doesn’t count– but you don’t have to be a fan of Westerns to like it. It’s an easy and fast read with tons of action. There is a lot of subtle humor that comes by way of Mattie’s contrary disposition and her colorful idioms. Children and squeamish readers would find the violence to be too intense, but it’s a great read for teenagers and adults who love a good story and who aren’t bothered by a few rattlesnakes.