Adapt Me Podcast – The Raven Boys

Hi Everybody!

Grab your raven and get your psychic readings because returning guest Amanda Garrison from the Fictional Hangover podcast and I talk about how we would adapt The Raven Boys by Maggie Stiefvater and “The Raven Cycle” as a whole on the latest episode of the Adapt Me Podcast! Check it out at this link!

My review of The Raven Boys will come out next week.

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Falling Through the Night Book Review

Full disclosure: I was given a free advance reader copy of this book by Books Forward in exchange for an honest review.

It’s funny how in six months, I’ve read two books about queer, Jewish women. One was the memoir Late Bloomer: Finding Authentic Myself at Midlife by Melissa Giberson. Today’s subject, the fictional Falling Through the Night by Gail Marlene Schwartz is the other. The latter is a fascinating look at one queer woman’s journey to create a healthy family.

Falling Through the Night is about Audrey Meyerwitz, a queer, 30-something, insomniatic American woman who wants to fall in love and have a family. But, it’s far from simple due to the Generalized Anxiety Disorder she has struggled with since childhood. When her best friend Jessica, a recovering alcoholic, helps the introvert Audrey with finding a partner through SheLovesHer, the latter takes the first step in fulfilling her dream. Through online dating, she finds a woman named Denise who lives in Canada. They hit it off, and soon, Audrey moves to that country. Together, they have twins, while Audrey struggles and grows. But when she unearths a secret about her mother, everything about her identity as a mom, daughter, and a person with mental illness changes. How can she create closeness from roots of deep alienation? With humor, honesty, and complexity, Audrey learns that healthy love means accepting gains and losses, taking off the blinders of fantasy, and accepting the messiness that defines human families.

I adored Audrey. She is a lesbian and Jewish, and she has an anxiety disorder. Also, she was adopted. Even with all of those identifiers, she is still relatable. She wants to create a healthy family, but there are so many obstacles like finding a partner, getting pregnant, and realizing how her adoptive mother raised her. But, in that journey, she makes some decisions that would easily irk some readers. For example, when she and her wife discover that they are having twins, one of them has Down Syndrome and heart problems. Because of the stress of raising a severely disabled child, they put the baby up for adoption. Also, Audrey is a pushover. Over the course of the novel, she develops the confidence to stand her ground. This is especially true when she has to confront a close friend about why she and her wife were being shunned from their inner circle and later, she does the same thing with her adopted mother when wanting to find out the truth surrounding her adoption. Both were quite satisfying. 

In addition, I love the other characters and their relationships with Audrey. Denise is the French-speaking woman that she finds online, and readers can easily see why they were meant to be together. Both are creative and have experienced oppression in their own ways. At the same time, Denise has her own baggage since she was cheated on by past lovers. This is why she kicks Audrey out of the house when the latter tells her about her crush on the theatre director. Their relationship realistically evolves during the course of the book. It takes some time for Denise to understand and forgive Audrey. Audrey also reveals why she wanted Denise in the first place because she wanted to move to Canada to secure her healthcare coverage; she still loves her nonetheless. 

Jessica is Audrey’s straight best friend, who lives in Vermont. She is loud, sassy, and caring. She is the one who encourages Audrey to go onto her journey in the first place. They bring out the silliness in each other, and scenes with them made me happy. My favorite part was when Audrey comically chases Jessica around with a “deadly pizza crust” in her Vermont apartment (p. 42). Jessica, too, has her own trauma since she’s a recovering alcoholic whose brother died recently. In fact, Jessica and Audrey met at a wellness facility while both were going through their therapies. However, when Audrey moves to Quebec, Jessica experiences some personal problems. What happened to her was extremely devastating, and Audrey must make certain choices alone as a result.

A small thing that I liked about the book was the short chapters. Most were no more than 5 pages, and there were 87 of them. The more I read the book, the more I realized that this was a deliberate decision made by Schwartz. Audrey gets overwhelmed when she has to read a lot of pages. By making the chapters short, it makes the story more authentic to Audrey’s character. In other words, it feels like Audrey wrote the book even though she would rather express herself through drawing.

I have only one nitpick, and that’s the structure. There are sections labeled stages. The first is “The Sensation of Falling,” the second is “Eye Movement Stops, Brain Waves Become Slower,” the third is “Beginning of Deep Sleep and Parasomnias,” and the last one is “Deep Sleep.” I’m not entirely sure what each of these signify, and what happens in each section doesn’t make it any clearer. Maybe someone who has experienced insomnia or some form of anxiety might understand this more. After all, Audrey displays panic attacks, excessive worrying, and sleep trouble throughout the book, and those issues are acknowledged and dealt with realistically. All I’m saying is that the structure with the four stages didn’t feel all that necessary.

Falling Through the Night by Gail Marlene Schwartz tackles the universal theme of creating families with a unique example. Given Audrey’s circumstances, it shows the obstacles of making such a thing happen realistically. All of the characters are fleshed out, and their relationships are believable. I would recommend this book to those interested in reading stories involving LGBTQ+, anxiety-prone, and/or adopted protagonists; Canada; and families. The novel is out now, so go get it!

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The Last Days of the Midnight Ramblers Book Review

Full disclosure: I was given a free advance reader copy of this book by SparkPoint Studio and Netgalley in exchange for an honest review.

Lately, there has been an influx of fictional celebrity-based stories within the last 10 years. They usually tell the story of the subject in question through an interview. The most well-known books that follow this formula are The Seven Husbands of Evelyn Hugo and Daisy Jones & The Six both by Taylor Jenkins Reid. Another novel The Last Days of the Midnight Ramblers by Sarah Tomlinson, which got published recently, has a similar premise with a unique take, but it falls flat in key places.

The Last Days of the Midnight Ramblers is about the complicated legacy of a legendary rock band and the ghostwriter telling their story. Mari Hawthorn just landed the biggest job of her ghostwriting career. Anke Berben – model and style icon – needs someone for her memoir. In the 1960s, Anke was in headline-grabbing romances with three different members of the influential rock band The Midnight Ramblers. They were known for their backstage antics as well as for their music. Outside of the members themselves, Anke is the only one who truly understands the relationships, betrayals, and suspicions that have elevated the band into mythological status. This isn’t more true than the enduring mystery around the death of Mal, the lead singer and Anke’s husband in 1969. 

Decades later, rumors have still circulated about what happened. Was it a suicide or a homicide? Anke and the other members have kept that silent. As her ghostwriter, Mari must integrate herself into Anke’s world, coaxing stories out of her that will be worthy for the book. She developed the skill of navigating the fatal charms of the rich and famous due to her narcissistic, alcoholic dad. However, she soon stumbles upon far more revealing items than anything she couldn’t have imagined. It’s not just a celebrity tell-all; it’s about redemption.

Let’s start off with what works. I liked the ghostwriter aspect of the story. It’s unique since I don’t think this has been done in a novel like this. Every chapter begins with tips for how a ghostwriter should approach and interact with their subject, and they correlate with what Mari is trying to do with Anke. Sure, Mari’s backstory of dealing with an alcoholic father who gambled much of the family money is a bit belabored. However, this primarily enforces how she was able to develop her skills as a ghostwriter and her need for the job as she and her sister Vivienne scrape by. I felt invested in Mari’s journey to write Anke’s story as a result.

Now, let’s discuss the drawbacks. The first is a bit of nitpick. When the subject in question is a fictional version of something in real life, it’s best NOT to refer to the latter. It stirs up a lot of questions of how both could possibly exist in the same story. For example, even though the titular band in Daisy Jones & The Six is clearly paying homage to Fleetwood Mac, the novel doesn’t mention the latter band at all. As for the Amazon Prime show, it includes a song from the Rumors album that plays during a pivotal scene in the penultimate episode. Now, this would be crossing the line, but because it uses a deep cut from that LP, it narrowly gets away with it (unless one was looking at the sidebar which displayed which tune was playing at the moment that one could download from Amazon Music). 

