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    <title>Anna's bookshelf: all</title>
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    <description><![CDATA[Anna's bookshelf: all]]></description>
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    <lastBuildDate>Mon, 07 Sep 2026 00:07:13 -0700</lastBuildDate>
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      <title>Anna's bookshelf: all</title>
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    <pubDate><![CDATA[Mon, 07 Sep 2026 00:07:13 -0700]]></pubDate>
    <title>The Cry of the Owl</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8912055327?utm_medium=api&utm_source=rss]]></link>
    <book_id>160969</book_id>
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    <book_description><![CDATA[This "extraordinary story" (Julian Symons) begins with an act of naive voy­eurism. Robert Forester, a depressed but fundamentally decent man, liked to watch Jenny through her kitchen window, a harmless palliative, as he saw it, to his lonely life and failed marriage. As he is drawn into her life, however, the recriminations of his simple pleasure shatter the deceptive calm of this small Pennsylvania town. With striking clarity and horrible inevitability, Forester is caught up in a series of deaths in which he is the innocent bystander, presumed guilty. <br /><br />Highsmith has once again, as Graham Greene wrote "created a world of her own, a world claustrophobic and irrational which we enter each time with a sense of personal danger". And that sense of danger grows from the first page to the sinister and chilling conclusion.]]></book_description>
    <book id="160969">
      <num_pages>270</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0099282976</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 7 Sep 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 07 Sep 2026 00:07:13 -0700]]></user_date_added>
    <user_date_created><![CDATA[Tue, 01 Sep 2026 21:35:05 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[Is he a perverted Peeping Tom? Or is he the most normal person in the world, and it's everyone else who's a psycho? Really great book.]]></user_review>
    <average_rating>3.78</average_rating>
    <book_published>1962</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/160969.The_Cry_of_the_Owl?utm_medium=api&amp;utm_source=rss"><img alt="The Cry of the Owl" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1363582952l/160969._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.78<br/>
                                      book published: 1962<br/>
                                      rating: 5<br/>
                                      read at: 2026/09/07<br/>
                                      date added: 2026/09/07<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>Is he a perverted Peeping Tom? Or is he the most normal person in the world, and it's everyone else who's a psycho? Really great book.<br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/8908355524?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 31 Aug 2026 18:24:55 -0700]]></pubDate>
    <title><![CDATA[Can You Forgive Her? (Palliser, #1)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8908355524?utm_medium=api&utm_source=rss]]></link>
    <book_id>374371</book_id>
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    <book_description><![CDATA[Can You Forgive Her? (1864-5) is the first of the six famous Palliser novels which, as a group, provide us with the most extensive and contradictory expose of British life during the period of its greatest prestige. In Can You Forgive Her? Trollope inextricably binds together the issues of parliamentary election and marriage, of politics and privacy. The values and aspirations of the governing stratum of Victorian society are ruthlessly examined and none remain unscathed. Above all Trollope focuses on the predicament of women. 'What should a woman do with her life?' asks Alice Vavasor of herself, and this theme is echoed by every other woman in the novel, from the uncomfortably married Lady Glencora to the coquettish Mrs Greenow and Alice's clear-headed cousin, Kate.]]></book_description>
    <book id="374371">
      <num_pages>847</num_pages>
    </book>
    <author_name>Anthony Trollope</author_name>
    <isbn>0140430865</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 31 Aug 2026 18:24:55 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 31 Aug 2026 18:24:55 -0700]]></user_date_created>
    <user_shelves>currently-reading</user_shelves>
    <user_review></user_review>
    <average_rating>3.97</average_rating>
    <book_published>1865</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/374371.Can_You_Forgive_Her_?utm_medium=api&amp;utm_source=rss"><img alt="Can You Forgive Her? (Palliser, #1)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1357208740l/374371._SY75_.jpg" /></a><br/>
                                      author: Anthony Trollope<br/>
                                      name: Anna<br/>
                                      average rating: 3.97<br/>
                                      book published: 1865<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/08/31<br/>
                                      shelves: currently-reading<br/>
                                      review: <br/><br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/6049380576?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 19 Aug 2026 17:15:58 -0700]]></pubDate>
    <title>Once Upon a Time in Hollywood</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6049380576?utm_medium=api&utm_source=rss]]></link>
    <book_id>55922484</book_id>
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    <book_description><![CDATA[Quentin Tarantino’s long-awaited first work of fiction — at once hilarious, delicious, and brutal — is the always surprising, sometimes shocking new novel based on his Academy Award- winning film.<br /><br />RICK DALTON – Once he had his own TV series, but now Rick’s a washed-up villain-of-the week drowning his sorrows in whiskey sours. Will a phone call from Rome save his fate or seal it?<br /><br />CLIFF BOOTH – Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have gotten away with murder. . . .<br /><br />SHARON TATE – She left Texas to chase a movie-star dream, and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills.<br /><br />CHARLES MANSON – The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ‘n’ roll star.<br /><br /><i>HOLLYWOOD 1969 – YOU SHOULDA BEEN THERE</i>]]></book_description>
    <book id="55922484">
      <num_pages>400</num_pages>
    </book>
    <author_name>Quentin Tarantino</author_name>
    <isbn>0063112523</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 19 Aug 2026 17:15:58 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 14 Dec 2023 09:44:47 -0800]]></user_date_created>
    <user_shelves>bluebeard</user_shelves>
    <user_review><![CDATA[The most interesting thing about this book, in my opinion, is the way it delineates the author's values. Without the cinematic spectacle, what we're left with is Tarantino's ideas and preoccupations in a naked form. Here is none of the goofy fun of the film's impersonations of Sharon Tate, Steve McQueen, or Connie Stevens, or the weirdness of nostalgic clips such as Robert Goulet singing MacArthur Park on TV, or the exuberance of the Hollywood parties, or the undeniable sex appeal of Brad Pitt.<br /><br />What QT seems interested in here is the blackest Los Angeles noir, of a variety so dark that it can't be depicted in a mainstream film. The movie focused more on the comedy aspects of an out-of-work actor, but the book focuses more on the stuntman Cliff's psychopathology. Cliff is a hero because he kills women who deserve to be killed. Everything else surrounding this fact (such as the old Hollywood trivia and endless opinions about movies and the whole Manson angle) is filler and foreplay. The movie, of course, also ends on this note. But what was left intentionally vague in the movie (did Cliff kill his wife on purpose or didn't he)? is the entire point of the novel. <br /><br />In both the book and the movie, Cliff's wife is so annoying that she needs to be put out of her misery. (Is he channeling the Robert Wagner-Natalie Wood scandal by having the murder be unsolved and take place on a boat?) In the book this is done in an absurdist way: she is actually dissected in two, and Cliff has to try to hold the two parts of her body together. But Cliff is a kind of vigilante serial killer, who kills a number of people before offing the Manson girls. In this sense the book contains more suspense than the movie, because any time you know there's a serial killer running loose, you know the climax is going to involve a spectacular kill. And I would argue (I thought this while watching the film as well) that the Manson plot was only included as an excuse to kill young women that the entire world hates, so that the audience would root for their deaths rather than being outraged by the spectacle of a man violently killing women. <br /><br />Tarantino is clearly nostalgic for an era in which extreme misogyny and sexual violence were joyously and overtly expressed. And because that era is in the past and belonged mainly to low-budget pictures, he's continually pushing against the edges of what can be included today in a big-budget Hollywood film. So although this novel felt like an assembly of notes and different drafts for a screenplay, outtakes, and random movie opinions, in so raw a form as to not bother changing tenses between the different piles of papers and files he must have ended up with after the film was completed, the novel might be be a form in which he can more directly express drives and ideas he has been forced to suppress in his cinema.]]></user_review>
