Detective Story is an hour and forty-three minute film noir and police procedural released in 1951 starring Kirk Douglas that was adapted from the play by the same name by Sidney Kingsley. Set during one eight-hour shift entirely in a New York City precinct, the story centers around one detective and the random and oftentimes unruly characters that are arrested in that timeframe.

Kirk Douglas stars as Detective James McLeod, an officer of the law who grants no wiggle room and never lives in the gray area; it is either against the law or it is not. A man of complete principle with his beautiful new wife, McLeod is at the top of his game in all areas, and one shift isn't going to get in his way, no matter what happens.

But along the way in that one shift, life dramatically  and surprisingly changes, for all characters. It's about a solid 55 minutes before the quiet pace picks up and you start to see which direction the story will take, how the characters develop and become more than surface of the stereotypical cops, criminals and 1950s housewives, but it's a movement which is sensible and clearly defined, one that matches the personality and vision of the main character and overall story. There is the young woman who is nabbed for lifting a pocketbook from a department store, the young businessman who embezzles, and you can't be a police story in New York without an arrest of a low-life mobster, Charlie Gennini. Combined with the gruff cops, everyone is just trying to get by on this steamy hot day in the city.

I was surprised at how much I enjoyed this somewhat dark and quiet story. You can tell it was based on a play, as the majority of the scenes take place in one setting of the police precinct. The clever twists provided a scandalous feel and I can only imagine what it must have been like when first released. I recommend this film, but would remind you that it's slow-going for almost an hour before it kicks into gear.

Favorite Quote: When McLeod's partner tells him, "You've gotta bend with the wind - or break. Don't be such a monument." I love this quote.

Favorite Takeaway: Russell Evans is an African-American patrol officer who is in charge of managing the mob man. His character is dignified and key to the precinct and, honestly, it's pretty cool to see an early film with an African-American actor as a police officer. Like the blogger at Film Noir of the Week mentioned, I also really can't think of any other movies during that time that not only have a minority actor play a fairly decent-sized role in a movie, but also never once have anyone make a comment on race. It is refreshing, especially for that time. 

I'm participating in the RIP Challenge, which is in its eleventh year. Click here for my original post, and definitely click here to visit Stainless Steel Droppings' site for more details.

My  Instagram post about The Martian audiobook is:

If you listened to The Martian by Andy Weir, narrated by R.C. Bray and you didn't like it, WE CAN NO LONGER BE FRIENDS.

 I really should just leave it at that.

Fine, so here's more. Mark Watney is the only member of a crew who survived a devastating dust storm on Mars after being the first man to walk on the red planet. His commander and the rest of the crew "confirmed" he had died and without risking more lives to secure his body and bring him back, they make the heart-wrenching decision to leave him. The only problem is that Watney did survive, and somehow he's got to figure out how to stay alive until rescue comes. And in the meantime, he should probably figure out how to communicate with them also so that they know he actually did make it through the dust storm. When I write "meantime," I should clarify that I'm speaking in days.... as in hundreds of days. Somehow, in those hundreds of days, Mark Watney has to keep his air supply going, feed himself, keep his electronics up to par, maintain his humor, and generally just NOT DIE.

Through intelligence, training, dedication, and absolute extreme humor, Mark Watney is one of the most engaging characters to get to know. With his journal and video logs, combined with life on earth responses and characters who ranged from the tight-assed (but completely understandable) PR specialist and the brilliant but relaxed research scientists, the audiobook version was a winner in every way. While there were more than enough moments that had me cracking up, the successful balance of scenes that made me hold my breath wondering if Watney would make it out of this one continued and I refused every excuse to take a break from listening. I'm sure this has been written already somewhere by someone much smarter than me, but this was Apollo 13 on Mars, and DAMN IT WAS AWESOME.

It's going to be a movie and Matt Damon will play Mark Watney. I think he's a PERFECT choice, along with the rest of the cast. I just hope and pray they stay true to the book's humor and sincerity.

The story is fantastic, R.C. Bray as the audiobook narrator is incredible, and the author rocked it. Matt Damon, there's a lot riding on your shoulders, my man. I'm pulling for you.

As I mentioned earlier, if you read The Martian or listened to the audiobook, and didn't like it, we really, really have to reconsider our friendship. #truthhurts

FTC Disclosure: I downloaded this audiobook via my Audible.com membership.

About the Author (from his website)

ANDY WEIR was first hired as a programmer for a national laboratory at age fifteen and has been working as a software engineer ever since. He is also a lifelong space nerd and a devoted hobbyist of subjects like relativistic physics, orbital mechanics, and the history of manned spaceflight. The Martian is his first novel.

I'm sure many of you thought I was going to post about the fine art of crisped bread, warmed and slathered with butter and jam (which, yes, I actually am quite the expert on). In this case, Toast is a delightfully quirky film about Nigel Slater, the famous cookery writer, and his lonely childhood as he seeks comfort in food. Being on this side of the pond, and not much into cooking shows, memoirs, and the like, I shamefully admit that I was completely unaware of Mr. Slater, so I was simply swept away in a whimsical film starring Helena Bonham Carter, one of my favorite actresses.