With The Last Days of the Midnight Ramblers, the band in question is supposed to be the Rolling Stones. They are a group that started in the 1960s and are still going after 55 years. The lead singer Mal Walker is the fictional version of Brian Jones – the original rhythm guitarist who ended up drowning in a pool under mysterious circumstances in 1969. Even Anke Berben is supposed to be Anita Pallenberg – an Italian-German model who had relations with both Jones and Keith Richards. However, Tomlinson makes the grave mistake of name checking the Rolling Stones in the first few pages. This took me out of the story since it led me to question how both bands could exist simultaneously in that novel. 

My real complaint about the book is how readers don’t get a clear sense of why they should care about the Midnight Ramblers. We are told that they “were among the world’s biggest rock stars, having provided a soundtrack of bohemian flair for three generations..with hit singles, going back to 1964, including ‘Bought on the Never Never,’ a young anthem for generations” (p.9).

They had Grammys and even an Oscar. However, it’s not clear what made them truly famous. What made them appealing to the bohemian crowd outside of their look? What was their music like? How did they perform? What about the chemistry between the band members? Why should we care about Mal’s death? What readers know about them is almost like a stereotypical mid-to-late 1960s British band with the sex, drugs, and backstage tensions. We get some lyrics, but not much. In Daisy Jones & The Six, author Taylor Jenkins Reid paints a clear picture of why that group became famous. It was due to their bluesy-rock sound, Billy and Daisy’s lyrics, Daisy’s unique vocals, and their chemistry while they sang together. Meanwhile, Tomlinson – a ghostwriter herself – spent more time in the present with Mari than in the past with the Ramblers. This would leave readers wondering why we should care about that band in the first place if we don’t know why they were able to maintain their legacy for so long. If Tomlinson struck more of a balance, then the premise could’ve worked more.

The Last Days of the Midnight Ramblers by Sarah Tomlinson is just another fictional celebrity-based novel. It tries to stand out with its ghostwriter angle, but the novel leaves what should’ve been the main focus – the band itself – left in the dust. I would only recommend it for those who love characters who are ghostwriters and want more than just a manual on how to become one. People will continue to love fictional famous people like Evelyn Hugo and Daisy Jones & The Six from their respective books, yet they will most likely not get any satisfaction from the Midnight Ramblers.

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Interview with Suzette Mullen

Full disclosure: this interview has been edited for clarification.

Hello Everyone,

We got something special for you all on Book Reviews by a Chick Who Reads Everything today. We have a guest who is the author of the new memoir The Only Way Through is Out, a book coach, and who works with LGBTQ+ nonfiction and memoir writers. Please welcome, Suzette Mullen! Hi Suzette!

Suzette: Hi Emily! I’m so happy to have this conversation with you.

Emily: Same here! I have a lot of questions for you, and I know you’ll certainly enjoy them.

Suzette: I hope so!

Emily: What was the catalyst for writing this book?

Suzette: Great question, and I’m smiling because when I start working with a writer, this is the question I ask them. Why write this book? I’ve had to think about that question and the answer myself, and the first reason I wrote this book was I was trying to understand this experience that I had been through, and I think that’s very typical for memoir writers. We’ve had this profound experience or some event that has happened in our lives, and we know it’s important, but we maybe don’t fully understand it, so we write to unpack the experience and connect the dots and look into our past to see how we got here. That was the initial catalyst for me to write the book.

As I continue to write and to continue to understand for myself, then it began to become a story to share with other people, and particularly other women and any human who is contemplating a big change, particularly at mid-life after when they had an established life. I was a part of a Facebook group that was a support for women that were questioning their sexuality and/or coming out later in life. I know we were all looking for other people’s stories to see if there were people that got to the other side, so I wrote my book for them. The dedication of the book is really for every human who is longing to live out loud and that isn’t afraid of the cost.

Emily: That’s wonderful, and I really enjoyed those sections when you’re talking about the La-Las and how wonderful they really are.

Suzette: They were, and many of them remain as very close friends of mine. The original Facebook Group that I speak about in the book no longer is in existence although there are several other groups that splintered off from that group, but I got to not only know many of those women online, but also got to know several of them in person, and some of them I count them among my closest friends, and they really were a lifeline for me.

Emily: That’s wonderful. Everybody needs a lifeline. As you mentioned, there was a part where you discuss the difference between someone worrying you and someone being concerned about you. I’m glad those friends, especially Jen, were concerned and threw you a line. That was wonderful to hear about. Sure, the part when you were going through your nervous breakdown was tough, but the fact that you had the members of the La-Las be there for you from the very start of your journey is a very beautiful, breathtaking experience.

Suzette: Thank you. Yes, I think that one of the learnings in this whole experience, then certainly living it, and now writing it is I got a much deeper understanding of what true friendship is really about and the importance of community because we all have struggles in our lives, and I’ve certainly had some before this, but this was the big one of my life, and hopefully, it will be the biggest one of my life. I have no idea what’s coming up on the other side. I needed friends and community more than I ever had, and I was very fortunate to find those people.

Emily: You expressed a lot of fears of coming out, especially how it would impact your marriage and family. How did you deal with them?

Suzette: The whole coming out process for me (and I don’t think this is terribly unusual) was a process. It wasn’t one day I woke up and was like, “I’m gay! I’m coming out!”

It was the first awakening to the feelings. Then the questioning was, “Is this really real, or is this just in my head?” 

So, when I finally came to terms with what was true for myself, I had a big decision, which really was, “Okay, this is true, and what do I do about it?” because I was in an established life. At the time, I was in a marriage that was close to 30 years, and every marriage has its challenges, but I say, overall, I had a pretty good marriage with this one very large exception, and I really needed to make the decision. I think it was less about coming out in terms of coming out as queer. It was more about leaving an entire life that I had because I didn’t know what it was like to be queer. I didn’t know what it was like to live as a queer person. I think that’s true for anyone before they come out, and you don’t really understand what this new life is going to be like. For me, I don’t think it was a real fear of what it would be like to be a queer person living that life in the world. Of course, it’s the fear of the unknown, the fear of not knowing what it’s going to be, but for me, I think the deeper fear of what kept me in the struggle for as long was this push and pull between what I was longing for in my desire and this life that I knew that had a lot of good in it and with the people, particularly my husband and others that I deeply cared for. I didn’t want to hurt them. 

Emily: That’s completely understandable. There are books that talk about very similar things where they were, “How will this affect my life? Can I keep the life I have?”

But, as you have realized in your book that there were some things that were going to happen, and you were going to leave some things behind. I can’t imagine what you went through, but at least, you’re happy, and you honored your vows as you quote in the book.

Suzette: What we’re talking about here, I think this is what I hope my readers will connect with: this more universal struggle because people that are in a similar situation where they come to terms with their sexuality later in life, they have to make a decision: do I stay or do I go. Yes, they can relate to my story, but I also really deeply believe that many of us, if not all of us, will face situations in our lives where there’s something else out there we have a desire for or that we’re longing for. There’s some clarity inside us that this is something for us, and going after our desires in many situations will impact the other people in our lives, and there’s this push and pull of do I have the right to go after what I want, is that “selfish?,” is that the right thing to do?

I can’t answer that for anyone else, but I hope my story will provide to those readers that someone else was struggling with those same kinds of questions. They are not alone, and this is my story of how I resolved these questions.

Emily: How has your family and Reenie reacted to this book (or do they even know) that you wrote this book?

Suzette: My family definitely knows I’ve written the book, and at the time of this recording, they have not read the book yet, but they know generally what’s in it. I would say to the extent that they’ve shared with me, they are very supportive. My two sons have been wonderful through this whole process. My sister [came] to my book launch, and my mother is in failing health, so she’s not able to come to any of my events. My family has generally been supportive, and they know about the book. Reenie, I know that she knew at some point that I was writing a book. We are no longer in a relationship, so I can’t really answer that question of whether she knows or she doesn’t know. She definitely did know at one point when we still had a bit of a connection that I was working on a book.

Emily: How and why is it possible to be in decades-long denial about your sexuality?

Suzette: That’s a good question. I have spent quite a bit of time thinking about that, so I can only answer it for myself, but I assume that there’s other people, who’ve had a similar situation, who can relate to some of this. I would say for me, there’s at least three reasons. One is the time that I grew up in. I’m in my early 60s now, so I was in high school in the 70s. I’m sure there were people in my entire high school that were gay. There was literally nobody who was out openly and same thing with teachers. After the fact, many years later, I learned that they were definitely gay people in my high school, so some of it, I think was the time.