    <average_rating>3.85</average_rating>
    <book_published>2021</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/55922484-once-upon-a-time-in-hollywood?utm_medium=api&amp;utm_source=rss"><img alt="Once Upon a Time in Hollywood" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1605626283l/55922484._SY75_.jpg" /></a><br/>
                                      author: Quentin Tarantino<br/>
                                      name: Anna<br/>
                                      average rating: 3.85<br/>
                                      book published: 2021<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/08/19<br/>
                                      shelves: bluebeard<br/>
                                      review: <br/>The most interesting thing about this book, in my opinion, is the way it delineates the author's values. Without the cinematic spectacle, what we're left with is Tarantino's ideas and preoccupations in a naked form. Here is none of the goofy fun of the film's impersonations of Sharon Tate, Steve McQueen, or Connie Stevens, or the weirdness of nostalgic clips such as Robert Goulet singing MacArthur Park on TV, or the exuberance of the Hollywood parties, or the undeniable sex appeal of Brad Pitt.<br /><br />What QT seems interested in here is the blackest Los Angeles noir, of a variety so dark that it can't be depicted in a mainstream film. The movie focused more on the comedy aspects of an out-of-work actor, but the book focuses more on the stuntman Cliff's psychopathology. Cliff is a hero because he kills women who deserve to be killed. Everything else surrounding this fact (such as the old Hollywood trivia and endless opinions about movies and the whole Manson angle) is filler and foreplay. The movie, of course, also ends on this note. But what was left intentionally vague in the movie (did Cliff kill his wife on purpose or didn't he)? is the entire point of the novel. <br /><br />In both the book and the movie, Cliff's wife is so annoying that she needs to be put out of her misery. (Is he channeling the Robert Wagner-Natalie Wood scandal by having the murder be unsolved and take place on a boat?) In the book this is done in an absurdist way: she is actually dissected in two, and Cliff has to try to hold the two parts of her body together. But Cliff is a kind of vigilante serial killer, who kills a number of people before offing the Manson girls. In this sense the book contains more suspense than the movie, because any time you know there's a serial killer running loose, you know the climax is going to involve a spectacular kill. And I would argue (I thought this while watching the film as well) that the Manson plot was only included as an excuse to kill young women that the entire world hates, so that the audience would root for their deaths rather than being outraged by the spectacle of a man violently killing women. <br /><br />Tarantino is clearly nostalgic for an era in which extreme misogyny and sexual violence were joyously and overtly expressed. And because that era is in the past and belonged mainly to low-budget pictures, he's continually pushing against the edges of what can be included today in a big-budget Hollywood film. So although this novel felt like an assembly of notes and different drafts for a screenplay, outtakes, and random movie opinions, in so raw a form as to not bother changing tenses between the different piles of papers and files he must have ended up with after the film was completed, the novel might be be a form in which he can more directly express drives and ideas he has been forced to suppress in his cinema.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6852375898?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 16 Aug 2026 07:33:32 -0700]]></pubDate>
    <title>Last Days</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6852375898?utm_medium=api&utm_source=rss]]></link>
    <book_id>25330133</book_id>
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    <book_description><![CDATA[After being kidnapped by a dark sect with a shocking way of showing their closeness to God, ex-detective Kline is tasked with uncovering who murdered their leader. Will he uncover the truth in time to save himself, take on the mantle of prophet, or destroy all he sees with a rain of biblical violence?]]></book_description>
    <book id="25330133">
      <num_pages>170</num_pages>
    </book>
    <author_name>Brian Evenson</author_name>
    <isbn>1566894166</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 16 Aug 2026 07:33:32 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 16 Sep 2024 15:34:42 -0700]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>3.83</average_rating>
    <book_published>2009</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/25330133-last-days?utm_medium=api&amp;utm_source=rss"><img alt="Last Days" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1448320149l/25330133._SX50_.jpg" /></a><br/>
                                      author: Brian Evenson<br/>
                                      name: Anna<br/>
                                      average rating: 3.83<br/>
                                      book published: 2009<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/08/16<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
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    <guid><![CDATA[https://www.goodreads.com/review/show/8554756005?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 15 Aug 2026 10:03:12 -0700]]></pubDate>
    <title>The Captive: Marcel Proust</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8554756005?utm_medium=api&utm_source=rss]]></link>
    <book_id>65703265</book_id>
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    <book_description><![CDATA[The Captive is a fifth part of a famous novel In Search of Lost Time (Remembrance of Things Past), written by Marcel Proust and known as one of the 100 best books of all time. The novel recounts the experiences of the Narrator while growing up, participating in society, falling in love, and learning about art.]]></book_description>
    <book id="65703265">
      <num_pages>206</num_pages>
    </book>
    <author_name>Marcel Proust</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 15 Aug 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 15 Aug 2026 10:03:12 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 26 Apr 2026 20:47:15 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Delightful. Call me shallow, but my favorite parts were the description of all the Fortuny silk <i>gowns.</i> Those, and M. de Charlus' ridiculous downfall. Proust's realistic examination of life is as always unmatched, as is his honesty. He admits to not loving Albertine, but to desiring her only as a possession, or even to be aroused by the idea of her as a prisoner in his house (thus, the title of the book). Therefore, the entire novel is set up to ridicule him and his frivolous emotions and petty jealousies when she eventually flies the coop.<br /><br />He is particularly jealous about her liaisons with other women (indeed, she seems to be a dedicated lesbian, enjoying his roof only for the societal connections and the gowns), because he knows she can never truly capture her affections. But does he really want to, or does he only want a dress-up doll and a mother? His obsessive jealousy, so similar to the jealousy he felt when as a child in <i>Swann's Way</i> he waited up feverishly all night for his mother's good-night kiss, is at once tediously intricate, psychologically painful, and drolly amusing.]]></user_review>
    <average_rating>4.10</average_rating>
    <book_published>1923</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/65703265-the-captive?utm_medium=api&amp;utm_source=rss"><img alt="The Captive: Marcel Proust" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677863067l/65703265._SX50_.jpg" /></a><br/>
