Have you ever wished you could talk to your pet? I mean, you spend so much time with the little fur balls, why wouldn’t you? They can sense when you’re sad, and they comfort you with their cuddles and love. They greet you when you come home and wag their tails to communicate their excitement. It seems entirely unfair that they can’t whisper they love you and that everything’s going to be OK and that we can’t reciprocate how much they mean to us too.
Speaking with our pets is the main conduit through which author Carolyn Parkhurst tells a heartbreaking story in The Dogs of Babel. In the beginning, you think it’s just about a man trying to communicate with his dog. It seems a little crazy, but is it really the worst idea? Soon a story about grief, loneliness, mental health, and internal struggle unfolds. Just like our pets, sometimes words evade us, and it’s impossible to convey how we really feel.
With special guests Lucky (left) and Snowy.
One of my New Year’s resolutions was to read more thrillers, and I’m making good on that promise. In fact, three of the last four books, including my most recent, could fall into this category. I love a good thriller or mystery because of how they intensify your emotions and captivate you. My Husband’s Wife had all of those elements. I finished the book in a week — though I admit I started reading it a few months ago but put it on hold for another attention-grabber. Once I started again, I experienced more than one night when I would tell myself “one more chapter” about five times. It kept me on my toes with its twists and turns and heightened my senses.
You’re probably wondering why, if this was a book I couldn’t put down, I only assigned it three flames? I know, that sounds like four- or five-flame material. Although I mostly enjoyed reading this book, it had a few head-scratching qualities that brought down its overall rating. If you’re looking for a quick, mysterious read, this is a solid book. Sometimes that’s exactly what we want, especially during the summer. But if you’re looking for that plus some brilliant writing and stunning plots from start to finish, you might want to keep searching.
I try to title every review after a pop culture reference — usually song lyrics — some of which are more obvious than others. The minute I finished Where the Crawdads Sing I knew I’d be choosing a song by one of two badass women: Martina McBride or Carrie Underwood. Both women are known for singing songs about wronged women who are often misunderstood and who take control of their destiny. Main character Kya Clark, aka the “Marsh Girl,” would be the perfect muse for a McBride or Underwood hit.
The Marsh Girl is the epitome of what happens when judgment innate in humans runs rampant. Author Delia Owens captures this societal flaw beautifully in her story that is still sitting pretty on the New York Times best seller list. That’s 38 weeks, people. Not too shabby. It’s easy to understand why when you read the lyrical ways Owens describes nature, specifically the marsh; the plight of a young girl who only ever yearned for some company; and how our judgments really could ruin someone’s life. Owens captures it all in this coming-of-age meets whodunit tale.
When bright-eyed 18-year-old me started journalism school in 2010, I had zero idea of what kind of magazine journalist I wanted to be. I never really envisioned what writing for a magazine actually looked like. It could have been sports, travel, or anything, though for the world’s sake, probably not makeup or fashion; it didn’t matter as long as I was writing.
Then I took my advanced writing capstone with a truly talented professor and writer (thanks for everything, Dr. Hinnant!), and I realized my future belonged to long-form, which I didn’t even know was a thing until the first day of that class. I became enthralled by the works of Jennifer Gonnerman, Tom Junod, Anne Fadiman, and Robert Sanchez (#humblebrag: I actually interned at the same magazine as the latter). I didn’t just admire them; I wanted to be them.
OK fast forward six years, and that clearly didn’t happen. I’ve never forgotten the impact it had — and still continues to have — on my life though. I still love reading long-form and still appreciate all the time and effort that goes into turning real-life events into the most-fascinating stories about the human experience. It’s why I can now add one more name to that list above: Truman Capote.
In Cold Blood sits on a certain pedestal and rightfully so. Capote clearly defines everything I love about long-form in this book: the details, the emotions, the power to force us into uncomfortable but necessary gray areas, and *swoon* the storytelling. His craft is unmatched, and it’s no wonder that this book is often considered quintessential long-form journalism — even if its journalistic integrity has been called into question a time or two.
Source: Kyle Magee.
…The creepy glass dwelling made someone crazy. Or maybe it was the mysterious past. Or the obsessive friendship. Or the sizzling sense of humor. Or the self-obsession. Or maybe even the unknown. Whatever it was, someone snapped in the middle of nowhere U.K., putting both the characters in this high-intensity novel, as well as its readers, on edge.
It’s no secret that the success of a mystery novel is its page-turning quality. You know the kind: the ones where your heart is practically beating out of your chest, and you know the feeling won’t subside until you reach the final page. Well, In a Dark, Dark Wood hits the mark with the hows and whys, and not to mention the where, becoming just as important as the who done what.
The Oscars has one particular thing in common with the movies it rewards: takes way too long to reach the climax. I never really thought about it until this past February when, while watching the Academy Awards together, my friend Dana told me that one reason she thoroughly enjoyed Best Picture nominee Hell or High Water was because of the film editing. It didn’t consume three hours of her time for the sake of being an award-winning movie. This brings me to The Oscars Effect: when a movie knows it has the Oscar caliber so it must be ridiculously long and/or take an inordinate amount of time to climax.
As much as I love Liane Moriarty (the woman inspired the name of this blog after all), her 2016 novel, Truly Madly Guilty, falls victim to the Oscars Effect. The novel focuses on supposedly best friends, Clementine and Erica, whose friendship could be a story in and of itself. In addition to their troubled relationship, both women face complications in their marriages and careers and with their parents, children, and neighbors. These complications drive the back stories behind the main plot. In Truly Madly Guilty, a friendly barbecue among neighbors and friends turns life-changing after one accident. Sounds interesting enough except I don’t learn what this earth-shattering, tragic or nontragic, adulterous or PG-rated calamity is until two-thirds of the way through.