Set in the 1960s, this imaginatively filmed story explains the very foundation for why Nigel Slater fell in love with cooking. When Nigel's mother passes away, neither Nigel or his father turn to each other for comfort.

The way to a man's heart is through his stomach. Truer words could not have been spoken for Joan Potter, played by Helena Bonham Carter, as she sashays her way into their lives, brilliantly cleaning and cooking, leaving her own unhappy life behind. Unfortunately, she is severely lacking in warmth, or even compassion, for the young boy who becomes her stepson, and although young Nigel is enamored with food and recipes and delectably edible creations (to the point that looking at cookbooks under the covers late at night with a flashlight instead of a risque magazine is the norm for him) he and his new stepmom never see eye to eye.

Instead, their mutual love of food and what it can do to win the notice and affection of Nigel's father is the center of it all, and the competition begins to heat up. Nigel's love affair with food continues throughout his young life, and when he decides to take Home Economics instead of Shop class in high school, he flourishes even more. Now, though, the competitiveness becomes a tangible thing between Nigel and his stepmother, as now Nigel understands the basics and the science of cooking good food. Can Nigel win his father's attention? Or will Joan maintain the sole adoration? When the battle comes down to lemon meringue pie, it is deliciously heartbreaking.

Though the film pops of humor, it's actually a very sad story. Nigel's memoir clearly translates well, and beautifully, to the big screen. This is not, though, a film for those who prefer a lot of movement and fast-pacing; instead, this is for those who are prepared to enjoy a slowly told, illusory and offbeat tale centered around food. With its brilliant moments of dark, sad humor, swirled around recipes and the 1960s, it's a film I'll watch again, and soon. The visual appeal of the time is wonderful and represented well with its soft hues, and there are some seriously heart-wrenching moments of contradiction as Nigel's father dismisses everything his young son tries to make, yet raves over everything Mrs. Potter throws together. I wanted to reach into the story and beg his father to notice his son, just once, to take note of Nigel's wonderful attempts to try, to make spaghetti bolognese, if only just to please his father.

Without question, Helena Bonham Carter is perfectly cast as the chain-smoking woman from the wrong side of the tracks who is hired as the family's housekeeper after the mother passes away, and who seductively wedges her way into their lives. Oscar Kennedy as the nine-year-old Nigel is unbelievably good and I can't wait to see how his career evolves. Freddie Highmore as the teenage Nigel knocks it out of the park, and I've just realized he was in the film Finding Neverland. Ken Stott as Nigel's father is *it,* he is the right guy for this role. Well cast, filmed, and directed.

Loved this movie. Clearly, I now need to read all of Nigel Slater's books.

Visit Nigel Slater:

• On his website
• On Twitter
• And I loved this article in The Guardian

Weekend Cooking is a weekly meme hosted by Beth Fish Reads. It is open to anyone who has any kind of food-related post to share: Book (novel, nonfiction) reviews, cookbook reviews, movie reviews, recipes, random thoughts, gadgets, quotations, photographs. If your post is even vaguely foodie, grab the button and link up anytime. You do not have to post on the weekend. Click here to see more of this week's participants.

Nigel Slater Image Credit from the BBC.

I make this commitment today: I will never again listen to a book while I am running if it requires complete and total focus and concentration on each and every single word. If I learn in advance that a book requires this much attention, plus so much, much more, I will consider it another form of exercise and will instead pick up the printed version.

One of two things happened for me with this book. Either I should only have read the printed format, or I am just too feeble-minded to understand the complexities, nuances, and brilliance of this novel.

Broken into six stories from different characters in multiple time periods, David Mitchell tackles the connection one life has to another, ultimately coming full circle to the initial start. Without question, this is an extremely intelligent story, and the attempt to interweave each tale is unique.

The Six Stories

The Pacific Journal of Adam Ewing

Starting in the 19th century on a Pacific island, Adam Ewing is waiting for his ship to be repaired. While there, he meets a variety of people including Dr. Henry Goose and a slave from the peaceful Moriori tribe named Autua. Adam continues his personal documentation of his travels and while waiting for his ship, he begins to feel ill and Henry begins to take care of him.

This was a challenging introduction to the story. Written in convoluted nineteenth-century prose, I found it quite distracting with my concentration veering off a bit. It ends abruptly at the partial conclusion of Adam's journal entries, which had it not been for a note on Audible.com's site, I completely would have thought that I had a faulty copy. Apparently, David Mitchell designed it to be jarring, and he was successful with it.

Letters from Zedelghem

The story jumps to the 1930s and Robert Frobisher is in Belgium working with a famous composer. He writes letters to his lover Rufus Sixsmith, while simultaneously having an affair with the composer's wife. He finds the journal of Adam Ewing, but what he finds is incomplete.

I also found this story challenging in both the accent and the method of narration delivery, and considered taking a break from listening. I found the story interesting, but difficult to focus on.

Half-Lives: The First Luisa Rey Mystery

Jumping to 1975 in California, Luisa Rey is a journalist with a tabloid newspaper, but wants to break out of this type of reporting. She begins an investigation into the local nuclear power plant and meets Rufus Sixsmith, who was the recipient of the letters in the previous story with Robert Frobisher. He reveals to Luisa that the plant is unsafe and she begins to pursue the investigation.