I didn’t really have role models. Being gay was in the shadows, and it was shameful, and people routinely were using slurs to refer to gay people.

I have also looked back and seen this pattern of a life where I chose to be a rule-follower. I chose to make safe choices, and those safe choices led me to a very nice life, but a life where I was afraid to take risks, so I think some of this was also just my childhood imprinting and conditioning that I didn’t even allow myself to go there. As readers will see when they read the book, there were definitely signs along the way, and it all seems so obvious right now on the other side, but it wasn’t at the time.

So, I think the times, childhood imprinting, lack of any role models, and maybe the other reason was that I was in a nice life. I really was. Maybe there was something around me that was not willing to go there. I really have come to believe that people come out when they are ready, and for whatever reason, there were probably many many reasons, some of which I hope I have just shared, I was not ready until I was ready. Then, there was a moment that set things in motion, and I started seeing things that were definitely true for me that I hadn’t been able to see before then.

Emily: All those reasons are completely understandable. How did you navigate divorce and dating in mid-life?

Suzette: With divorce, what I’ve come to realize is no matter what, it’s very hard. I was fortunate that mine was relatively amicable, and it’s still very hard. It’s the loss of a dream, the loss of a life that you expected to have. I never expected in a million years to be divorced. It was scary. I hadn’t lived by myself ever in my entire life. I’ve gone from college to having a roommate and having roommates in law school, and then getting married. I have never navigated life on my own  really without a partner. It was scary, and there were a lot of things that I had to learn much later in life, just a lot of practical things that my now ex-husband did in our relationship. It was hard. Dating was definitely interesting because I had met my husband when I was 22, and I had virtually no dating experience ever in my entire life, and here I was in my mid-50s navigating not only a completely new world of dating with online dating, but also I was dating women. I do discuss a good amount of that in the book. I don’t want to give too much away, but it’s definitely an adventure, and I did not have any disastrous experiences. I know that some people do. It was a brave new world out there, let’s just put it that way. Internet profiles, and learning what was appropriate, what was safe, and all other things.

Emily: As someone who is a child of divorced parents, seeing that first hand, while I was still living with them and doing graduate school, was tough. It started off amicably, but it soured over time. Reading those sections certainly brought up some things about that time period when my parents were divorcing, but absolutely real on that.

Suzette: It was interesting, and this is something that many of the women in the later-in-life support groups that I was in. I’m still in several others. When the couple decides to divorce, and not everybody does, but for those who do, the whole thing about telling your children no matter what age they are is hard. Different ages, different challenges. One of the almost universal experiences is that with the children, whether they are younger children or mine were young adults, there was less trauma about the coming out part, but it was the divorce part. Of course, that’s hard. It’s hard to hear that your parents are no longer going to be together. Even with my children, who were no longer living at home, it didn’t impact their day-to-day life, but it impacts their life for sure. That was one of the things that I struggled with. I didn’t want to cause anybody pain.

Emily: That’s another recurring theme. You talked about taking risks and being safe, and that falls into how you didn’t want to hurt anybody. That’s why you took the path of being safe.

Suzette: Exactly. 

Emily: Speaking of taking risks and being safe, I have a question relating to that. Have you taken any risks as of late?

Suzette: Well, let’s see. To state the obvious, writing this book and putting my story out into the world does feel risky, and it does feel very vulnerable. I’m thrilled that I am where I am, so I took a big risk in my life that led me to this story. One of the decisions I made on the other side of leaving my marriage and coming out was a professional decision. I pivoted from some other work that I was doing, and I decided to become a book coach. On its face, that doesn’t sound like a big risk, but one of things that I have chosen to do in the past two to three years is to really focus my business on working with LGBTQ+ writers. How I would answer your question is I feel like I have taken risks in terms of being more and more visible as a member of the LGBTQ+ community, both in terms of my professional life and in my personal life. One of the things in the book was an email I sent to some friends shortly as I was coming out, and I was not able to really label myself at that point. To be clear, I don’t think anybody has to label themselves, but I certainly at the time wasn’t able to. In the email, I said, “I’m not ready to wrap myself in a rainbow flag.”

I was just feeling my way into my new identity in life. So, I am no longer afraid to wrap myself in a rainbow flag. If you look at my website or my social media, I’m wrapped in a rainbow flag a lot. In America today, depending on where you live and who you were doing life with, that is risky. It’s a risk I’m willing to take obviously.

Emily: That leads into a follow-up question. How would you respond to people who say, “You’re shoving your lifestyle down our throats. We don’t want you to do that.”

Suzette: Here’s how I’ll answer that: anyone that uses the term lifestyle is not an ally of the LGBTQ+ community, doesn’t understand that it’s not a lifestyle. It’s an identity. I had a book coach on, and we are always thinking of who’s our reader and who’s our audience. What I would say is anyone who would say that is not my audience, and there are going to be haters out there. I am preparing as well as anyone can be prepared for those kinds of comments. I had an essay go viral on today.com a couple of summers ago. It was called “The Subaru Should Have Been a Sign.” It went viral. I made the rookie mistake of reading the comments, and the first few comments were really positive, and then, there was vitriol and also just sort of cluelessness. There were all these comments like, “I drive a Subaru, and I’m not a lesbian.”

They didn’t get the irony in the comment, and there were those ugly comments. That just comes with the territory, and those are not my readers. That’s not who I wrote the book for.

Emily: Every book is going to have their audience, especially whether they are intended for or ones who are willing to open their minds.

Suzette: Exactly. I do have a hope that I may have readers who find their way to my book, whether someone buys it for them, or hands it to them, someone who is in the LGBTQ+ community wants to hand their book to a family member to maybe help them understand their experience. Maybe some hearts and minds will be changed, and if that’s the case, that will be fantastic.

Emily: Absolutely. Earlier, you were talking about your work as a book coach. Could you tell us more about your work?

Suzette: Yay, I’d love to. So, I have a group mentorship and community called “Write Yourself Out.” It’s exclusively for LGBTQ+ memoir and nonfiction writers. I launched that in April 2023. I currently have 17 writers in there, and they are amazing humans, who are getting clear on the story they want to tell, and I’m meeting where they are. They are working on their books, and they’re in a safe, supportive community, and that’s really important to me. That’s the joy for me, and I love that work. I also do work with writers one-on-one, and I do work with straight writers occasionally, especially if their project aligns with my values, and they have something important to say. I have a client right now, whose book is coming out in August, Sarah Wells, and the book is called Go Ask Your Mothers, and it’s about supporting moms returning to work. It’s a really important topic and a really important book. I feel very privileged at this stage of my life to have found work that I love and feel aligned with who I am, and that’s one of the deep joys of this chapter in my life.

Emily: That’s wonderful. I’m glad that you are able to find meaningful work, do what you love, and help others to achieve their goals and their own happiness. It’s using your own platform to help others. That is wonderful because I know there’s always this pressure when you have a certain platform, you have to commit to it 100%, and if you don’t, then people might see it as performative, but the way that you talk about it, it’s absolutely genuine. I just feel how much you love working with the writers, regardless who they are. I’m looking forward to reading their books sometime, and who knows, maybe their books will appear on Book Reviews by a Chick Who Reads Everything.

Suzette: That would be an amazing full circle moment. One of the things that I’ve come to discover in this whole journey of this professional and personal leaps that I’ve made at midlife is that when you’re not living authentically in one aspect of your life, it spills over into everything, and the converse is true. When you are living authentically in one area of your life, it spills over to the rest of your life. When I made this big change in my personal life, all of a sudden, my professional life started blossoming as well. I was finally feeling at ease in my life and in my own skin, and it really did spill over into my professional life as well.

Emily: That’s fantastic! I’m glad you’re living the most authentic life as it can be.

Suzette: Thank you!

Emily: You’re welcome. There are so many memoirs about people realizing that they are queer in midlife. Did you feel pressure to stand out from those books at any point?