                                      author: Marcel Proust<br/>
                                      name: Anna<br/>
                                      average rating: 4.10<br/>
                                      book published: 1923<br/>
                                      rating: 5<br/>
                                      read at: 2026/08/15<br/>
                                      date added: 2026/08/15<br/>
                                      shelves: <br/>
                                      review: <br/>Delightful. Call me shallow, but my favorite parts were the description of all the Fortuny silk <i>gowns.</i> Those, and M. de Charlus' ridiculous downfall. Proust's realistic examination of life is as always unmatched, as is his honesty. He admits to not loving Albertine, but to desiring her only as a possession, or even to be aroused by the idea of her as a prisoner in his house (thus, the title of the book). Therefore, the entire novel is set up to ridicule him and his frivolous emotions and petty jealousies when she eventually flies the coop.<br /><br />He is particularly jealous about her liaisons with other women (indeed, she seems to be a dedicated lesbian, enjoying his roof only for the societal connections and the gowns), because he knows she can never truly capture her affections. But does he really want to, or does he only want a dress-up doll and a mother? His obsessive jealousy, so similar to the jealousy he felt when as a child in <i>Swann's Way</i> he waited up feverishly all night for his mother's good-night kiss, is at once tediously intricate, psychologically painful, and drolly amusing.<br/>
                                      ]]>
    </description>
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    <guid><![CDATA[https://www.goodreads.com/review/show/5878074831?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 08 Aug 2026 17:30:44 -0700]]></pubDate>
    <title>The Heart Is a Lonely Hunter</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5878074831?utm_medium=api&utm_source=rss]]></link>
    <book_id>37380</book_id>
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    <book_description><![CDATA[Carson McCullers’ prodigious first novel was published to instant acclaim when she was just twenty-three. Set in a small town in the middle of the deep South, it is the story of John Singer, a lonely deaf-mute, and a disparate group of people who are drawn towards his kind, sympathetic nature. The owner of the café where Singer eats every day, a young girl desperate to grow up, an angry drunkard, a frustrated black doctor: each pours their heart out to Singer, their silent confidant, and he in turn changes their disenchanted lives in ways they could never imagine.]]></book_description>
    <book id="37380">
      <num_pages>359</num_pages>
    </book>
    <author_name>Carson McCullers</author_name>
    <isbn>0618084746</isbn>
    <user_name>Anna</user_name>
    <user_rating>2</user_rating>
    <user_read_at><![CDATA[Fri, 3 Jan 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 08 Aug 2026 17:30:44 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 30 Sep 2023 16:49:47 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[I've been glutting myself on Nabokov lately, which is the polar opposite of whatever this is, so I was somehow expecting that a tale that begins with two deaf-mutes who are best friends, one of whom is described as a grotesque morbidly obese violent simpleton who has to be locked away in an asylum, would contain some shred of irony. Not only is there no irony in Singer's worship of this fat stupid man (the author's description) whose only pleasure is in eating, but he, Singer, the other deaf-mute, pines away for years for his friend, and to top it all off becomes a sort of Jesus-like figure for four people in a small Southern town, all of whom project saint-like qualities onto him for no reason whatsoever. <br /><br />Since all of them are mad enough or narcissistic enough to exclusively worship a person they can project their woes and fantasies onto but who can't respond in turn, surely one would hope the author would take the opportunity to comment on this narcissism or madness, or to tease out the impish or whimsical possibilities therein. Instead it's a series of cheap, unearned tragedies such as sudden embolisms, accidental shootings of babies, foot amputations, sudden poverty, lost dreams, and lung disorders, all of which would be interesting if presented with any sort of humor, irony, or dimensionality. Instead these are all cardboard characters, created not to probe into the reality of human consciousness but to warm the little cockles of my heart. Sorry, je refuse. <br /><br />There were moments when I became engaged in the story of Dr. Copeland, whose struggle as a black American living in the South was the only one which merited the self-serious melodramatic tone with which it was told, but otherwise these types of stories about the downtrodden poor are my least favorite works to come out of the canon of Great American Literature. Call me a snob, but I'd rather stick with Nabokov and Proust and Amélie Nothomb than spend another moment with these self-sanctimonious, ignorant, navel-gazing bores. For a story with a similar theme but handled with the proper irony, subtlety, and sophistication, see Pasolini's brilliant film <i>Teorema.</i>]]></user_review>
    <average_rating>4.00</average_rating>
    <book_published>1940</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/37380.The_Heart_Is_a_Lonely_Hunter?utm_medium=api&amp;utm_source=rss"><img alt="The Heart Is a Lonely Hunter" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1385265834l/37380._SY75_.jpg" /></a><br/>
                                      author: Carson McCullers<br/>
                                      name: Anna<br/>
                                      average rating: 4.00<br/>
                                      book published: 1940<br/>
                                      rating: 2<br/>
                                      read at: 2025/01/03<br/>
                                      date added: 2026/08/08<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>I've been glutting myself on Nabokov lately, which is the polar opposite of whatever this is, so I was somehow expecting that a tale that begins with two deaf-mutes who are best friends, one of whom is described as a grotesque morbidly obese violent simpleton who has to be locked away in an asylum, would contain some shred of irony. Not only is there no irony in Singer's worship of this fat stupid man (the author's description) whose only pleasure is in eating, but he, Singer, the other deaf-mute, pines away for years for his friend, and to top it all off becomes a sort of Jesus-like figure for four people in a small Southern town, all of whom project saint-like qualities onto him for no reason whatsoever. <br /><br />Since all of them are mad enough or narcissistic enough to exclusively worship a person they can project their woes and fantasies onto but who can't respond in turn, surely one would hope the author would take the opportunity to comment on this narcissism or madness, or to tease out the impish or whimsical possibilities therein. Instead it's a series of cheap, unearned tragedies such as sudden embolisms, accidental shootings of babies, foot amputations, sudden poverty, lost dreams, and lung disorders, all of which would be interesting if presented with any sort of humor, irony, or dimensionality. Instead these are all cardboard characters, created not to probe into the reality of human consciousness but to warm the little cockles of my heart. Sorry, je refuse. <br /><br />There were moments when I became engaged in the story of Dr. Copeland, whose struggle as a black American living in the South was the only one which merited the self-serious melodramatic tone with which it was told, but otherwise these types of stories about the downtrodden poor are my least favorite works to come out of the canon of Great American Literature. Call me a snob, but I'd rather stick with Nabokov and Proust and Amélie Nothomb than spend another moment with these self-sanctimonious, ignorant, navel-gazing bores. For a story with a similar theme but handled with the proper irony, subtlety, and sophistication, see Pasolini's brilliant film <i>Teorema.</i><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8777167250?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 19 Jul 2026 20:10:36 -0700]]></pubDate>
    <title>Sliver</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8777167250?utm_medium=api&utm_source=rss]]></link>