This jumped out as my favorite story thus far. Narrated by favorite Cassandra Campbell, I found this to be the easiest to understand and was the most engaged in the investigation Luisa was working on. I was heartbroken when the story shifted to the next tale as I wanted to hear more about Luisa.

The Ghastly Ordeal of Timothy Cavendish

Ah, Timothy Cavendish. A publisher with considerable financial problems in the present day, Cavendish's brother helps him escape from thuggish collectors to a hotel far from home. It's only until the next day that Cavendish realizes that he is not in a hotel, but rather in a nursing home. Cavendish struggles to explain to the hospital staff, his "captors," that it's a mistake and he must return home.

This was hilarious. While it was a little all over the place, I enjoyed this part and ended up not regretting the shift from Luisa's story to Timothy's. I felt so bad for him, yet found his humor to be delightful.

An Orison of Somni-451

Jumping to the future in a dystopian world set somewhere in Korea, an interview between two people is shared. The interviewer is the archivist documenting the events of Somni-451, a cloned human being, or a fabricant. A fabricant is not truly aware of who they are and is solely created to perform menial tasks that need to be done in this futuristic society, and Somni-451 works in a fast food restaurant. She slowly ends up becoming aware of herself, but this self-awareness and the actions coming from this are not approved of.

While I completely understood this story and that the narrator was supposed to deliver the tale in a way that would convey that the speaker was not fully aware of who they were to a certain extent, it was too robotic, or monotonous, for me to be truly engaged. Granted, I felt the "hollowness" that Somni-451 was experiencing, and I was horrified by certain sections, but I wasn't pulled into this one as much as I know I should have been.

Sloosha' Crossin' an' Ev'rythin' After

Zachry is now an old man and is relaying the adventures of his youth. Living in Hawaii, the world is now in a dystopian state, after a major catastrophic event that caused those who survived to live in an extremely primitive state. Meronym, a woman who is a "Prescient," visits the island to study Zachry and his people. He regrets her visit and observation, considering it an intrusion and an insult, yet is confused with whether he can trust her or not.

While one of the more crucial tales reflecting the connections to others, this was by far my absolute least favorite.  In fact, this was PAINFUL. I so wanted it to end. The dialect and verbiage used was extremely challenging to understand, and unlike the other stories in which just when I was starting to understand what was happening, things switched to a new tale, I never quite completely felt like I "got" Zachry's story. Words were shortened for this made-up dialect, and it was annoying. Usually, when I listen to the audio format, it's much easier to understand dialect, but not in this case. "Spesh" meant special, "un'stan" (or something like that) meant "understand," etc. Given that this was the only tale to be told without interruption, I was floundering through it and praying it would just. end. already.

What's the bottom line?

While I will emphatically state that each story had a certain triggering event that would make my ears perk and I waited for more of that intrigue to continue, invariably, one story would jarringly shift to the next and I was left wistful, wishing a little more was given so that I could sink my teeth into it and really grasp the meaning.

I just couldn't get into the story, though. I found the complicated method of storytelling to be confusing and mostly abstract, and for the most part, I was perplexed by the events. I have a sneaking suspicion that I'm not bright enough for the intricacies of the tale, especially the audiobook while running! (Maybe I just don't have my wits about me? Possible.) I do plan on watching the film; perhaps the greater reveals of the story's brilliance will finally be unfolded for me then.

That all being said, it would be a book that could be read more than once, simply because so much is involved with each character; one reading is really not enough. With an abundance of themes, ranging from corporate corruption, racism, sexism, and more, for the right reader, this will keep you thinking for days. For me, it was all just a blur.

Passages of Note (both from The Ghastly Ordeal of Timothy Cavendish)

Books don't offer real escape but they can stop a mind from scratching itself raw.

Looking back, I see that Ernie tolerated my posturing because he knew Veronica was only humoring me. Ernie had never read a work of fiction in his life. "Always a radio man, me." But watching him coax the Victorian boiler system to life one more time, I always felt shallow. It's true. Reading too many novels makes you go blind.

Audio Notes
Multiple narrators always ease the listener with cues on the shift in perspective, which is helpful. This was the case with Cloud Atlas as well, and I felt most drawn to the narration of Luisa Rey and Timothy Cavendish as they were the most engaging and delivered extremely well. You can listen to a sample from Audible.com by clicking here.

Others said:
Buttery Books
Care's Online Book Club
Leeswammes' Blog
Love, Laughter, and a Touch of Insanity
The New Dork Review of Books

Publisher: Random House Audio
Release Date: 11/23/04
Audio Time: 19 hours, 33 minutes
Narrators: Scott Brick, Cassandra Campbell, Kim Mai Guest, Kirby Heybourne, John Lee, Richard Matthews

FTC Disclosure: I purchased this from Audible.com

About the Author (from his website)

David Mitchell is the acclaimed author of the novels Black Swan Green, which was selected as one of the 10 Best Books of the Year by Time; Cloud Atlas, which was a Man Booker Prize finalist; Number9Dream, which was short-listed for the Man Booker as well as the James Tait Black Memorial Prize; and Ghostwritten, awarded the Mail on Sunday/John Llewellyn Rhys Prize for best book by a writer under thirty-five and short-listed for the Guardian First Book Award. He lives in Ireland.


