The Girl of Fire and Thorns
by Rae Carson
2011 • 423 pages • Greenwillow Books
Previously, on the Literary Omnivore, I asked where God and organized religion was in speculative fiction. (Okay, I asked “Where is the God in fantasy”, but tomato, tohmato.) When speculative fiction deals with gods and goddesses, it often does so in objective terms—one cannot dispute the existence of the Valar, for instance, in Middle-Earth. But Throne of the Crescent Moon shows characters actively struggling with and practicing their faith in a world where the divine is not objective, and it gave me a taste for more. But where to start?
Book blogger Samantha of A Musical Feast came to my rescue with a recommendation of The Girl of Fire and Thorns. I’ve known of Rae Carson’s The Girl of Fire and Thorns trilogy for a while, in that I used to spend many a shift at the bookstore in the young adult nook and they were in there. They looked like young adult fantasy (which is no slam, but just rarely distinctive enough to grab me), which is why it took Samantha mentioning that it’s actively based on medieval Spain and Spanish Catholicism for me to put it on hold at the library.
It has been such a long week, kittens. On the plus side, I have discovered that at least two make fancy high-waisted pants with elastic waistbands, so I can look fancy AND be very comfortable.
At Lady Business, Renay and I continue our Adventures in Xena with “Giant Killer,” and I contributed some Fanwork Recs for the week.
Star Wars: Darth Vader: Volume 1
by Kieron Gillen, Salvador Larocca, and Edgar Delgado
2015 • 160 pages • Marvel
It’s embarrassing, but I’ll admit it—I wanted to read Star Wars: Darth Vader because I thought Kieron Gillen wrote “Thank the Maker.” If you’re unfamiliar with “Thank the Maker,” it is actually a 2000 Star Wars comic written by Ryder Windham about Darth Vader encountering C-3PO during The Empire Strikes Back. Vader flashes back to rebuilding C-3PO as a child, defending droid rights to his mother as she tells him that creating a droid is a big responsibility. I was so touched by Vader feeling actual pain over how far they’ve traveled from that point in time that I immediately determined to read… Star Wars: Darth Vader.
In my defense, I knew Gillen was writing a Darth Vader title when I saw a few pages of “Thank the Maker,” so the two naturally conflated in my mind.
In a way, though, Star Wars: Darth Vader answers the same question as “Thank the Maker”: how do you square Darth Vader and Anakin Skywalker in light of the prequels in a meaningful way? And I don’t mean that in a joking way at all. I’m watching Star Wars: The Clone Wars while I get ready for work in the morning (this is how I watch any and all half-hour programs), and I’ve been very much enjoying how the show tries to balance Anakin’s character and bridge the gap between Jedi hero and Sith villain. He’s heroic, dashing, and loyal, but he’s also possessive, violent, and impulsive.
Kieron Gillen, naturally, has a very good answer to this question, which is Star Wars: Darth Vader. Continue reading
The Huntsman: Winter’s War
based on characters by Evan Daugherty based on “Snow White” by the Brothers Grimm
2016 • 114 minutes • Universal Pictures
The last movie I saw in theaters was Batman V. Superman: Grimdark Grimdark Grimdark, a movie that will make you lose your faith in humanity, let alone cinema. (And, I might add, actively seeks to do so.) I had to go home, eat cake, and watch Star Wars: The Force Awakens to recover. I couldn’t walk past a comic book store for days without repressing the urge to flail screaming through it like my own personal marketplace scene. I’m starting to wonder if my neutral response to the fact that Captain America: Civil War is coming out in just a few weeks, a movie I already have a ticket to see, might not be a side effect of that experience.
After that, any cinema experience looks miles better in comparison. I left The Huntsman: Winter’s War practically glowing. Movies can be just mediocre! Oh happy day!
Yesterday truly felt like the first day of spring. I got up early enough to go out into the world and everybody I interacted with was cheerful! And happy! The weather was beautiful! I ate my favorite sandwich in the world! I went to go see The Huntsman: Winter’s War! It was perfectly serviceable! Solid, solid day.