    <book_id>32875</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1396551483l/32875._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<b>AN UPTOWN HIGH-RISE</b><br />A glittering Manhattan "sliver" building.<br />A successful single career woman.<br />A shocking secret hidden in brick and concrete.<br /><br /><b>A HIGH-TECH NIGHTMARE</b><br />Someone is watching her.<br />He watches her unpack, watches her make the bed; his eyes are everywhere.<br />He owns the building: now he owns <i>her</i>.<br /><br /><b>SLIVER</b><br />There's no place more frightening than home.]]></book_description>
    <book id="32875">
      <num_pages>0</num_pages>
    </book>
    <author_name>Ira Levin</author_name>
    <isbn>0553295071</isbn>
    <user_name>Anna</user_name>
    <user_rating>1</user_rating>
    <user_read_at><![CDATA[Sun, 19 Jul 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sun, 19 Jul 2026 20:10:36 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 16 Jul 2026 23:29:50 -0700]]></user_date_created>
    <user_shelves>did-not-finish</user_shelves>
    <user_review><![CDATA[As an Ira Levin fan, I was shocked at how bad this is. I thought once we found out who the building owner/voyeur is it would get interesting, but that's when I totally lost interest. I saw that it was about to turn into an erotic romp between a woman and her stalker and I said, no thank you. The book sounds like it was written by a bad Ira Levin imitator. It has all his earmarks, but they don't work. Plus, horrible characters you don't want to spend time with. It left a film of sleaze on my skin.]]></user_review>
    <average_rating>3.19</average_rating>
    <book_published>1991</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/32875.Sliver?utm_medium=api&amp;utm_source=rss"><img alt="Sliver" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1396551483l/32875._SY75_.jpg" /></a><br/>
                                      author: Ira Levin<br/>
                                      name: Anna<br/>
                                      average rating: 3.19<br/>
                                      book published: 1991<br/>
                                      rating: 1<br/>
                                      read at: 2026/07/19<br/>
                                      date added: 2026/07/19<br/>
                                      shelves: did-not-finish<br/>
                                      review: <br/>As an Ira Levin fan, I was shocked at how bad this is. I thought once we found out who the building owner/voyeur is it would get interesting, but that's when I totally lost interest. I saw that it was about to turn into an erotic romp between a woman and her stalker and I said, no thank you. The book sounds like it was written by a bad Ira Levin imitator. It has all his earmarks, but they don't work. Plus, horrible characters you don't want to spend time with. It left a film of sleaze on my skin.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6144287775?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 15 Jul 2026 15:00:06 -0700]]></pubDate>
    <title>A Kiss Before Dying</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6144287775?utm_medium=api&utm_source=rss]]></link>
    <book_id>12770</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388331398l/12770._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388331398l/12770._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388331398l/12770._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388331398l/12770.jpg]]></book_large_image_url>
    <book_description><![CDATA[<em>A Kiss Before Dying</em> not only debuted the talent of best-selling novelist Ira Levin to rave reviews and an Edgar Award, it also set a new standard in the art of psychological suspense. It tells the shocking tale of a young man who will stop at nothing—not even murder—to get where he wants to go. For he has dreams; plans. He also has charm, good looks, intelligence. And he has a problem. Her name is Dorothy; she loves him, and she's pregnant. The solution may demand desperate measures. But, then, he looks like the kind of guy who could get away with murder.]]></book_description>
    <book id="12770">
      <num_pages>304</num_pages>
    </book>
    <author_name>Ira Levin</author_name>
    <isbn>0786711647</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Wed, 15 Jul 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Wed, 15 Jul 2026 15:00:06 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 07 Jan 2024 23:50:00 -0800]]></user_date_created>
    <user_shelves>bluebeard</user_shelves>
    <user_review><![CDATA[Wow, how scary and well-told! Bravo once again. Mr. Levin.]]></user_review>
    <average_rating>3.97</average_rating>
    <book_published>1953</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/12770.A_Kiss_Before_Dying?utm_medium=api&amp;utm_source=rss"><img alt="A Kiss Before Dying" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388331398l/12770._SX50_.jpg" /></a><br/>
                                      author: Ira Levin<br/>
                                      name: Anna<br/>
                                      average rating: 3.97<br/>
                                      book published: 1953<br/>
                                      rating: 5<br/>
                                      read at: 2026/07/15<br/>
                                      date added: 2026/07/15<br/>
                                      shelves: bluebeard<br/>
                                      review: <br/>Wow, how scary and well-told! Bravo once again. Mr. Levin.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8734876332?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 11 Jul 2026 07:24:17 -0700]]></pubDate>
    <title>Those Who Walk Away</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8734876332?utm_medium=api&utm_source=rss]]></link>
    <book_id>385068</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1391389817l/385068._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1391389817l/385068._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1391389817l/385068._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1391389817l/385068.jpg]]></book_large_image_url>
    <book_description><![CDATA[The honeymoon is over, as they say, the bride dead by her own hand. Ray Garrett, the grieving husband, convinces the police in Rome of his innocence, but not his thuggish father-in-law, an American painter named Ed Coleman, who shoots him at point-blank range and leaves him for dead. Ray survives, however, and follows Coleman to Venice, where the two fall into an eerie game of cat-and-mouse—Coleman obsessed with vengeance and Ray equally insistent on clearing his conscience, though each is at once the hunter and the hunted in a duel composed of tension, hiding, and guessing, and at times punctuated by violence that, even as each manages to walk away, draws them nearer to death.]]></book_description>
    <book id="385068">
      <num_pages>264</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0871132591</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 7 Jul 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 11 Jul 2026 07:24:17 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 01 Jul 2026 22:50:07 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[This was a strange one. Haunting. A man, Ray, and his father-in-law, Ed, play a cat and mouse game through the streets of Venice, each dealing with the grief of losing a wife/daughter through suicide. Ed wants to kill Ray, and he makes several attempts. The most frightening facts and implications are off the page. There is a queasy feeling of emotional incest, or maybe even of true incest, although this is never mentioned except in the traces such trauma leaves behind. For instance, Ed is obsessed with details about his dead daughter's sex life, and Ray implies that what caused her to kill herself was the change from being in Ed's care to being in his care. Peggy was oversexed and he couldn't satisfy her, and yet she was also too sheltered. All signs of childhood sexual abuse. Ed carries around a handkerchief that he thinks is Peggy's handkerchief, when it is only something Ray bought on a whim after she died. The father's grief is that of a jilted lover. The men become mirrors of one another in various ways.<br /><br />The strong subtext which is denied by the on-the-page story is similar to the <i>The Boy Who Followed Ripley</i>, which is also about a sexual relationship that doesn't exist between Ripley and a runaway boy, who are also mirrors of one another.]]></user_review>
    <average_rating>3.46</average_rating>
    <book_published>1967</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/385068.Those_Who_Walk_Away?utm_medium=api&amp;utm_source=rss"><img alt="Those Who Walk Away" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1391389817l/385068._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.46<br/>
                                      book published: 1967<br/>