Visit the author:

• On his website

Note to my fellow bloggers/friends/Stephen King fans: Ok. This is just my letter to Ben Affleck who has signed on to direct The Stand. I am a humble fan who doesn't know all of the fantastic actors in Hollywood, so my picks for the characters in Stephen King's The Stand may seem horrendous to you. If they are terrible choices, tell me why (nicely). Do not throw the book at me. However, if you do throw the book at me, please only throw the edited pre-1990 version which is about 400 pages less and won't hurt as much. Thank you.

Image Source

Dear Mr. Affleck,

Kudos to you for taking the reins on remaking The Stand. If you do this right, you could make this Academy-award worthy, knowwhatimsayin? I wouldn't want to be in your shoes, though, because after all, you will have a legion of Stephen King and The Stand fans who will question your eh-ve-ry move. You will have to tread lightly and not kill key moments and also make sure all the special effects are fantastic without allowing them to be crazy over-the-top cheesiness (*coughcoughArmageddoncough*)

Picking the right cast, the dream team, is key. It's a story requiring an ensemble, a crucial conglomeration of a gazillion different Hollywood personalities that you'll have to logistically contend with/manage. Blah. I can't even imagine having to deal with the divas and divos and their attitudes. Ick.

But it's so important to pick the right people. Even I am terrified of posting into the public forums my "dream team" cast for this epic story. I'm certain there are a few picks below that I may need to duck as insults and outrage are hurled at me. So be it. And just as a side note, I realize that the 1994 TV version selected a lot of older actors for crucial roles, but I've chosen younger actors and actresses since I always thought all of the characters were in their twenties or so, with the exception of a few.

But, before we go on, sir, just a few things to make note of:

1. Music. Don't forget about the music. Please. The TV version was aight and all but it was so melodramatic because there was music in almost every flippin' scene.
2. Stephen King Gets in the Way of a Good Story. What? Whaddidshesay? There. I said it. I think King is brilliant and created stories and characters that will never be forgotten. He's a genius. Songs will be written about him one day. But. BUT. Don't let him write the screenplay or produce it! As a King fan, I think he's so close to his stories that he can't get out of his own way and the end movie result is never, ever good. He might strongarm you into doing what he wants because he's the master of horror, for cryin' out loud. You're from Boston, so I'm sure you probably have a high respect for the man and don't want to tick him off. But just remember that when he gets his hands really dirty and writes the teleplay or produces it, unfortunately, it usually isn't that fabulous. Stick to your guns and make the film the way you know it will work.
3. One Film? Or Two? Three? You're going to enrage fans if you put this epic story into just one movie. It's a book with so many important characters and events that if you skinny this baby down to 100 minutes, an overwhelming amount of internet-angst will be unloaded from fans who will point out every.single.thing.you.cut. You don't want that. Split it into at least two films. (Money!) 

Ok. So below are my picks for the cast of The Stand. (Fellow bloggers/readers: Let me know what you think in the comments, but please do not yell at me!) Disclaimer: Obviously, none of these pictures are mine, however I've included the link to the site. Email me if I need to remove the picture or if I have the wrong link.

Mother Abagail: Cicely Tyson

I love Cicely Tyson and think she could be incredible, although part of me was also wondering about Alfre Woodard, since she's amazing as well. Ultimately, I had to go with Cicely Tyson because I think she really embodies the role of Mother Abagail and I think Cicely Tyson could be magical. [Photo]

Randall Flagg: Viggo Mortensen

I can't think of anyone else who could play the hardcase, the Walkin Dude any better. He can pull off the right combination of creepy and sexy, from gentle to frightening (Isn't this a scary picture?). [Photo]

Stu Redman: Ryan Gosling
Stu has to be someone the audience immediately is drawn to, someone easily likable and trustworty. (I tried to pick a very Stu-like picture. East Texas, y'all. Has to be good-looking and self-assured.) [Photo B/W]

Frannie Goldsmith: Maggie Gyllenhaal
If anyone could make me actually like the character of Frannie, and even believe someone as awesome as Stu could love her, and at the same time be so appealing that Harold would also fall madly in love with her, it would be Maggie Gyllenhaal. This actress is equal parts quirky, innocent, and sexy. She could do this role in her sleep. [Photo]

Harold Lauder: Jesse Eisenberg
From Social Network fame as the Facebook founder, Jesse Eisenberg has the youthful look necessary for the character, and could believably evolve into the brooding Harold. Harold, the untrustworthy, and possibly dangerous member of the Free Zone, the one that makes yer skin crawl and all. I think this actor could easily transform from heavyset and pimply Harold Lauder, into the later Harold/Hawk who is still confused, but slimmer. [Photo B/W]

Larry Underwood: Zac Efron
Oh, boy. I know I'm going to get yelled at on this one. Larry is one of the most important characters and I want this guy to do it? Yes. He's all grown up now, folks. (He cut that silly shaggy haircut, too.) You know Zac Efron can sing "Baby, Can You Dig Your Man?" and we also know he's a pretty doggone good actor no matter what the script gives him, so why not? I think he could do this character well. [Photo B/W]