Suzette: That’s a great question, and it’s certainly something that I’ve talked to my writers about. Not that all of my writers are at mid-life, or even writing about coming out. There’s this, “Somebody else wrote a coming out story.” 

I know that and that you did a review of one that came out this summer, and I’m fully supporting that writer, and I’ve amplified her book on my platforms. Here’s what’s true. There is a limited number of categories that books fall into. There’s grief memoirs, coming-out memoirs, there’s travel, etc. There are these categories and these buckets of books, and what makes each story different is the particular specifics and the particular details and obviously the writing voice. While on the plot level the actual things that happened, there could be a lot of similarities in people’s stories, the internal experiences, how it’s expressed, and the specificity, that’s what makes the book stand out. I didn’t get too wrapped up about that. I was focused on writing the truest story that I was able to write and to dig as deep as I could dig to uncover what my story was really about.

In addition to this theme of safety and choosing safety over risk throughout a good deal of my life, there was this persistent character of my inner voice. In the earlier drafts, that inner voice was in the story all along, but I didn’t really see the thread of that inner voice or view that voice as a major theme that turns into a major character. Once I saw that, that helped me see connections in my story. For anyone who is thinking about writing whatever their story is, there is that natural feeling of, “Oh, there’s these other books out there that are on the same topic.”

It doesn’t matter what the topic is. If you can write your story authentically, you have something to say, and you’re clear on why you want to say it, there’s room for your book too. When I was working on my book, Untamed came out of all things, so you have Untamed by Glennon Doyle – multi-million-copy bestseller. The context of that book is her coming out later in life, but I don’t think we would necessarily call it a book about coming out later in life, but it’s easy to let those things stop you, and I would encourage those writers to focus on what their story is and what their particular angle is of how they can add to the conversation about a topic that other people have written about.

Emily: So, it’s just like any other book where you’re always going to find books that have similar themes and topics. It’s like you said. You have to be authentic about it, and hone it on what your focus is. If they’re honest about it, then readers will feel that and gravitate towards it.

Suzette: Yeah, absolutely. When I had an exchange with the editor, who ultimately decided to take my book to the University of Wisconsin Press, one of the things that he said was that one of the reasons they were attracted to my book and my story was that the introspection, the internal struggle that I had over these things that we’ve been talking about and how I, as he said, “effectively communicated what that struggle felt like.”

And that’s the angle of my book. Your people have a different angle. I think that’s how I would answer your question.

Emily: One of the best parts of your memoir is the conflict between you and your inner voice, like how your inner voice tells you to do this, but then, sometime later, it’ll go, “Umm, I don’t think that’s a good idea.”

How you wrestle with it is like “How should I trust my inner voice? I’m all confused!”

Suzette: I think that’s another place that I’m tapping into something universal for everyone. Every human has an inner voice. Every human hears something inside them. What is it, the voice of fear that you’re hearing, or is it your intuition, your truth? Sometimes, that can be hard to distinguish, so that whole idea of listening, what is true, and finding the courage to act on it. Whatever it is, it doesn’t have to be about later-in-life sexuality. It can be about a bunch of different things.

Emily: I have a specific question for you. I run the “Adapt Me Podcast,” where a guest and I talk about books that have never been adapted and how we would go about it. If The Only Way Through is Out ever becomes adapted, who would you cast as yourself in a possible adaptation?

Suzette: That is such a great question, and I have actually thought about it. And if she’s listening, please, I would love Laura Linney. I adore Laura Linney. She’s about my age, and I think she’s just an amazing actress. My sister was in college for one year with Laura Linney. She didn’t know her well, but she knew of her. My sister and I went to see a Broadway play last year, and we waited at the stage door. Laura Linney came out, and we had a little exchange. I think I even have a photograph of her. Laura Linney, if you are listening, I would be so honored if you would play me.

Emily: That’s wonderful. She is such a great actress. I love her in The Truman Show.

Suzette: Yeah, she’s great. It’s so funny that you asked that question because it’s one of the fantasies that “Oh my god! The book will be picked up and turned into a screenplay or a tv series.”

There’s an audiobook that is in production as we speak. That book will be out in the summer. I was able to have a role in choosing the narrator. That’s a wild experience to hear somebody else read your words.

Emily: If you don’t mind me asking, who is the narrator?

Suzette: I don’t know if that’s public or not, so I’m not going to share it just because I honestly don’t know if that’s public or not. But, what I can say is that the narrator is a very experienced narrator. She has narrated at least 150 books, so I’m really excited, and in fact, literally yesterday, I got the first draft of her recording. Part of my job with somebody at the publisher is to listen to it word by word, and we have a spreadsheet to note anything that we want changed. It’s like a whole other edit, but it’s for audio instead of on the page.

Emily: That’s amazing! Wow! From an author’s perspective, that’s got to be exhilarating and also stressful. In a way, you do have some control like how it’s being presented through the audiobook, but at the same time, you’re letting this person interpret your life. I’d imagine so many things going through your head while you’re listening to that, especially how this person eventually will voice your family members as opposed to voicing the inner voice.

Suzette: Right, right. I’m learning a lot. It’s a very interesting process. I think every narrator has their own style. Some narrators do more voices like they really change the characters. Some narrators just slightly change the voice, so it’s clear that someone else is speaking, and my narrator is more in that style. But yay, you hit the nail on the head. There’s this tension between what I would expect the toning, the inflections, and all of the other things to be and also allowing this professional actor to interpret the book, so I think we’ll find a middle ground there if there’s something. We already have samples that we got to listen to and give some feedback on. It’s a very interesting process. It really is.

Emily: That’s amazing to hear about! I had no idea that the book was going to be adapted as an audiobook, so I can’t wait to hear more about it.

Suzette: I did not know it was going to be either, and that was a really lovely surprise. In fact, it’s only the second audiobook that my publisher has commissioned, and they’re anticipating doing many many more, but audiobooks are by far the fastest growing format of books right now. It’s really exciting to have that as an option for my audience.

Emily: What are some other projects that you are working on?

Suzette: The book promotion is the number one thing, running my “Write Yourself Out” community, and doing my book coaching with my one-on-one clients. I have started working on a second memoir, and it’s in the very early stages. I want to explore what happens after the leap, after the big change, and I have a specific angle that I’m looking at, so once I’m on the other side of the real intense book promotion and after Pride month, I can take a deep breath, and turn my attention to the next book project.

Emily: That’s fabulous. I certainly can’t wait to read that book and listen to the audiobook when they come out. Thank you, Suzette, for coming on. Where can people find you?

Suzette: Thanks for asking. The two best places to find me are my website yourstoryfinder.com, and I’ve got all the information on my book and about my book coaching and on Instagram @urstoryfinder. And, I want to mention one more thing. I have created a really fun, free, and interactive resource called Behind the Scenes: An Insider’s Guide to The Only Way Through is Out. It’s a little mini-ebook, where I have shared five scenes that didn’t make the cut in the book, and I analyzed why I wrote them in the first place, why I decided to cut them, and I got some tips on revision for writers. Also, there are some scavenger-hunt questions for readers. It turned into this fun project, and I think readers will enjoy it because it gives them a little more context. For example, I’ll share a deleted scene. I’ll say all the things of why this scene got deleted for this reason, this reason, and this reason, but there’s a sentence from this scene that made it into the book, and I’ll give people a little bit of clues about where they might find it in the book. It’s like a playful scavenger hunt in some ways. It’s a free resource on my website.

Emily: I don’t think that there has been any other book that has done this, at least not to my knowledge. That’s amazing!

Suzette: It ended up being really really fun, and I think it actually turns out to be a really meaty resource for writers, and it’s also a fun behind-the-scenes look for readers.

Emily: Perfect! I can’t wait for readers to actually take a look. Before we go, are there any other things that you wanted to talk about?

Suzette: One of the things that I ask my writers is to always think of their readers, think about what they want their readers to feel, and what’s the takeaway for their readers. I’m pretty clear on what my takeaway is, and I’d love to share that. I hope that when my readers finish my book, they will feel the message of it’s never too late to live their life, it’s never too late to live out loud, it’s never too late for a new beginning, and that my story will give them confidence, if they are contemplating changes in their life and maybe they’re wondering if it’s too late. I know that it doesn’t matter what age you are. You often think it’s too late wherever you are in your life, and that’s really the message I do want to leave people with that it’s never too late to live out loud, and there is a cost to choosing authenticity. In my opinion, it’s worth the cost.