                                      rating: 5<br/>
                                      read at: 2026/07/07<br/>
                                      date added: 2026/07/11<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>This was a strange one. Haunting. A man, Ray, and his father-in-law, Ed, play a cat and mouse game through the streets of Venice, each dealing with the grief of losing a wife/daughter through suicide. Ed wants to kill Ray, and he makes several attempts. The most frightening facts and implications are off the page. There is a queasy feeling of emotional incest, or maybe even of true incest, although this is never mentioned except in the traces such trauma leaves behind. For instance, Ed is obsessed with details about his dead daughter's sex life, and Ray implies that what caused her to kill herself was the change from being in Ed's care to being in his care. Peggy was oversexed and he couldn't satisfy her, and yet she was also too sheltered. All signs of childhood sexual abuse. Ed carries around a handkerchief that he thinks is Peggy's handkerchief, when it is only something Ray bought on a whim after she died. The father's grief is that of a jilted lover. The men become mirrors of one another in various ways.<br /><br />The strong subtext which is denied by the on-the-page story is similar to the <i>The Boy Who Followed Ripley</i>, which is also about a sexual relationship that doesn't exist between Ripley and a runaway boy, who are also mirrors of one another.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8707786606?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 10 Jul 2026 20:38:34 -0700]]></pubDate>
    <title>Little Tales of Misogyny</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8707786606?utm_medium=api&utm_source=rss]]></link>
    <book_id>327560</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347974969l/327560._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347974969l/327560._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347974969l/327560._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347974969l/327560.jpg]]></book_large_image_url>
    <book_description><![CDATA[<strong>Nowhere is Patricia Highsmith more edgy than in these mordantly hilarious sketches that make up <i>Little Tales of Misogyny</i>.</strong><br /><br />Here you'll meet seemingly familiar women with the power to destroy both themselves and the men around them. In these stories Highsmith is at her most scathing as she draws out the mystery and menace of her once ordinary subject.]]></book_description>
    <book id="327560">
      <num_pages>128</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393323374</isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Thu, 9 Jul 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Fri, 10 Jul 2026 20:38:34 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 22 Jun 2026 11:41:15 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[An odd, vicious little book of very short stories about various types of women. We get The Prude, the Perfectionist, The Mobile Bed-Object, etc. Each story portrays a different girl or woman in a very bad light. I found this collection refreshing, as nowadays we're not allowed to create terrible female characters without loaded political meaning. Here, Highsmith pulls no stops. A lot of these types are now obsolete because of how women's roles have changed since the stories were written. We no longer have women comprising solely the limited roles of golddiggers, sluts, wives, mothers, neurotics, and dilettantes. Makes the mid-century seem a very depressing time for women. Highsmith herself stated that she mainly wrote male protagonists because she couldn't imagine women leading active lives; the one story about a female writer describes a literal-minded harpy without talent or imagination. The stories are clever, witty, and incisive, like all of Highsmith's fiction.]]></user_review>
    <average_rating>3.59</average_rating>
    <book_published>1975</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/327560.Little_Tales_of_Misogyny?utm_medium=api&amp;utm_source=rss"><img alt="Little Tales of Misogyny" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347974969l/327560._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.59<br/>
                                      book published: 1975<br/>
                                      rating: 4<br/>
                                      read at: 2026/07/09<br/>
                                      date added: 2026/07/10<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>An odd, vicious little book of very short stories about various types of women. We get The Prude, the Perfectionist, The Mobile Bed-Object, etc. Each story portrays a different girl or woman in a very bad light. I found this collection refreshing, as nowadays we're not allowed to create terrible female characters without loaded political meaning. Here, Highsmith pulls no stops. A lot of these types are now obsolete because of how women's roles have changed since the stories were written. We no longer have women comprising solely the limited roles of golddiggers, sluts, wives, mothers, neurotics, and dilettantes. Makes the mid-century seem a very depressing time for women. Highsmith herself stated that she mainly wrote male protagonists because she couldn't imagine women leading active lives; the one story about a female writer describes a literal-minded harpy without talent or imagination. The stories are clever, witty, and incisive, like all of Highsmith's fiction.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8729873744?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 09 Jul 2026 07:25:35 -0700]]></pubDate>
    <title>Dread Journey</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8729873744?utm_medium=api&utm_source=rss]]></link>
    <book_id>898568</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1250020618l/898568._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1250020618l/898568.jpg]]></book_large_image_url>
    <book_description><![CDATA[<b>On a transcontinental train, a starlet fears her director may be trying to kill her</b><br /><br />Four years after she arrived in Los Angeles, Kitten Agnew has become a star. Though beautiful and talented, she’d be nowhere without Vivien Spender: Hollywood’s most acclaimed director—and its most dangerous. But Kitten knew what she was getting into when she got involved with him; she had heard the stories of Viv’s past discoveries: Once he discarded them, they ended up in a chorus line, a sanatorium, or worse. She knows enough of his secrets that he wouldn’t dare destroy her career. But he may be willing to kill her.<br /> <br />On a train from Los Angeles to Chicago, Kitten learns that Viv is planning to offer her roommate a part that was meant for her. If she lets him betray her, her career will be over. But fight for the part, and she will be fighting for her life as well.]]></book_description>
    <book id="898568">
      <num_pages>192</num_pages>
    </book>
    <author_name>Dorothy B. Hughes</author_name>
    <isbn>0745186106</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 09 Jul 2026 07:25:35 -0700]]></user_date_added>
    <user_date_created><![CDATA[Tue, 30 Jun 2026 12:08:28 -0700]]></user_date_created>
    <user_shelves><![CDATA[female-writers, did-not-finish]]></user_shelves>
    <user_review></user_review>
    <average_rating>3.54</average_rating>
    <book_published>1945</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/898568.Dread_Journey?utm_medium=api&amp;utm_source=rss"><img alt="Dread Journey" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1250020618l/898568._SY75_.jpg" /></a><br/>
                                      author: Dorothy B. Hughes<br/>
                                      name: Anna<br/>
                                      average rating: 3.54<br/>
                                      book published: 1945<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/07/09<br/>
                                      shelves: female-writers, did-not-finish<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8687123401?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 04 Jul 2026 11:55:34 -0700]]></pubDate>
    <title><![CDATA[The Thing Beyond Reason / Echo of a Careless Voice / Blotted Out]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8687123401?utm_medium=api&utm_source=rss]]></link>