Lucy: Zoe Saldana
Known for her stellar performance in the movie Avatar, Zoe Saldana would change it up considerably. She's got to have such a different look than Nadine Cross and while she is a little older than Zac Efron, I think there would be awesome chemistry between them. She is so incredibly unique and beautiful and has to hold her own against the incomparable Nadine. The audience has to feel and see that difference without question. The character of Lucy was thoroughly under-appreciated in the TV movie and I hope that Ben Affleck will remember that Lucy is such an important character in keeping Larry on the good side. [Photo B/W]

Nadine Cross: Marion Cottilard
This beautiful French actress would knock it out of the park. There are rumors Ben Affleck is considering Jennifer Lopez for the role and that his wife, Jennifer Garner, is understandably annoyed. I hope he doesn't pick J. Lo, much as I like her, because I just don't see her in this role at all. I want someone different and think Marion Cottilard would be great. She's got the right amount of exotic sex appeal to carry off the naive, hesitant, and ultimately led astray character perfectly and who doesn't love her accent? [Photo B/W]

Joe/Leo: Griffin Gluck
Not sure if this character would make the big screen version, or even get much screen time if he does. If so, I think this kid is perfect for the role. Many may remember him in the movie Just Go With It with Adam Sandler and Jennifer Aniston. He's also been on the TV show Private Practice as Cooper's son.  [Photo]

Nick Andros: Joseph Gordon-Leavitt
He killed it in the movie Inception, clearly holding his own against megastar power Leonardo DiCaprio. The tough role of a young man who can't hear or talk, Nick Andros is one of the most important players in the group of the good guys, and I can see this actor represent him with such heartfelt attention to detail. The character is tough to translate to the big screen, and I don't think they fleshed out the importance of the role in the TV version, so Rob Lowe was kept pretty much in the background. Joseph Gordon-Leavitt could make it happen, without a doubt. One stipulation I'd request: Please don't kick out Nick's teeth or have his eye gouged! That's one change that the TV version did right. [Photo B/W]

Tom Cullen: Philip Seymour Hoffman
I love the character of Tom Cullen so much that I am absolutely frightened for anyone else to play him. I think only this actor can do the character justice, a character who is so important to the ultimate stand. [Photo B/W]

Glen Bateman: Denzel Washington
Curve ball, huh? How awesome is this actor? Denzel Washington could play any character on the planet and rock it. He would be completely believable as the amiable, yet tough, sociology professor who helps in the overall creation of the Free Zone, and who also understands how society falls apart and then recreates. [Photo B/W]

Ralph Brentner: Josh Lucas
You may recall Josh Lucas in a flurry of smaller films, but most know this actor from his role starring opposite Reese Witherspoon in the romantic comedy Sweet Home Alabama. I can see him as the Midwest farmer walking across the country with Stu, Larry, and Glen.
[Photo]

Traschcan Man: Daniel Radcliffe.
Wait, wait, wait. Before you get all you-can't-mess-with-Harry-Potter on me, hear me out.  Yes. I think Daniel Radcliffe is a talented acter and could completely go out of character from the good wizard into the insane and burn-ravaged man. Stephen King mentioned that Billy Bob Thornton would be a good choice for this role, but I never thought Trashy was an older character. In my mind's eye, I envisioned the tormented character as a pretty young guy so I think Daniel Radcliffe would be fantastic. It would be such a CRAZY choice but can't you see him screaming, "My life for you!!!!" [Photo]

Lloyd Henreid: Ed Norton
I love the idea of Ed Norton as Poke's criminal sidekick who frighteningly evolves into the smart and confident second-in-command to Randall Flagg. Yes. Ed Norton would be perfect. [Photo B/W]

Judge Farris: Ken Watanabe
Yet another curve ball! And I really like this one. This cool dude is best known as starring opposite of Tom Cruise in the epic fierceness of The Last Samurai. He would be incredible as the soft-spoken and thoughtful, wise judge. Plus, we allllll know he can kick butt. [Photo B/W]

Dayna: Rosario Dawson
As one tough cookie in Sin City, one of my all-time favorite movies, not only can Rosario Dawson exhibit dignified strength (she has to be waaaay tough), she can also easily reflect that softness which will be irresistible to anyone in Flagg's camp. [Photo]

Rita Blakemoor: Glenn Close
Yeah, this character probably won't make the remake, but if so, wouldn't Glenn Close be outstanding? She's over 60, perfect age for the role, and has that sex appeal. [Photo]

And you know that guy who works for the government and comes in at the beginning to try and kill Stu in the facility in Stovington? I thought it would be a pretty cool cameo to have Matt Damon, a la Bourne salute, to be that dude. [Photo]

My sweet Roma is not a Pit Bull, 
but will happily accept the role of Kojak.
This picture is from my sister, www.digitalgraces.com

Kojak: Any Pit Bull
We have an opportunity here. Why not pick a dog who could help represent the opposite of what everyone thinks "dogs like that" are? It would be fantastic to have a dog that could be the "poster child" representative of ending the horrendous "Breed Specific Legislation" nonsense, which innocent Lennox was fatally punished for. The character of Kojak is a sweet and smart good dog and it would be nice to have a pit bull represented in a film of this magnitude who is not evil. It's time to break stereotypes, people! My dog is not a pit bull (she's a Vizsla), but people always think she is, so I'll include Roma the Dog as an example.