Emily: That’s wonderful. Thank you, Suzette, for coming on. It’s absolutely a pleasure talking with you today. I cannot wait for people to read your memoir, feel the things that you went through, see if they want to share it with other people, and identify, if they are LGBTQ+, the things you have been through and what they’re going through, and even relating that to straight members and allies.

Suzette: At the end of the day, writers write because they want to connect with readers. We want to make an impact. We want to make a connection, and my hope is that my story will connect with people who are both LGBTQ+, also people who are straight, and people who are longing for something in their life and maybe they’re afraid to step into it, or they’re afraid that it’s too late.

Emily: Thank you for coming on. I love talking with you, and I hope you have a wonderful rest of your day.

Suzette: Thank you so much, Emily. I really appreciate you taking the time and reading the book and doing all the things. I thank you so much!

Emily: You’re very welcome! For those who are reading Book Reviews by a Chick Who Reads Everything, please go out and get The Only Way Through is Out by Suzette Mullen. It’s out now, so go grab it at your local bookstore, or check it out at the library.

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The Only Way Through is Out Book Review

Full disclosure: I was given a free advance reader copy of this book by Books Forward in exchange for an honest review.

Ever since I read Late Bloomer: Finding My Authentic Self at Midlife by Melissa Giberson, I have been curious to read more LGBTQ+ related stories. What I didn’t realize is that there are a handful of memoirs like Late Bloomer that tell the tale of people realizing their true sexual orientation later in life. These include Finally Out: Letting Go of Living Straight by Loren A. Olsen and The Fixed Stars by Molly Wizenberg. Another one that will come out tomorrow is The Only Way Through is Out by New York Times author Suzette Mullen – a beautiful book that creatively stands out in many ways.

The Only Way Through is Out tells the story of how Suzette Mullen realized that she was queer and how she navigated it in her personal and professional life. Suzette always wanted to play it safe not to hurt anyone, and this resulted in a good life. She got law degrees, a kind husband, two wonderful sons, and a vacation home with an ocean view. However, she saw other people walk boldly through their lives and wondered what was holding her back. Then, she realized that she held a deep dark secret: she had been in love with her best friend – a woman – for nearly 20 years and still was. Leaning into those “unspeakable” feelings would put her identity, marriage, family, and life of privilege at risk. After months of inner turmoil and soul-searching, she decided to risk it in order to honor her own vows. Her initial euphoria evaporated under the weight of reality like illnesses, divorce negotiations, and finding out that her husband got himself a girlfriend. When she found herself at her lowest, she called on a friend, who took her to her hometown of Lancaster, Pennsylvania. A bunch of coincidences in that city proved to her that she could live her life as authentically as possible. 

The Only Way Through is Out may feel like another story about a middle-aged person coming out, but it’s unique in a few ways. One is how well written it was. I could follow the story even with all of its twists and turns, while it expresses key components with creative means. For example, when Suzette is figuring out how to balance her marriage to a man after coming out, each writes out four different scenarios: good marriage, good divorce, bad marriage, and bad divorce (p.89-91). When both share their expectations, she realizes that they are different. In another instance, she experiences a nervous breakdown while she’s on her way to Nashville for a convention. As she tries to sleep, she tries to convince herself that she can make it even though it becomes clear that she can’t. Mullen expresses this sequence in time stamps. This becomes the catalyst for her to reach out to her friend Jenn, so she can come and take her to where she’s at in Lancaster (p.186-189). Both illustrate her feelings of what she was going through through good writing.

Mullen also stands out with what relationships she emphasizes. In many coming out stories, the main focuses are the family, their spouses, and how they react. While she does highlight how her sister, mother, and now ex-husband felt after she told them about her sexual orientation, her core concern was with Reenie – her best friend. Reenie was her eldest son’s kindergarten teacher, and they were friends for decades. Suzette’s long-lasting crush on her was the primary reason she went on the journey to discover her true self. This meant being brave and confessing to Reenie about her feelings for her. Unfortunately, things don’t go as planned, for Reenie doesn’t reciprocate. What’s worse is that Reenie gives her an ultimatum: either choose her own happiness or honor her vows. I know that many people in the LGBTQ+ community will relate to that kind of relationship.

What shines the most in this memoir is Suzette’s inner struggle to make the choices that feel right for her happiness. Throughout, she recounts that up until her realization that she was queer, she lived a life of comfort with others deciding for her in terms of what she was going to do. Even her father, when he was alive, lifted her baby carriage over bumpy parts of the street, so she wouldn’t get hurt as an infant. In other words, she played things safe. But when she was figuring out her sexuality, she had a hard time listening to her inner voice. There are sections of the memoir that highlight those “conversations.” In them, she expressed confusion whenever that voice tells her to confess to Reenie about her crush, or not to do it or else it will hurt her in the end. Anybody, regardless of their sexual orientation, will relate to how sometimes, one has to take risks in order to live the life they want.

The Only Way Through is Out by Suzette Mullen is a wonderful addition to the growing number of books about middle-aged people coming out. Her focus on her crush and her intuition help to make the story stand out as authentically as possible. I would recommend to LGBTQ+, straight, and ally readers regardless of age. This memoir shows that it’s never too late to take risks in order to live in the most truthful way.

Before I go, I want to let you know that I had the opportunity to interview Suzette Mullen for the website. The transcript has been posted here
In addition, she gave me a special gift that I want to share with all of you: an ebook of Behind the Scenes: An Insider’s Guide to The Only Way Through Is Out which features five deleted scenes! Check it out here!

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Lily’s Wondrous World: A Day in the Park Book Review

Full disclosure: I was given an ARC of this book from Stress Free Book Marketing in exchange for an honest review.

This year has another first. A type of book that I haven’t reviewed on this website is the picture book. I read a lot of them when I was a Children’s Librarian, but I didn’t have the time to review them. Nonetheless, I’m glad to check picture books off the list. Which one is the first to be reviewed on this website? That’s Lily’s Wondrous World: A Day in the Park by Marc Polett and illustrated by Vasya Baev – a cute and fun picture book that embraces nature in many ways.

Lily’s Wondrous World: A Day in the Park is the first of a four-part series starring Lily and her animal friends. Lily is a young girl who goes to the park. While there, she meets a rabbit named Benny, a squirrel named Nutty, and a dog named Rusty. Together, they have a lot of fun going on adventures, exploring nature, and building a wonderful bond while in the great outdoors.

Like many picture books, it’s a quick read. It can make a 4- to 8- year old pretty excited to go to the park with its bold and bright illustrations. Baev utilized generative AI tools like Midjourney and Stable Diffusion and blended them in with his artistic abilities. The mix between the two feels natural. It looks straight out of a Disney Junior show, which is not a bad thing in this case. A simple story like this needs simple designs. My only complaint is that Lily looks embarrassed when the book tells readers that she and her furry friends “are always here with love and joy and laughter and cheer.” 

Other than that, Baev’s visuals perfectly demonstrate the happy and nature-based story.

The characters’ pop out on the page even if they don’t have any other unique traits besides who they are. I like Lily’s look with her red hair and yellow dress. While a girl with that hair color and a yellow ensemble isn’t new (think Madeline), the look along with a Polly Pocket-ponytail still stands out. Her main personality features are that she loves nature and is friendly. Benny, Nutty, and Rusty are animals that one would expect to see in any Disney-related property. They are cute, happy, big-eyed, and not much else. Considering that this is a story about the park and its wondrous things in it, readers will most likely not expect deep characters.

The text is done in rhyme. These are simply ones that detail Lily’s day in the park. They flow very well. Most importantly, they capture the images seen in the picture book effectively. Some adults might wonder where her parents are, but this is not the kind of book for that. Besides, there are people who let their kids go to places by themselves as long as they come home by dinnertime.

