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This YA Yarn Would Be A Bit More Bewitching If Its Witch Made Better Choices

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The Fourth of July has come and gone, so *checks calendar* it’s time for everyone to start decorating for Halloween, right? Yes, I am That Girl who uses spiders in all of her decorating. But really, who couldn’t use a little magic in their lives right about now? Time to break out the Hocus Pocus and pick up books like Laura Sibson’s Edie in Between.

Edie in Between was touted as “a modern Practical Magic.” An intriguing idea, as Alice Hoffman’s bewitching Practical Magic is not only a critically-acclaimed classic, but one of my favorite films of all time. Having read Edie, I think a more realistic comparison would be The Craft — still a lot of fun, but far less nuanced and ambitious.

Celtic/Wiccan magic runs in Edie Mitchell’s family. The Mitchell women dry herbs, note the solstice, and hide secret forests with rhyming spells. Edie herself can see dead people, among other things, but she’d rather just be a cross-country jock that has nothing to do with any of it. Which she got away with, until her mother’s death outside their home in Baltimore almost a year ago, at which point Edie moved onto her grandmother’s herb-covered houseboat in the Chesapeake Bay.

Despite being a socially awkward person who loathes this small town, Edie does make a couple of friends: Tess, who runs with her, and beautiful Rhia, who works at the local occult shop. It’s Tess who tells Edie about the “haunted” Mitchell property, so of course Edie has to investigate. Her presence bungles some sort of spell there, triggering a chain reaction of dangerous magic that goes from bad to worse. With the help of her new friends, GG (her grandmother), Edie’s mother’s journal, and a lot of magic, they manage to unlock these secrets of the past one by one.

Now, my upbringing was heavily influenced by Greek culture, so I am predisposed to have certain views on superstitions and the supernatural. I’m also a poet, so I have strong opinions on rhyming poetry. I acknowledged both of these things, and then set them aside so I could enjoy Edie’s story with an open mind. And for the most part I did, apart from Edie’s willful disregard for meter — I wish she’d thrown that out the window a lot sooner — and blatant ignorance.

For whatever reason, Edie’s mother allowed her to have a childhood without the “burden” of knowing how to properly harness magic that is powerful enough to kill a person. Even after she bumbled into that old house and screwed up a spell she didn’t know was there, Edie continued making one bad decision after another. By halfway through the book I was as mad as GG, as concerned as Tess and Rhia, and yelling at Edie like she was a character in a horror movie that should NOT go into the dark basement. Which did lead to considerable personal enjoyment, but I suspect it wasn’t what the author was going for.

I did appreciate that Edie’s story was about fear and the power of grief — appropriate themes for the current time. It highlighted the importance (and frustration) of communication within a family, no matter what the generation. When there are words you can’t say, it definitely puts the words you won’t say into perspective. But I really would like to have known more about the Mitchell family’s history and the origin of their magic, and I wish Rhia and Tess’s characters both had had a bit more substance.

So if you’re craving cooler weather, hot apple cider, and the classic Charmed TV series, Edie in Between is a magical adventure right up your dark alley. And if you’re anything like me, you’ve already got Practical Magic in the queue anyway.

 

 

 

 

 

 

 

Source: Npr.Org

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Reviews

Four Thousand Weeks: Time and How to Use It by Oliver Burkeman – review

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This wise meditation on human transience strikes a perfect balance between self-help manual and philosophical odyssey

In the current average human lifespan we get 4,000 of each day of the week: 4,000 Saturday nights, 4,000 lazy Sundays, 4,000 Monday mornings. When we are young, that might feel like a dizzying number of tomorrows. As the years go by, not so much. Oliver Burkeman’s midlife inquiry into how we might most meaningfully approach those days is perfectly pitched somewhere between practical self-help book and philosophical quest. Having been the Guardian’s resident “pursuit of happiness” correspondent for a decade, offering the weekly promise that “This column will change your life”, this is something like his accumulated wisdom.

It starts with some necessary caveats. The day will never arrive when you have emptied your inbox. There will always be too many demands on your time, or nowhere near enough. Anything might happen in the next half an hour. Burkeman’s own journey as he describes it over the past years is perhaps a familiar one. He started out in his adult life believing there might be a trick to optimising personal productivity. He was a planner, a to-do lister, a buyer of highlighter pens. He was half-persuaded that there might be three or seven or 12 robust habits that allowed you finally to feel in control, on top of things.

Slowly, as plans never quite went to plan, and choices were made, and kids arrived, he came to understand that in any interesting life, time will almost never be your own to “spend” efficiently, and that most of the secret lay in embracing that fact. As he works his way towards these truths, Burkeman provides a brief history of human ideas of time. The definition that we are most familiar with, the stuff that might require urgent management, was really, he suggests, the product of two things: the sharp decline of faith in an afterlife, and the Industrial Revolution. Our acceptance of finite time – of this being all there is – roughly coincided with clocking on and clocking off. This made time more pressured and precious. Most of our anxieties, Burkeman argues, derive from the fact that “every moment of our existence is shot through with what Heidegger called finitude”, or a nagging sense that we might be wasting what little time we have.

As he explores more closely what this might mean, he also proposes some strategies, or thoughts, to counter that anxiety. The traditional airport-bookshop volumes about time-management tend to emphasise the importance of finding focus. These concerns have been exacerbated by the great global engine of digital distraction; social media companies make their billions from the time you aimlessly, addictively provide them, “making you care about things you don’t want to care about”, as Burkeman says.