So, Mr. Affleck. While my letter is long and you'll probably never read this, I hope you get my drift on how important this movie is. I do envision a disgustingly high budget that will put Titanic to shame, but if you do it right, you will end up like James Cameron and make so much money you never have to do anything again except make random documentaries and wallpaper your house with cash. So with that, I wish you Godspeed and good luck to you, sir!

Sincerely,
Natalie ~ the Coffee and a Book Chick

P.S. I read The Stand to participate in Trish's #standalong and also read this for my own project at The Stephen King Project, which I host with Kathleen from Boarding In My Forties.

Christine has woken up and doesn't recognize her surroundings, the man sleeping next to her in bed, or the older and wrinkled face peering back at her in the bathroom mirror. The pictures around her show the same woman in the reflection, but Christine doesn't understand how she can look as though she's in her forties when she should be in her twenties.

Upon learning from her husband, Ben, that every morning starts out like this, Christine is devastated. She is halfway through her life but can't remember anything past her late twenties. An accident destroyed her memory and while she can remember everything throughout the day, going to sleep reboots her and she starts all over again the next morning. She wakes each day unable to recognize her husband, her house, or what happened to her mother and other family members and friends. Every morning starts out in this same way.

When she receives a phone call from a doctor, she learns that it's a call she gets from him each morning. He's directed her to a journal she's been keeping for the past few weeks, and it becomes her daily reminder and re-education on how she now lives her life. It's a ritual each day she has to re-learn, so the events her journal describes are emotions and moments she has to go through and experience as though new, again and again. When she reads her unsettling advice to keep the journal secret from her own husband, the frightening possibilities pile on. Religiously documenting each day's events forces her to question if its simply paranoia or if she truly is in danger. Christine's psychological thriller begins its emotional ride.

I was surprised by this book. Immediately, I was pulled in, hooked with each page I turned, and ultimately found it to be a satisfying suspense novel. Not knowing who to trust or what to believe, Christine's horrible nightmare of the same daily education of the loss of her life is heartbreaking. I was comfortable with its repetition since I was anticipating it, but I can't imagine listening to the audio book version. (A search through my trusty Google Reader confirmed that with Heather's and Sandy's thoughts, so I would maintain my recommendation that reading versus listening to it would be the best choice.) I understood and expected that each day's start would be the same, but the author was able to skip a little bit of each morning from the prior entry so it didn't feel tiresome for the reader, which can be challenging when dealing with a Groundhog Day flow. This disturbing and frightening novel kept me on the edge of my seat and all I could imagine was the horror of not knowing where you were every day when you woke up, or not recognizing your own husband sleeping in bed next to you, or wondering why you look like you're in your forties when you feel you haven't even reached thirty yet. Nightmare.

While I felt it was a bit too neat and tidy with its conclusion, it successfully kept my attention and I couldn't put it down. I'm not surprised to hear that this has been optioned for a film with Ridley Scott's production company; I think it would make an excellent film and may translate even better into that medium. I'm looking forward to it.

Others said:

As I Turn the Pages

Book Addiction

Dolce Bellezza

Mrs. Q: Book Addict

Nomad Reader

Prairie Horizons

Raging Bibliomania (audio)

Savidge Reads

You've GOTTA Read This! (audio)

Publisher: Harper Perennial

Release Date: 2/7/2012 (paperback)

Pages: 358

About the Author

S.J. Watson was born in the Midlands, lives in London and worked in the NHS for a number of years. In 2009, Watson was accepted into the first Faber Academy "Writing a Novel" course, a program that covers all aspects of the novel-writing process. Before I Go To Sleep is the result.

Before I Go To Sleep has become a phenomenal international success, sold in 42 territories around the world. It is a New York Times and Sunday Times bestseller, and won both the Crime Writers' Association Award for Best Debut Novel and the Galaxy National Book Award for Crime Thriller of the Year. Before I Go To Sleep has also been acquired for a film by Ridley Scott's production company, Scott Free, with Rowan Joffe to direct.

Follow the author:

• On his website
• On Facebook
• On Twitter

Many thanks to TLC Book Tours for including me in this tour which goes through the first week of March 2012. To read all of the reviews at each tour stop, click here.

A long post, but I hope you'll bear with me.

This story freaked me out. In fact, I'm reminded of the first line Vincent Bugliosi wrote in his book Helter-Skelter, but I think it's a fitting description for Joyce Carol Oates' short story as well: "The story in which you are about to read will scare the hell out of you."

In this fascinating collection of critical essays, Joyce Carol Oates' famous short story Where Are You Going, Where Have You Been, is discussed, argued and analyzed. If you've not read it, I highly recommend you do. I didn't realize I had read it years ago until a new-to-me blogger at Adventures in Borkdom reviewed it for the RIP Challenge, and it got me thinking about it. It was with a Twitter conversation from Nicole at Linus's Blanket that finally pushed me over the edge to download it.