Its main strength is the mood. Since it’s about the wondrous world, the park greatly demonstrates that. The book portrays everything about it, including the meadows, the woods, and the creek as if it was a kid’s first time going there. It’s meant to open their eyes to the natural world, which the book succeeds at with an overall happy vibe.

Lily’s Wondrous World: A Day in the Park by Marc Polett and illustrated by Vasya Baev is a delightful picture book about four friends and their time in the park. The visuals and character designs reflect the cheerful mood with its bold, bright, and Disney-esque designs. If one is looking for something deeper, you will not find it here. It’s a simple story about exploring nature. I would recommend it to kids and adults who love the outdoors and bright illustrations. It’s a nice picture book to start out with; I hope to review more in the future.

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Lie Down in Darkness Book Review

Content warning: this review discusses mental health and racism.

I’ve reviewed a handful of books that many readers would consider to be archaic. They can be considered timeless like A Farewell to Arms and Goodbye, Mr. Chips. Others can be dated to some extent. I’ve talked about both on this website before, yet I’ve never dove into the subject, so I’ll do so with today’s subject Lie Down in Darkness – the 1951 debut novel of William Styron.  It’s a Southern Gothic tale that does well with diving deep into character mindsets, but it’s slightly marred by unnecessary racism.

Lie Down in Darkness is about the Loftis family of Port Warwick, Virginia as they grieve for their daughter Peyton’s death. On the day of their daughter’s funeral, separated couple Milton and Helen Loftis reflect on the betrayals, infidelities, disappointed love, and expectations that led to her suicide. Milton is a man of great charm and infinite weakness, especially for alcohol, while Helen gave all of her love to their physically and mentally disabled daughter Maudie. Peyton is adored by her father and loathed by her mother, and she is ultimately destroyed by that mixed inheritance.

Now, one might think, “Oh, is this another tragedy about a Southern family?”

I can easily see that because the early to mid-twentieth century liked those kinds of stories. They take place in the American South and often focus on family dynamics and the loss of Southern heritage. Examples are books written by William Faulkner as well as movies like Cat on a Hot Tin Roof, A Streetcar Named Desire, and A Summer Place. I especially bring up Faulkner because there are reviews of Lie Down in Darkness that compare Styron to The Sound and the Fury author

Nonetheless, Lie Down in Darkness still stands out in a few ways. For one thing, I liked how the flashbacks jumped back and forth. I was a little confused by this at first, but it made sense because this reflects the parents’, especially Milton’s, state of mind as they grapple with Peyton’s death. While they go through the funeral, both think of what led up to her suicide, which results in the flashbacks. While this isn’t anything new, it’s more realistically executed than say in Goodbye, Mr. Chips.

Another thing that makes it stand out is what separates Milton and Helen. In many stories of this time period, if a marriage is falling apart, it’s usually because of some outside force. For example, the union between Doc and Lola Delaney in the William Inge play Come Back Little Sheba is threatened due to the former’s alcoholism. In Lie Down in Darkness, it starts crumbling after Helen and Milton find out that their eldest daughter Maudie is disabled. This results in the former wanting to take care of her as much as she could, while the latter barely does anything with their daughter and drinks. When Peyton comes around, the opposite occurs. Once Maudie dies (most likely from being too good in that world), they begin to reconcile, but soon after, they are back to being at odds with each other. This ultimately shows that there was something deeper that drove them apart in the end. One character sums it up that Milton has too much love, while Helen doesn’t have enough. Also, the book doesn’t reveal if they got back together in the end, which is a great, realistic touch.

Finally, the novel does a good job with depicting Peyton’s depression. Throughout, she doesn’t get along with Helen because she always felt that the latter didn’t love her for some reason. On top of that, even though she adores her father, once he kisses her at her wedding in a way that makes her uncomfortable, she begins to see him for what he is. Also, there’s a section inserted in the final chapter that portrays the final days of her life. In it, she explains that she feels like her head is underwater. The book doesn’t judge her for feeling that way. She grew up in a household that was full of mixed messages. One parent offers you too much love, while the other doesn’t give enough.  In addition, she is not a saint. Peyton is immature and spoiled, and the novel is fully aware of that. She even ties Maudie up to a tree during their childhood. I’m not surprised that the portrayal of depression is done well because Styron himself would have that during his lifetime. In fact, he wrote about it in his 1989 memoir entitled Darkness Visible: A Memoir of Madness, which is one of his best-known works outside his 1979 novel Sophie’s Choice. It’s a believable portrayal.

Finally, let’s discuss the racism in the book. I get that it takes place in the mid 1940s American South and that the family is an upper-middle class one with two black servants. In many ways, racism informs the privileged environment that they live in, so yes, the mentions of the n-word are to be expected. Money is sometimes talked about since Helen received an inheritance of $20,000 early in her and Milton’s marriage. Also, I understand that Styron had a Northern mother and liberal Southern father, which helped him to understand race relations in the broader sense, but one would not get that while reading Lie Down in Darkness because the black characters that have names and personalities are often portrayed as fat, ugly, primitive, and God-fearing people. And yes, the novel even mentions a group of them eating what else watermelons and chicken. Granted, if these characters existed in real life, they would be racist given the environment that they’re in even though when Peyton marries a Jewish guy, both Milton and Helen think about their prejudice against semitism. Moreover, while being liberal in 1951 is not the same as being so in 2024, the constant use of black stereotypes was still unnecessary, and it slightly ruined the novel for me.

Lie Down in Darkness by William Stryon is both timeless and a product of its time. There will always be tales about family breakdowns, and this is no different. The things that make it stand out are the natural flashbacks, the subversive reason of why the marriage didn’t work, and the realistic depiction of depression. The racism, while reflecting the privileged environment the Loftises live in, threatens to undo what good the novel does. I would recommend it to those who like Southern Gothic novels as well as titles by William Stryon and William Faulkner. On the other hand, I will warn readers about the constant racism and how depressing it can be. Although Lie Down in Darkness is an archaic novel, it’s timeless to a degree.

Before I go, I want to let you all know that the latest episode of the Adapt Me Podcast is out now! Returning guest Zita Short and I discuss how we would adapt this novel. Check it out at this link!

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A Farewell to Arms: A Rant About the Latest Adaptation

About a month ago, news broke that Tom Blyth, who recently starred in The Hunger Games: The Ballad of Songbirds & Snakes, was cast in an upcoming adaptation of A Farewell to Arms directed by Michael Winterbottom. 

My first reaction to it was simply this.

Source: Vecteezy

Why? I’ve already reviewed two adaptations of the novel by Ernest Hemingway already on this website. They were the 1932 movie starring Gary Cooper and Helen Hayes and the 1957 one with Rock Hudson and Jennifer Jones

Neither were that good. The former was decent, but could’ve been better if director Frank Borzage didn’t show off his skill for the sake of showing off, and the latter was all over the place. 

But, the more I thought about it, the more I understood why A Farewell to Arms would be adapted in the 2020s. First off, there hasn’t been a new version of the story in nearly 60 years. Along with the two aforementioned versions, there has been a 1930 play and a 1966 BBC mini series starring George Hamilton and Vanessa Redgrave, but the latter most likely lost its life to the great BBC wipeout. And if one counts In Love and War – the 1996 film starring Sandra Bullock and Chris O’Donnell that dramatizes the real-life events that inspired the book in the first place, then it would be nearly 30 years since there has been A Farewell to Arms-related content (not counting the numerous references to it like on shows like South Park and Family Guy). Therefore, the time seems right for another adaptation (even if I say this begrudgingly). 

Second, there have been an influx of war-related movies that have come out within the last 10 years. These include 1917 and the 2022 Netflix adaptation of All Quiet on the Western Front. In fact, the 1932 version of A Farewell to Arms was released two years after the latter original film. So if we have another adaptation of All Quiet on the Western Front in the future, then another one of A Farewell to Arms is bound to happen. 