    <book_id>58917873</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1630678392l/58917873._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1630678392l/58917873._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1630678392l/58917873._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1630678392l/58917873._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[THE THING BEYOND Lexy Moran is the secretary to innocent, young Caroline Enderby, whose mother watches her like a hawk, always concerned about a possible scandal. So when Caroline doesn’t come home one night and her mother doesn’t seem worried, Lexy is surprised at her reaction. It seems that Caroline has eloped. But how did the sheltered Caroline find time to meet a suitor, much less arrange a marriage? When Lexy is approached by a young man who claims to be her fiancé and is looking for Caroline, Lexy knows something isn’t right. That’s when she decides to find out what really happened to Caroline Enderby. ECHO OF A CARELESS Basilda has been hired by Doctor Ferrier to educate his young daughter, Marty. It is a pleasure to get to know Marty, but her older sister Hope is another matter entirely. Hope is willful and arrogant, and wants nothing to do with Basilda. And their young stepmother, Alma, is no help at all. But when Hope’s lover, Ramon, kills himself, she reluctantly must ask Basilda for help. Every part of Basilda’s upbringing rebels against being brought into Hope’s desperately selfish world. Should she show kindness where none has been shown in return—risk her very future—or fly back to the security she knows? BLOTTED When James arrives in New York he doesn’t know a soul. But before he can leave the ship, he receives a message from an Amy Solway, claiming to be his cousin and asking for his help in posing as her new chauffeur. The first thing he discovers when he is ushered into the house is a dead body under the sofa. He decides to hold his tongue and meet Amy before saying anything, but finds that Amy has been expecting a different James Ross. Since no one has acknowledged the dead man, and Amy is clearly in need of his help, he decides to stay. But will Ross’s will be enough to see him through this most perplexing situation?]]></book_description>
    <book id="58917873">
      <num_pages>0</num_pages>
    </book>
    <author_name>Elisabeth Sanxay Holding</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 4 Jul 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 04 Jul 2026 11:55:34 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 14 Jun 2026 19:36:28 -0700]]></user_date_created>
    <user_shelves>female-writers, bluebeard</user_shelves>
    <user_review><![CDATA[How this woman can plot! The first one, "The Thing Beyond Reason," is especially good, but I can imagine them all very clearly as great 1930s movie thrillers—the actors and actresses, the gowns, everything. But they're mainly astonishing as vehicles of suspense. Sheer delight. ]]></user_review>
    <average_rating>4.33</average_rating>
    <book_published></book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/58917873-the-thing-beyond-reason-echo-of-a-careless-voice-blotted-out?utm_medium=api&amp;utm_source=rss"><img alt="The Thing Beyond Reason / Echo of a Careless Voice / Blotted Out" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1630678392l/58917873._SY75_.jpg" /></a><br/>
                                      author: Elisabeth Sanxay Holding<br/>
                                      name: Anna<br/>
                                      average rating: 4.33<br/>
                                      book published: <br/>
                                      rating: 5<br/>
                                      read at: 2026/07/04<br/>
                                      date added: 2026/07/04<br/>
                                      shelves: female-writers, bluebeard<br/>
                                      review: <br/>How this woman can plot! The first one, "The Thing Beyond Reason," is especially good, but I can imagine them all very clearly as great 1930s movie thrillers—the actors and actresses, the gowns, everything. But they're mainly astonishing as vehicles of suspense. Sheer delight. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8717722934?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 30 Jun 2026 11:25:19 -0700]]></pubDate>
    <title><![CDATA[Ripley Under Water (Ripley, #5)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8717722934?utm_medium=api&utm_source=rss]]></link>
    <book_id>3845355</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977011l/3845355._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977011l/3845355._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977011l/3845355._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977011l/3845355.jpg]]></book_large_image_url>
    <book_description><![CDATA[Tom Ripley passes his leisured days at his French country estate tending the dahlias, practicing the harpsichord, and enjoying the company of his lovely wife, Heloise. Never mind the bloodstains on the basement floor.<br /><br />But some new neighbors have moved to Villeperce: the Pritchards, just arrived from America. they are a ghastly pair, with vulgar manners and even more vulgar taste. Most inconvenient, though, is their curiosity. Ripley does, after all, have a few things to hide. When menacing coincidences begin to occur, a spiraling contest of sinister hints and mutual terrorism ensues, resulting in one of Patricia Highsmith's most elegantly harrowing novels to date.]]></book_description>
    <book id="3845355">
      <num_pages>304</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393333191</isbn>
    <user_name>Anna</user_name>
    <user_rating>2</user_rating>
    <user_read_at><![CDATA[Tue, 30 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 30 Jun 2026 11:25:19 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 26 Jun 2026 04:04:28 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[Doesn't stand on its own, and as the last book in the Ripley saga just kind of peters out, rather than ending on any grand finale. It was mainly a rehashing of the second book in the series, with fewer risks and surprises. Disappointing. ]]></user_review>
    <average_rating>3.78</average_rating>
    <book_published>1991</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/3845355-ripley-under-water?utm_medium=api&amp;utm_source=rss"><img alt="Ripley Under Water (Ripley, #5)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977011l/3845355._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.78<br/>
                                      book published: 1991<br/>
                                      rating: 2<br/>
                                      read at: 2026/06/30<br/>
                                      date added: 2026/06/30<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>Doesn't stand on its own, and as the last book in the Ripley saga just kind of peters out, rather than ending on any grand finale. It was mainly a rehashing of the second book in the series, with fewer risks and surprises. Disappointing. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8715513474?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 28 Jun 2026 13:11:49 -0700]]></pubDate>
    <title><![CDATA[The Boy Who Followed Ripley (Ripley, #4)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8715513474?utm_medium=api&utm_source=rss]]></link>
    <book_id>3845354</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977256l/3845354._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<strong><i>The Boy Who Followed Ripley</i>, the fourth novel in the Ripley series, is one of Patricia Highsmith's darkest and most twisted creations.</strong><br /><br />Tom Ripley meets a young American runaway who has a dark secret that he is desperate to hide. Soon this unlikely pair is drawn into the seamy underworld of Berlin and a shocking kidnapping. In this masterful thriller, Highsmith shatters our perceptions of her most famous creation by letting us glimpse a more compassionate side of this amoral charmer.<br /><br />"Ripley is an unmistakable descendant of Gatsby, that 'penniless young man without a past' who will stop at nothing."<br />—Frank Rich, <i>New York Times Magazine</i>]]></book_description>
    <book id="3845354">