Madonna: Truth or Dare
1991 • 122 minutes • Miramax Films
Of my problematic faves, Madonna is probably one of the most high-profile. I’m not sure when I fell for Madonna. I know when I first became aware of her—the morning after the 2003 MTV Music Awards, during which she kissed both Britney Spears and Christina Aguilera during a performance of “Hollywood” staged as homage to her twenty year old performance of “Like a Virgin” at the inaugural MTV Music Awards. What was edgy then (well, edgy to a bus full of middle schoolers in Georgia in the early aughts) is now obvious as queerbaiting.
That’s the problem with provocation for the sake of provocation—it doesn’t age well. See how I recoiled from Madonna’s early nineties ouvre when I finally sat down and plowed through her discography a few years ago. But Madonna has never been just provocation. I enjoy her songwriting, her inventiveness, her willingness to explore, and her ability to stay relevant through sheer willpower. I like strong-minded women, who could have possibly guessed. Nonetheless, as much as I’ve been enjoying her recent work, I have been fixated of late on Madonna’s first incarnation: the club kid captured in Desperately Seeking Susan.
The Book of Margery Kempe
translated by John Skinner
1999 • 343 pages • Book-of-the-Month Club
I am as frankly surprised as you are that my reading has taken on a religious bent these past two weeks. I threw The Girl of Fire and Thorns into my bag yesterday morning, and only remembered once I started it that I had wanted to read it because it was the rare fantasy novel that actively deals with faith. (Verdict so far: yes, good, continue.) I’ve suddenly become dissatisfied with everything I currently have out of the library, so we’ll see if this trend keeps up when I refresh my selections. (I imagine it won’t, because I have Kieron Gillen’s Darth Vader on hold and cannot wait to read it.)
But I originally wanted to read The Book of Margery Kempe because it’s often considered the first autobiography written in English (and by a woman!). Although, of course, autobiography wasn’t really a genre in the fifteenth century—it’s more accurately an autohagiography. Still, it offers particular insight into the life of a middle-class laywoman in medieval England, as Kempe experienced her call to Christ after the birth of her first child.
At last, spring seems to have sprung. I went tip-toeing through the tulips raging about Batman V. Superman: Grimdark Grimdark Grimdark yesterday, which was delightful.
Renay and I continue our Adventures in Xena with “Remember Nothing.”
2005 • 368 pages • Counterpoint
Ever since I watched Jesus Camp as a teenager, church camp has kind of spooked me. And I don’t mean regular, normal church camp. (I assume regular, normal church camp is pretty chill. I would have no idea, as Madame didn’t want me growing up Catholic and ashamed of my everything, but never settled on an alternative beyond “let the poor kid sleep in.”) I mean the camps bordering on indoctrination, the “pray away the gay” camps, the ones that feel like they’re preying on children. I just can’t understand why anyone would put their child through that.
This morbid fascination is why I alighted on Julia Scheeres’ similarly titled Jesus Land, a memoir of her and her brother’s time at Escuela Caribe, a “Christian boot camp” that’s a cross between those camps and the kind of camps that kidnap kids in the middle of the night to “straighten them out.” (These are real and they are horrifying.) It’s been on the Behemoth long enough that I no longer recall who recommended it to me, just that I came across in the little Carnegie library I used to live across from in Denver long afterwards. (Man. I used to live in Denver. Wild.)
Batman V. Superman: Dawn of Justice
based on characters published by DC Comics
2016 • 151 minutes • Warner Bros. Pictures
There is no way to prepare for the horror show that is Batman V. Superman: Dawn of Justice.
I thought I was prepared. I had read every negative review, starting with Helen O’Hara’s. I spoiled myself silly, starting with the first episode of Overinvested. I took every measure to gird my loins, in the hopes of yielding the finest bad movie schadenfreude of the year, possibly even the decade.
But there’s no way to be prepared for the nihilistic slog of this film. As I told Captain Cinema upon exiting the theater, I felt like I had gone through childbirth without the reward of having had a child. We had to go home and watch Star Wars: The Force Awakens just to remember the taste of strawberries, as the saying goes. (That and a heaping helping of tiramisu definitely helped.)
Before I get into spoiler territory, because I am going to get into spoiler territory, here is the simplest and easiest way to know if Batman V. Superman: Dawn of Justice is for you. This is a film where the audience is honestly surprised when Batman threatens to throat-punch a villain with a sizzling Batbrand and doesn’t. If that level of violence and character assassination appeals to you, congratulations, please enjoy all of Zack Snyder’s cinematic oeuvre.