Third, of all the novels that Hemingway wrote, A Farewell to Arms is one of his best known. Say what you want about the man, the myth, the guy who shoves his masculinity down your throat, he knew how to write stories like a timeless wartime romance. It’s not perfect by any means, yet it taps into the doom of the relationship, the power dynamics, and how war can be boring. The fact that it still resonates with people today enough to make another adaptation certainly demonstrates its cultural footprint in literature and in Hollywood. On top of that, another movie based on a Hemingway novel Across the River and into the Trees starring Liev Schreiber premiered at the Sun Valley Film Festival in 2022 with an anticipated release in the United States this year. With that being said, we might see a revival of Hemingway adaptations this decade if both A Farewell to Arms and Across the River and into the Trees do well.

Since the Michael Winterbottom version is set to start filming in Italy later this year, there are some things that I would like to see in order to make it truly work. To begin with, there has to be a constant reminder of war while the romance between Frederick and Katherine blossoms. In both the 1932 and 1957 versions, there was always a separation between the two with the love being at one place while the battles at another physical location. At times, this makes them feel like two separate flicks combined into one. The best wartime romances blend the two aspects together. Look at Casablanca as an example. The affair between Humphrey Bogart and Ingrid Bergman only occurs when the latter’s character comes to Casablanca with her husband in order to fly safely to Lisbon and escape the Nazis. The Nazis are everywhere in Casablanca from the streets to the cafe that Bogart’s character runs. If the Michael Winterbottom adaptation is able to achieve the marriage between love and war, then it will be on the right track.

Another element that I would love to see happen is the mundanity of war. Hemingway includes several descriptions of the Italian landscapes and what Frederick does to show how the character distracts himself from how bored he feels while on the front. Most importantly, Frederick sustains his injury while eating cheese. If that’s not the least inspiring way to get hurt, then I don’t know what is. Combined with newfound love for Katherine and the sense of danger while he’s in the war, this eventually propels him to desert the war entirely. The 1932 version does a better job demonstrating this than the 1957 one with showing Gary Cooper looking disinterested while in the ambulance in the opening scene and how it depicts the bit in which Frederick gets blown up albeit in a cheesy way.

Given the war movies and video games that have come in the last 10 years, they have made battle look cool and fun. I’m afraid that this version might fall into that trap to appeal to the aesthetics of similar portrayals. Granted, many of those depictions are realistic with the amount of blood and dirt on the soldiers’ faces as well as limbs being blown off, but the point of A Farewell to Arms was to display the less exciting side of war that’s full of waiting and strategizing. 

One other facet that should be present in this version is the chemistry between the leads. Blyth and whoever is cast as Katherine should have chemistry because the romance between their characters is the core relationship in the novel. If they do, then it will sell the movie. This was present between Cooper and Hayes in the 1932 film, but not between Hudson and Jones in the 1957 one.

The final feature that I would love to see is not including everything that happens in the book. This is a problem specifically to adaptations of novels by authors who tend to add fluff to a bare bones story. Some screenwriters have been under the impression that they need to include every word no matter how pointless it is to the plot. This is especially egregious when it comes to adapting any Hemingway story (I’m looking at you For Whom the Bell Tolls the movie). That author even coined the phrase “iceberg theory” to show how a writer has to keep it simple. In the articles I’ve read about the new version, Winterbottom makes comments about that theory and how he wants to pare it down to the bare bones to capture the Hemingway spirit. Let’s hope he put those words into action.

The 1932 version of A Farewell to Arms does this best by condensing everything around the romance. If Winterbottom maintains the base of that flick while working on his version, it will work. Also, I’ll give him brownie points if he includes a reference to the weird puppet transition that occurs in the older one.

All in all, while I’m not crazy about a new adaptation of A Farewell to Arms, it can be effective as long as it follows the four aspects I’ve pointed out in this essay. It needs to blend the war and romance in a realistic manner, depict war in a more humdrum manner, have chemistry between its leads, and above all, condense the story. If it does all that, then it might be the best adaptation of a Hemingway novel ever. This would be a monstrous feat because his books still overshadow their film versions to this day. I wish the cast and crew of this adaptation the best of luck.

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Our History Has Always Been Contraband: In Defense of Black Studies Book Review

Full disclosure: I was given a copy of this book from Coriolis Company in exchange for an honest review.

Ever since I read White Fragility: Why It’s So Hard for White People to Talk About Racism by Robin DiAngelo, I have been seeking out resources and stories regarding racism and the marginalized experience. I’ve always been interested in history, especially in areas that aren’t as well known. Black history in the United States is a great example because of the controversy surrounding the teaching of it in schools. One year ago this week, the State of Florida banned them from instructing students in a newly created advanced placement course in African American Studies. Colin Kaepernick, Robin D. G. Kelley, and Keeanga-Yamahtta Taylor address this particular issue in today’s book Our History Has Always Been Contraband: In Defense of Black Studies with powerful readings and essays that effectively tie in past and present struggles with educating people on this subject.

Our History Has Always Been Contraband: In Defense of Black Studies brings together important texts that demonstrate the importance of learning said topic in the United States. These include literature, political theory, law, psychology, sociology, gender and sexuality studies, queer and feminist theory, and history. Many works are present like those by Frederick Douglass, Zora Neale Hurston, W.E.B. Du Bois, James Baldwin, Angela Y. Davis, Octavia Butler, Ta-Nehisi Coates, and bell hooks. The book also contains original essays written by the editors detailing how we got here and pieces by Brea Baker, Marlon Williams-Clark, and Roderick A. Ferguson elucidating on how we can fight back. They illuminate the ways that we can collectively work towards freedom for all in a multitude of ways like abolition, feminism, racial justice, economic empowerment, self-determination, desegregation, decolonization, reparations, queer liberation, and cultural and artistic expression.

The book is divided into three parts: How We Got Here, The History They Don’t Want You To Know, and How We Fight Back. Now, let’s get one thing out of the way. When one hears the name Colin Kaepernick, one might think, “Oh, is that the guy who knelt at the NFL games to protest the oppression of black people?”

Yes, it is that man, and some people will have certain opinions about him. One must set aside their feelings about Kaepernick while reading the preface to this book. It’s the only time in which he writes about something. In it, he summarizes the entire premise of the book with a calm and steady tone while expressing anger at what Florida has been doing to suppress black history in schools. A book about taking action to educate people on black history needs someone like Kaepernick, who has consistently fought for equity in that area. 

That preface sets up Part 1. It contains articles by Robin D.G. Kelley and Keeanga-Yamahtta Taylor that explain the politics behind “forbidding” people from learning Black Studies since the late 1960s. This includes misinterpretations of critical race theory and attacking antiracism. Reading this section started off slow, but it packs in a lot of history within 20 pages. It effectively establishes how Black Studies became so “controversial.”

Part 2 encompasses the majority of the book. Some of the readings are by people that a general audience will more than likely know, while others are probably unknown. The editors selected a wide range of work to show the history that mainstream America doesn’t want people to know written by black people from all walks of life, including the LGBTQIA community. These essays act as a starter kit for those who are interested in learning more about Black Studies because they are powerful pieces that need to be read. “The Meaning of July Fourth for the Negro” excerpt by Frederick Douglass lays down the frustration of many black people as to why they didn’t feel free on Independence Day, and he delivered that speech in 1852. Reading it made me realize why many still express similar sentiments over 170 years later, especially with the line, “There is not a nation on this very earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour”(p. 30).

Another eye-opening passage was “The Propaganda of History” excerpt from Black Reconstruction in America by W.E.B. Du Bois. In it, Du Bois argues that the teaching and learning of history are often used as a tool to defend the status quo. To prove this, he used the work of a woman named Helen Broadman. She studied school textbooks at the time and noted three dominant themes: all black people were ignorant; all were lazy, dishonest, and extravagant; and they were responsible for bad government during Reconstruction (p.44-47). To anyone who actually studied that period in history, none of those assertions are true. This rightfully riled me up.

Other readings that stood out were Octavia Butler’s essay, “The Lost Races of Science Fiction” (1980) and Sami Schalk’s “Introduction: Black Health Matters” from the book Black Disability Politics (2022). The former touches on why marginalized characters are mostly absent in a literary genre that allows authors to use their imagination as to what the future would look like. In fact, Butler asks readers this question, “Are minority characters – black characters in this case – so disruptive a force that the mere presence of one alters a story, focuses it on race rather than whatever the author had in mind?” (p. 81).