      <num_pages>348</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>039333211X</isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Thu, 25 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sun, 28 Jun 2026 13:11:49 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 25 Jun 2026 07:41:41 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[This one was strange. I always enjoy Highsmith's writing, but as the Ripley series continues there is less and less suspense because we already know he is going to get away with everything and there are no new insights into his character. Also, as in <i>Ripley's Game</i> he comes across mainly as a hero. Not that we need it spelled out every moment that he is a sociopath, but his cruelty is nowhere on display, even in his most secret thoughts. Underlying the whole thing is some sort of yearning for the underground Berlin gay nightclub life, for the freedom of dressing in drag (echoing his love of disappearing into another self in subsuming Dickie Greenleaf's persona), and for the 16-year-old boy he mentors. But his feelings are so suppressed that he never once consciously longs for the boy, although other people raise their eyebrows and make remarks, including his wife who asks him if they are "faggots." Is he closeted, or is his coolness just part of his lack of emotional range? After all, he displays little desire for his wife—rather than lusting after her he admires her, as he does his food, wine, his house, and his clothing.<br /><br />One interesting thing is that [spoilers removed] So maybe that's the sociopathy? Also this was published in 1980, the <i>La Cage aux Folles</i> era, when a man dressing in drag could still elicit gasps of shock or nervous giggles from a reader. The treatment of the gay scene makes this book seem more dated than her books from twenty years earlier. My theory is that the permissiveness of the world starting in the 1970s gave novelists less fuel for their stories. Suspense and dread rely on strict moral codes widely held throughout society. A drag club in the 1950s would have felt dangerous or taboo; in 1980, it's just a fun night out. But surely sociopaths are just as dangerous as ever? Is Highsmith's normalizing and even celebrating this sociopath a nod to her own sociopathy?]]></user_review>
    <average_rating>3.56</average_rating>
    <book_published>1980</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/3845354-the-boy-who-followed-ripley?utm_medium=api&amp;utm_source=rss"><img alt="The Boy Who Followed Ripley (Ripley, #4)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977256l/3845354._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.56<br/>
                                      book published: 1980<br/>
                                      rating: 4<br/>
                                      read at: 2026/06/25<br/>
                                      date added: 2026/06/28<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>This one was strange. I always enjoy Highsmith's writing, but as the Ripley series continues there is less and less suspense because we already know he is going to get away with everything and there are no new insights into his character. Also, as in <i>Ripley's Game</i> he comes across mainly as a hero. Not that we need it spelled out every moment that he is a sociopath, but his cruelty is nowhere on display, even in his most secret thoughts. Underlying the whole thing is some sort of yearning for the underground Berlin gay nightclub life, for the freedom of dressing in drag (echoing his love of disappearing into another self in subsuming Dickie Greenleaf's persona), and for the 16-year-old boy he mentors. But his feelings are so suppressed that he never once consciously longs for the boy, although other people raise their eyebrows and make remarks, including his wife who asks him if they are "faggots." Is he closeted, or is his coolness just part of his lack of emotional range? After all, he displays little desire for his wife—rather than lusting after her he admires her, as he does his food, wine, his house, and his clothing.<br /><br />One interesting thing is that [spoilers removed] So maybe that's the sociopathy? Also this was published in 1980, the <i>La Cage aux Folles</i> era, when a man dressing in drag could still elicit gasps of shock or nervous giggles from a reader. The treatment of the gay scene makes this book seem more dated than her books from twenty years earlier. My theory is that the permissiveness of the world starting in the 1970s gave novelists less fuel for their stories. Suspense and dread rely on strict moral codes widely held throughout society. A drag club in the 1950s would have felt dangerous or taboo; in 1980, it's just a fun night out. But surely sociopaths are just as dangerous as ever? Is Highsmith's normalizing and even celebrating this sociopath a nod to her own sociopathy?<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8696896322?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 20 Jun 2026 10:37:08 -0700]]></pubDate>
    <title>Ripley&apos;s Game (Ripley, #3)</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8696896322?utm_medium=api&utm_source=rss]]></link>
    <book_id>3425503</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977429l/3425503._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Living on his posh French estate with his elegant heiress wife, Tom Ripley, on the cusp of middle age, is no longer the striving comer of <em>The Talented Mr. Ripley</em>. Having accrued considerable wealth through a long career of crime—forgery, extortion, serial murder—Ripley still finds his appetite unquenched and longs to get back in the game.<br /><br /><br />In <em>Ripley's Game</em>, first published in 1974, Patricia Highsmith's classic chameleon relishes the opportunity to simultaneously repay an insult and help a friend commit a crime—and escape the doldrums of his idyllic retirement. This third novel in Highsmith's series is one of her most psychologically nuanced—particularly memorable for its dark, absurd humor—and was hailed by critics for its ability to manipulate the tropes of the genre. With the creation of Ripley, one of literature's most seductive sociopaths, Highsmith anticipated the likes of Norman Bates and Hannibal Lecter years before their appearance.]]></book_description>
    <book id="3425503">
      <num_pages>272</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393332128</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 20 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 20 Jun 2026 10:37:08 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 18 Jun 2026 08:42:05 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[I've read enough of Patricia's Highsmith's oeuvre now to start to pick apart her obsessions, the main one being the relationship between two men, one a sociopath and the other a would-be sociopath, a sociopath in training, or at least a man fascinated with the dark side. This is one of such novels. The morality is a little trickier here, largely because the wife of the innocent man is made out so deliberately to be the antagonist. The husband Jonathan Trevanny longs for adventure, which plays out in unleashing his repressed and timid nature in the jouissance of a bloodbath, but it's sadder than the other novels because he is basically a decent man, neither vain and ostentatiously wealthy like Dickie Greenleaf nor ridiculous and self-dramatizing like Bernard Tufts, so the fallout for him feels more tragic.<br /><br />A few weeks back I read a novel written by Elisabeth Sanxay-Holding titled "The Death Wish," about two men with a desire to murder their wife: one a relative innocent and the other a sociopath, the innocent man intrigued by and wishing to emulate the sociopath's actions. Right after this, by pure coincidence, I read Highsmith's "The Blunderer," which employs exactly the same premise. All of Sanxay-Holding's novels contain women who are victimized by sociopathic men who are fools and monsters and deserve to be locked away, following conventional morality. I have seen none of this morality in any Highsmith novel, but it's at least clear in her novels such as "The Blunderer, " "This Sweet Sickness," and "The Talented Mr. Ripley" that there is a horror to the sociopathic mind and that we are meant to shudder at it. <br /><br />In "Ripley's Game," by contrast, we are so much in the sociopathic point of view that the would-be moral center, Trevanny's wife Simone, is just a boring antagonist, a spoilsport, a killjoy, a prude, a wet blanket. We're bored when we're in the mind of the upright citizen Jonathan Trevanny, and excited when we flip to the point of view of the sociopathic Ripley. We are along for the joyride and, like the innocent Trevanny, we are made complicit. We see Ripley as a hero, just as Trevanny increasingly does, and we see people of normal psychology like Simone as boring and uptight. The path to moral corruption is neatly laid out in Highmith's clever literary game, and she corrupts the reader in the process. I was slightly sick by the end at having been tricked into complicity with the monster Tom Ripley. He's so self-assured, so confident, so cool! How boring to not want dead bodies littering the floor of one's bourgeois flat and to have to invent clever stories to the police to explain them away!<br /><br />Highsmith's writing was ahead of its time, because today we're all sociopaths-in-training. I believe that at the time of the book's publication, the horror of having been tricked into identifying with Ripley and forced to see him as a hero would be obvious as literary irony. Today, not so much.]]></user_review>
    <average_rating>3.83</average_rating>