I only intended to read the story, but I was soon swept up in this collection. The story itself is both brilliant in its subtlety and disturbing in its content. While there is no gore or slash, in my opinion it bests all of those typical fright night stories and films with quiet hints and allusions to what might happen. As one essayist, Larry Rubin writes:

For instance, Walter Sullivan praises her skill by noting 'horror resides in the transformation of what we know best, the intimate and comfortable details of our lives made suddenly threatening.' Although he does not identify it as such, Sullivan's comment aptly describes a classic instance of a grotesque intrusion: a familiar world suddenly appears alien.

It seems to be what Oates does best: Take our comfortable world and shift it to reflect the view back like a mirror. Everything seems to be the same, but something is a little bit off.

The Story

It's the early 1960s and Connie is fifteen-years-old. The prettier of the two daughters in the family, her mother doesn't approve of the precocious Connie, always looking at herself in the mirror. She's pretty sure her mother prefers her, though, over her older sister June, who works at the library and still lives at home.

Sunday begins like any other day since they don't go to church, but with a boring barbecue to attend with her family, Connie decides to stay home, wash her hair and laze around her room, thinking of romance and boys and listening to rock and roll. With her family away and Connie alone in the house, it becomes a dreamy afternoon. Things take quite a different turn, however, when a car pulls up the driveway driven by a man she walked past the prior evening at the drive-in.

His name is Arnold Friend and there's something about him that doesn't seem right. Stepping out of the gold-painted car awkwardly, he looks older but claims to be around her age. It looks like he's wearing make-up but forgot to finish putting it on his neck, so the stark contrast appears as though he's wearing a mask. The passenger in the car never acknowledges her and only continues to listen to the same young rock and roll music she has on in the house, but when she takes a closer look from the kitchen screen door, even he is different. In fact, he has the face of a "forty-year-old baby," which is extremely unnerving. Arnold stands by the car, propping himself up or holds the door, as though if he didn't, he might fall. His boots stick out at odd angles, which hint at the possibility of rags stuffed into them so he can stand on it to appear taller.

Arnold Friend wants Connie to get into the car and go for a drive with him. While initially exciting for Connie, it becomes obvious of his more violent intentions as the conversation continues. Instead, Connie stays behind her screen door, but he makes it clear he will never come inside. He casually explains that she will make the choice to come outside eventually, and when she does, she will come to him. He'll teach her about love, he says. It sounds different to Connie, though, and she doesn't like it, the air thick with fear and impending violence, nowhere near the romantic dreams she had before he arrived. She knows it's all wrong, that the way he stands and the fact that he's got make-up on is all a disguise. There is a far more disturbing element to Arnold Friend underneath it all and Connie is afraid. He is dangerous and she knows that she shouldn't leave the house.

Initial Thoughts

In all of the scary horror stories, this one struck me as one of the more frightening. I think it's because at only approximately twenty pages or so, its terror comes across in what is not said. There is an uneasy, uncomfortable atmosphere set with Arnold Friend's casual conversation, and incredible suspense was building as my fear for Connie grew. I was begging her to not leave the house, to not get into Arnold Friend's car.

I intended to only read the short story but the critical essays were fascinating. They evaluate and analyze feminism, Connie's innocence, the symbolism of Arnold Friend, and rock and roll music. They provide more insight into the relevance of religious values and the slippery slope between good and evil. There is even the argument, which I tend to also believe, suggesting Arnold Friend may even be Satan, embodied in this frightening man who wears his disguise of make-up and can't quite seem to stand in his boots just right because they very well could be the hooves of the Devil.

Joyce Carol Oates, if nothing else, is a master of horror and fright, but contrary to the Halloween and Friday the 13th movies, Oates is a sophisticated storyteller, drawing images of paralyzing fear with the agonizing ache of growing up into a very scary adult world. I highly recommend this and encourage you to read and re-read it.

I listened to the audiobook version of A Fair Maiden by Joyce Carol Oates and wasn't the biggest fan of it. Now, I'm reconsidering going back and listening again, or reading it, since I've found that Introductions and Afterwords, along with critical essays of a book give me much more insight and I end up appreciating a story even more. After reading the various thoughts from other writers on Where Are You Going, Where Have You Been, I'm thinking A Fair Maiden may be worth another go.

Where did the story come from?

Included in this collection is the original Life magazine article that piqued Oates' interest and served as the idea for the characters. Oates read only part of it because she wanted the story to not be encumbered by the true events of the case.

The article featured Charles "Smitty" Schmid of Tucson, Arizona, nicknamed by the Life article as the "Pied Piper of Tucson." Like Oates' character Arnold Friend, Schmid drove a wild gold-painted car and was a short man of 5'3" who stuffed his boots with cans and rags to give the impression he was much taller. Odd though he may be, according to the Life magazine article he still managed to generate a following of younger teenagers. Everyone knew he was different, but no one ever really complained about him. When it was uncovered that he had murdered three young women, it was not a revelation to the Tucson youth. In fact, they knew about it but no one wanted to be the one to turn him in, or make a big deal about it. While shocking that murder seemed to be more acceptable than tattling, it provided insight into the life of a kid at that time, struggling with acceptance of their peers, not ever wanting to "rock the boat." Of course, I'm not an expert on the psychological or sociological reasons why people do what they do, but being accepted by your peers is always a recurring motivating factor for every generation. Kids never want to stand out as the snitch, even though it's the right thing to do.