It helps, he suggests, rather to understand certain basic human limitations. Procrastination is unavoidable, though we can get better at ignoring the right things. Fomo – fear of missing out – is only debilitating if you fail to realise “that missing out is basically guaranteed” in life, the inevitable consequence of one path chosen over another. The self-help gurus might tell us never “to settle” in a relationship or a job. Burkeman argues rather that “you should definitely settle, or to be more precise, you don’t have a choice”. It is inevitable that you come to realise any chosen partner or job is not all other potential partners or jobs. Happiness is a factor of what you do with that information.

Productivity is also revealed as a fairly dubious modern virtue. “The Latin word for business, negotium, translates as not-leisure, reflecting the view that work was a deviation from the higher calling [of ease],” he says. If we make leisure only another arena for self-improvement then it sacrifices the present in favour of an imagined future. One hero of this book is the hobbyist, who can steal an afternoon for no purpose; another is the person who “develops a taste for having problems”, in the knowledge that the state of having no problems only arrives postmortem. Burkeman ends his book, as his publisher perhaps insisted, with 10 tips to take away. The how-to is not necessary; as with all the best quests, its many pleasures don’t require a fast-forward button, but happen along the way.

 

Four Thousand Weeks: Time and How to Use It by Oliver Burkeman is published by Bodley Head (£16.99). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply

 

 

 

Source: The Guardian

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Veteran theatre personality Dolly Thakur’s memoir to release in September

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Veteran theatre personality Dolly Thakur has been a newscaster, columnist, social activist, and has worked in advertising, communications and public relations. And now, she is all set to tell her story in her own words in an upcoming memoir titled ‘Regrets, None’.

The news about Dolly Thakur’s memoir was announced by publisher HarperCollins on August 9. Called as “a pioneering Indian feminist memoir” by the publisher, chronicles Thakur’s life and career and gives a glimpse of the worlds of fashion, glamour, theatre, advertising and films from the 1960s till the present times.

 

Talking about her memoir, Thakur said in a statement, “My life has been an open book. And I have always shared my choices and decisions with my head held high. It feels wonderful that my life has found its way onto the page. It’s taken me eight decades of living, forty years of sifting through memories, and finally Arghya Lahiri, to distill it all into a book. I hope people will enjoy reading – not just the adventures of my life – but also getting to know the incredible cast of characters that I met along the way.”

Thakur has co-authored her upcoming memoir with writer-director-filmmaker Arghya Lahiri, who has known Thakur for many years. “I’ve known and worked with DT for years. And, through the years, I’ve heard some of these stories. Weird, wonderful, of a time, a set of experiences that has tracked this country and this city. Also, she tells a good tale. Always. And she’s been everywhere. And she knows everyone! I feel privileged to have been able to help transmit some of those stories – a sense of this incredible tapestry she’s managed to assemble over the decades, as a woman, a mother, a theatre-person, and a Mumbai-living, fire-breathing Indian of a very particular kind – to the world at large. What a life! What a woman!,” he said about the book. This is the second book penned by him.

 

‘Regrets, None’ by Dolly Thakur and Arghya Lahiri is expected to be released on September 5, 2021.

 

 

 

 

Source: Times of India

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Angrezi Medium Review: Irrfan makes perfect comeback in light-hearted family comedy drama

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Film: Angrezi Medium

Director: Homi Adajania

Cast: Irrfan, Deepak Dobriyal, Radhika Madan, Kareena Kapoor Khan

Angrezi Medium is a slow-moving tale about a father-daughter relationship essayed by Irrfan and Radhika Madan in perfect capacities. The lack of the mother figure is substituted by a brother, Deepak Dobriyal, who despite a legal dispute with Irrfan loves him dearly. An ensemble supporting cast including Pankaj Tripathi, Dimple Kapadia, Ranvir Shorey and Kiku Sharda lend their own flavours to this widely cultural text. To see an A-lister like Kareena Kapoor Khan play a supporting role is also game-changing in its own way.

Homi Adajania’s directorial has a slack pace throughout which is especially felt in the first half of the film. Despite it being culturally deeply rooted in the Udaipur landscape, with a backdrop of a family feud on the name of ‘Ghasiteram’, the overall narrative of the film is basic and in fact depends quite a lot on the nuances that the actors’ bring with their characters to the screen.

Radhika Madan and Irrfan ace their role, and it is refreshing to see a shy and yet bold, not so outspoken and fiery daughter figure in Angrezi Medium. A change in the arch of liberal womanhood per se. And, despite the presence of a domineering supporting cast, the film focuses on the struggles of Irrfan as a coming-of-age father when his relationship with his freedom-seeking daughter evolves during the course of the film. Yet, Deepak Dobriyal’s performance deserves a special mention and he stands out in parts individually, sometimes even stealing the show with his performance.

There are interesting cultural motifs inserted here and there in the film, though Irrfan largely remains the same rich doting father from Hindi Medium who would go to all extremes to get his daughter’s dreams fulfilled.Apart from the strength of its actors’ performances, perhaps, the screenplay could have been more worked upon. The filmmaker can be found enjoying himself a little too much with the film. The design suited the text as did the dialogues. Other little discrepancies were largely overshadowed by the filmmaker’s attempt to put to use whatever he could to make his film a complete entertainer.

The music of Angrezi Medium borrows from its source film some of the tracks, while putting in iconic Bollywood numbers during the sad alcohol parties organized by Deepak, Irrfan and Kiku to share who is the unhappiest of all. The background score suits the genre of the film.

Angrezi Medium marks Irrfan’s return to the acting table after a year. A much-awaited film in that regard, Irrfan’s performance is likely to gather much applause as the film hits theatres this Friday.

The film is a light-hearted family comedy drama that has a message to give, like Hindi Medium, though not punched into the audience’s face and repeated dismally. A kind of a comedy that comes in once in a while with refreshing dialogues, new situational comedy elements and is just plain fun.

Rating: 2.5

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