The answer is simply yes “if the creators of those characters are too restricted in their thinking to visualize blacks in any other context” (p. 81). In other words, Butler asserts that authors need to expand their mindsets in order to represent marginalized characters in non-stereotypical ways.

The latter discusses Black disability studies, specifically black disabled people’s relationship with race and ability as well as how impairment has been understood in black communities. For example, Schalk discusses the notion that African-American folks have distanced themselves from the concept of disability and identifying as such. She cites Douglas Baynton’s article “Disability and the Justification of Inequality in American History” to show that minority groups had disability discourses thrusted upon them “as justification for their exclusion from full rights and citizenship.” As a result, Baynton argues, “these groups distanced themselves from disability as a means of accessing certain rights and freedoms” and passively accepted that “disability is a justifiable rationale for discrimination and exclusion” (p. 150). 

Even though how black people interact with disability has evolved, especially when considering the black disability studies framework, it makes sense with how being disabled would’ve been seen as another whammy for a community already struggling to obtain representation and respect. On a personal note, I was teased and bullied by some of the black kids at school because of how socially awkward I was, including one that outright said, “I don’t get along with disabled people.”

That and other readings helped me to open my eyes to the struggles of teaching Black Studies.

Finally, Part 3 offers solutions that involve some form of communal and direct action. In her essay, “When Black Studies is Contraband, We Must Be Outlaws,” Brea Baker encourages readers to engage in civil disobedience like organizing rallies, school walk-outs, and teach-ins; reading banned books; and calling out the system that’s designed to keep marginalized groups in their place in order to bring about a more just future (p. 155-158). Marlon Williams-Clark, author of the article, “History Is a Beautiful, Ugly Story, and We Must Teach It” proclaims that to teach Black history accurately, “we must be honest about ourselves and talk about values; values shape what one thinks is important to preserve” (p. 161).

This even means accepting different perspectives of American history, no matter how ugly and horrible it can get. Solutions like these are realistic given today’s circumstances. 

Our History Has Always Been Contraband: In Defense of Black Studies edited by Colin Kaepernick, Robin D. G. Kelley, and Keeanga-Yamahtta Taylor is a highly important anthology aimed at readers who want to understand the urgency to teach that subject. While it’s basically a starter kit, it contains some of the most important essays that effectively drive home the point for the need to educate people in Black studies and history as well as to take action. I would highly recommend it to history and social studies teachers as well as to those interested in learning more about these topics. Books like this one definitely take people, who are looking to get more involved in black activism, into the right direction.

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Death in a Gilded Frame Book Review

Full disclosure: I was given an ARC of this book from Stress Free Book Marketing in exchange for an honest review.

I’ve read a handful of mysteries, but there is one type that I haven’t covered yet: the historical mystery. These are ones that are set in the past, and historical context plays some role in the narrative. The best ones tend to be those that are thoroughly researched while still keeping readers guessing on the mystery. Today’s subject Death in a Gilded Frame by Cecelia Tichi is a clear-cut historical mystery. Does it fulfill its duty? While it’s not perfect, it does a good job with both aspects.

Death in a Gilded Frame is the sixth book in the Val and Roddy DeVere Gilded Age Series. It’s the Summer of 1899, and wealthy people and families are going to Newport, Rhode Island for the yachts and balls. Most importantly, there are famed artists that are eager to paint the portraits of the Society’s “Queens.” Western silver heiress Val Mackle DeVere agrees to sit for one for her husband Roddy, yet she discovers an art gallery manager screaming in silence while his hands clutch the gilt frame that’s pulled down over his head and shoulders, and blood soaks his cream-colored suit. Instinctively, Val reaches for the murder weapon, and as a result, she will find herself suspected, shamed, and shunned from Newport society as she tries to find the actual killer.

Tichi is not only a writer, but also a Professor of English and American Studies Emerita at Vanderbilt University. She has penned several books about the Gilded Age ranging from What Would Mrs. Astor Do?: The Essential Guide to the Manners and Mores of the Gilded Age to Gilded Age Cocktails: History, Lore, and Recipes from America’s Golden Age. In addition, other titles in the Val and Roddy DeVere Gilded Age include A Gilded Death, A Fatal Gilded High Note, A Deadly Gilded Free Fall, A Gilded Drowning Pool, and Murder, Murder, Murder in Gilded Central Park. Can you tell that she loves writing about the Gilded Age?

For those who aren’t familiar with that era, it’s the period between 1870 and 1914 that saw rapid economic growth in American history. This resulted in people who didn’t necessarily come from wealth becoming so. Tichi paints the Gilded Age beautifully and realistically. She establishes Newport as the go-to place for high society with all of its riches and snobbery. Cornelius Vanderbilt was right when he said, “No city on earth is as hostile to outsiders as Newport.” 

Old money families are favored the most, while new money folks like Val can be tolerated as long as they learn to fit in. This establishes the personal conflict that she has throughout the story. I don’t know if this was present in the other books, but it feels like a running theme throughout the series.

I also like the characters. Val and her husband Roderick aka Roddy are an odd couple. While Val is from the West and an heiress of a silver mining business, Roddy is from the East and comes from generational wealth. Additionally, she is progressive in her politics, especially when it comes to women’s rights, but she can be impulsive. On the other hand, Roddy is more conservative and rational. Despite all of their opposites, they love each other and are able to work together to solve various cases, including the one in Death in a Gilded Frame. This is a realistic marriage that I wish more books would explore.

Another standout character is Cassie. She is Val’s best friend who has the ability to sense danger whenever she has her premonitions. Cassie is going through her own issue of trying to conceal her skill because people don’t understand it. She’s like Elsa from Frozen in that way. I would love to see her get more character development in future stories.

In addition, there were cameos from real-life historical figures. They included people like Alva Belmont – the first wife of William Kissam Vanderbilt – and Ellen Terry – a famous English actress at the time. Although they barely had an impact on the plot, these appearances were done tastefully in a way that I had to look them up to see if they were real. Again, I wouldn’t be shocked if this too was a present factor in the series.

As for the mystery of who killed Warren Eccles – the gallery manager, it was effective. It has good pacing in revealing the case’s developments. Also, it does a great job of keeping the readers on their toes on who the culprit is. I didn’t know who it was until the very end, and once I did, what Val does is extremely satisfying. Val does a lot of the sleuthing in this book, but I would’ve loved to see Roddy do some too. There are passages where he talks about going to the Reading Room – a gentleman’s club in Newport – to interview some of the members about what they know, but most of that happens off page.

A unique aspect to this series is that they include cocktail recipes. Since Roddy is a mixologist as well as a lawyer, the book includes ones for three different drinks. These are for a Martini (Dry), The Anticipation, and a Soda Cocktail. People will have to read the book in order to find out what the second one contains. This doesn’t shock me because Tichi had previously written two books about cocktail recipes in the Jazz and Gilded Ages. Not only does this provide a quirky component to the series, but also it elevates Roddy from being the stereotypical 19th century wealthy man.

My only complaint about the book is about the framing. The art frame looks stunning, but it’s the figurative one I have an issue with. Val gets accused of murdering Eccles after she’s seen holding the bloody knife by the body. I felt sorry for her as she dealt with the cruel high society making jokes about her supposed involvement. She even calls Roddy out for not helping her when a man compares her to Lady Macbeth, and she tries very hard not to punch people after making those insults. At the same time, I couldn’t help but notice that she brought it upon herself due to her impulsiveness. One would think that after 5 cases, Val would’ve known not to pick up the murder weapon when coming upon a crime scene for the first time. Even Roddy says, “Don’t.” 

I guess Tichi added that in to give the Newport society a legitimate reason to force Val into the spotlight, yet it could’ve been more in line with her work as well as her character.

All in all, Death in a Gilded Frame by Cecelia Tichi is a highly enjoyable historical mystery. The main characters Val and Roddy are realistic, both as individuals and as a couple. Also, the novel portrayed 1899 Newport sensibly, and the mystery kept me on my toes. I would recommend this to readers who love whodunits, especially ones that are set in the past and contain female detectives, as well as, you guessed it, the Gilded Age! The book is out now, so have a Gilded time while reading Death in a Gilded Frame.

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