His victims were only teenagers: Alleen Rowe, Gretchen and Wendy Fritz. They are much more important to remember as they never had a chance to live out their lives.

Schmid was subsequently convicted of the murder of the three young women and was incarcerated up until his death by fellow inmates in the 1970s. He was apparently stabbed more than forty times and it took him twenty days to die.

Smooth Talk

Smooth Talk, Image Source

As I mentioned earlier, I read this years ago, and for some reason forgot about it until I started reading it last night. I also now recall the film adaptation, Smooth Talk, starring Treat Williams and Laura Dern. I don't remember everything but I do know that it was sufficiently disturbing, and I most especially remember Laura Dern perfectly representing Connie's contradictory sultry side and innocence. Treat Williams was oddly charming but frightening. Unfortunately, that's all I can say about the film since it's been probably more than fifteen years since I watched it. I'll need to rent that one soon.

About the Author

With over fifty novels to her name, Joyce Carol Oates is an American writer and winner of the National Book Award for Them (1969), and nominated for the Pulitzer prize for three novels: Black Water (1992), What I Lived For (1994), and Blonde (2000). She has been a Professor at Princeton University since 1978.

Click here to visit the author on her website.

My final review for the RIP Challenge. You can read more reviews from participants by clicking here.

The 1998 film What Dreams May Come starring Robin Williams, Annabella Sciorra, and Cuba Gooding, Jr. was one I enjoyed, but it was the cinematography that I loved the most. The images were so beautiful that it has become a film I've watched more than once. When I learned it was based on a book originally released in 1977, I figured I would download it. After I did more research, it was interesting to find the author was previously a horror writer and, at the time, was trying to separate himself from the genre.

In the book, Robert has a visitor at his door, who delivers a large envelope. In this, Robert finds a manuscript written by his brother Chris. Immediately dubious at the authenticity since Chris has passed away, the woman at the door explains that she spent the last six months writing down Chris' words and after reassuring him that she understands it might be unbelievable, it is, in fact, true. She leaves quickly, never giving her name or a way to contact her.

It is Chris' journey following death that is explained, in minute detail of his initial stumbles as a spirit who didn't  understand what happened. He doesn't grasp how he can be at his own funeral, or lay down next to his weeping wife, since he believes he's not dead. When it becomes too confusing and exhausting, he eventually cries for help. It's answered by Albert, a guide who begins to educate Chris on where he now is, and what he must do in order to achieve fulfillment in this afterlife. Albert brings him to Summerland and while it's not quite the heaven one might expect as there aren't any angels or harps, it instead is a sweeping landscape of beauty and nature, where colors are at their purest, and everything emits its own natural energy vibration that is pleasing to hear. The sky has no sun, yet is bright and clear; the rushing water in the lake is cool and refreshing, yet hands and clothes remain dry. It's a peacefulness that Chris has never experienced before. And I'll admit that when a dog begins to run toward him, a dog he and his wife Ann had in their earthly lives but had to put to sleep because of illness, I got a little choked up.

Chris, though, is still tethered to earth through his wife's despair and pain at his loss. Her grief ultimately keeps him connected, and he can't move on. It's when she commits a final act that determines her own fate, that Chris must travel to the deepest realms to save her soul.

What happens after we die?
I'm sure I'm not the only one who wonders what happens after death. Although several sources were used to build the foundation of the experience of death and the afterlife in What Dreams May Come, the book doesn't claim to be anything more than a story, and it's a pretty entertaining one. Bogged down by descriptions at times, but still good.

Surprisingly, I was not all that interested in the love between Chris and Ann, even though it's important to the story and I appreciated it in the film. In the book, though, I cared more about this particular version of life after death. I was fascinated by the idea that hell was a result of people limited by their minds in the afterlife. If they could only bring themselves out of the negativity they were surrounded by, and the despair and darkness, then they also could be in Summerland. Everywhere they looked, though, they were in a land with others who were also drowning in misery, so these poor souls couldn't conceive of anything more than sadness, hatred, and pain and were mired in this existence.

I also was more curious about the image of a house of rest, almost like a hospital in Summerland in which those who died by an act of violence or a lingering illness recuperated. Only when they acknowledged that they had passed on and could accept that they were able to now live without pain, could they really begin their new life. An interesting thought that new residents of Summerland still clung to their earthly existence, even if it was wracked with pain.

It's a good story and I enjoyed several aspects of it, but I found that I did get a little overwhelmed with so many of the descriptions of the love between Chris and Ann. It's pivotal to the story, but the flashbacks to moments in their life and expressions of devotion became tedious. In one defining moment towards the end, I was shocked at how many pages it was taking to fully express their connection. So, I quickly read those sections, to get to the ones that interested me more.

The book is a nice way to spend a couple of afternoons, though, and those who are interested in this version of an afterlife, or who struggle with what might be next, might like to spend some time reading this. Ultimately, I do recommend the film instead of the book simply because the images alone are brought to life much more. In my opinion, it was a story meant more for the eyes.

The movie follows the same story to a certain extent as the book. Even though several characters were changed, I could understand why it was done. It's the stunning visual imagery that I've always enjoyed, and here are a few pictures to give you an idea.

All Images from Blu-Ray.Com

All Images from Blu-Ray.Com

All Images from Blu-Ray.Com