    <book_published>1974</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/3425503-ripley-s-game?utm_medium=api&amp;utm_source=rss"><img alt="Ripley&#39;s Game (Ripley, #3)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327977429l/3425503._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.83<br/>
                                      book published: 1974<br/>
                                      rating: 5<br/>
                                      read at: 2026/06/20<br/>
                                      date added: 2026/06/20<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>I've read enough of Patricia's Highsmith's oeuvre now to start to pick apart her obsessions, the main one being the relationship between two men, one a sociopath and the other a would-be sociopath, a sociopath in training, or at least a man fascinated with the dark side. This is one of such novels. The morality is a little trickier here, largely because the wife of the innocent man is made out so deliberately to be the antagonist. The husband Jonathan Trevanny longs for adventure, which plays out in unleashing his repressed and timid nature in the jouissance of a bloodbath, but it's sadder than the other novels because he is basically a decent man, neither vain and ostentatiously wealthy like Dickie Greenleaf nor ridiculous and self-dramatizing like Bernard Tufts, so the fallout for him feels more tragic.<br /><br />A few weeks back I read a novel written by Elisabeth Sanxay-Holding titled "The Death Wish," about two men with a desire to murder their wife: one a relative innocent and the other a sociopath, the innocent man intrigued by and wishing to emulate the sociopath's actions. Right after this, by pure coincidence, I read Highsmith's "The Blunderer," which employs exactly the same premise. All of Sanxay-Holding's novels contain women who are victimized by sociopathic men who are fools and monsters and deserve to be locked away, following conventional morality. I have seen none of this morality in any Highsmith novel, but it's at least clear in her novels such as "The Blunderer, " "This Sweet Sickness," and "The Talented Mr. Ripley" that there is a horror to the sociopathic mind and that we are meant to shudder at it. <br /><br />In "Ripley's Game," by contrast, we are so much in the sociopathic point of view that the would-be moral center, Trevanny's wife Simone, is just a boring antagonist, a spoilsport, a killjoy, a prude, a wet blanket. We're bored when we're in the mind of the upright citizen Jonathan Trevanny, and excited when we flip to the point of view of the sociopathic Ripley. We are along for the joyride and, like the innocent Trevanny, we are made complicit. We see Ripley as a hero, just as Trevanny increasingly does, and we see people of normal psychology like Simone as boring and uptight. The path to moral corruption is neatly laid out in Highmith's clever literary game, and she corrupts the reader in the process. I was slightly sick by the end at having been tricked into complicity with the monster Tom Ripley. He's so self-assured, so confident, so cool! How boring to not want dead bodies littering the floor of one's bourgeois flat and to have to invent clever stories to the police to explain them away!<br /><br />Highsmith's writing was ahead of its time, because today we're all sociopaths-in-training. I believe that at the time of the book's publication, the horror of having been tricked into identifying with Ripley and forced to see him as a hero would be obvious as literary irony. Today, not so much.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8687117534?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 18 Jun 2026 10:35:26 -0700]]></pubDate>
    <title><![CDATA[Plotting and Writing Suspense Fiction]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8687117534?utm_medium=api&utm_source=rss]]></link>
    <book_id>572046</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1312016063l/572046._SY75_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1312016063l/572046._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1312016063l/572046.jpg]]></book_large_image_url>
    <book_description><![CDATA["The book is as unusual as you might expect and hope for from Patricia Highsmith. An elegant creative writing guide, it’s also a goldmine for anyone hoping for insight into The Talented Mr Ripley – and its author."<br />- The Guardian.]]></book_description>
    <book id="572046">
      <num_pages>145</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>031204867X</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 18 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 18 Jun 2026 10:35:26 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 14 Jun 2026 19:34:21 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[This is short but sweet. If nothing else, it lets you into the mind of Highsmith, and into her working practices. I'm so envious of her ability to plot while writing; she likes to surprise herself. She was mainly working in the days of typewriter and she could type out a first draft without continuing to rewrite as she went along, which boggles my mind. I wonder if the inability to rewrite makes the mind sharper and more disciplined? In any case, this little book proves that there are no tricks to writing well; Highsmith's prose and plotting are the result of her incredible mind, and not due to any particular method. I love her definition of suspense: "Stories with a threat of violent physical action and danger." Also, the sections on development and snags were quite useful. Her stories always contain the best complications, and it seems you only need three or four of these, if they're good, to ratchet up the tension and make your stories tense and suspenseful.]]></user_review>
    <average_rating>3.74</average_rating>
    <book_published>1966</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/572046.Plotting_and_Writing_Suspense_Fiction?utm_medium=api&amp;utm_source=rss"><img alt="Plotting and Writing Suspense Fiction" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1312016063l/572046._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.74<br/>
                                      book published: 1966<br/>
                                      rating: 5<br/>
                                      read at: 2026/06/18<br/>
                                      date added: 2026/06/18<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>This is short but sweet. If nothing else, it lets you into the mind of Highsmith, and into her working practices. I'm so envious of her ability to plot while writing; she likes to surprise herself. She was mainly working in the days of typewriter and she could type out a first draft without continuing to rewrite as she went along, which boggles my mind. I wonder if the inability to rewrite makes the mind sharper and more disciplined? In any case, this little book proves that there are no tricks to writing well; Highsmith's prose and plotting are the result of her incredible mind, and not due to any particular method. I love her definition of suspense: "Stories with a threat of violent physical action and danger." Also, the sections on development and snags were quite useful. Her stories always contain the best complications, and it seems you only need three or four of these, if they're good, to ratchet up the tension and make your stories tense and suspenseful.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8690184224?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 15 Jun 2026 19:56:17 -0700]]></pubDate>
    <title><![CDATA[Ripley Underground (Ripley, #2)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8690184224?utm_medium=api&utm_source=rss]]></link>
    <book_id>56710874</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1673020755l/56710874._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1673020755l/56710874._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1673020755l/56710874._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1673020755l/56710874._SX318_.jpg]]></book_large_image_url>
    <book_description><![CDATA[Vietnamese edition of the sequel to The Talented Mr. Ripley, best selling crime and mystery fiction. Vietnamese translation by Nguyen Mai Trang.]]></book_description>
    <book id="56710874">
      <num_pages>0</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>6049786267</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 15 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 15 Jun 2026 19:56:17 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 15 Jun 2026 19:55:31 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[I am now officially hooked on the Ripley series!! So much fun. ]]></user_review>
    <average_rating>3.64</average_rating>
    <book_published>1970</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/56710874-ripley-underground?utm_medium=api&amp;utm_source=rss"><img alt="Ripley Underground (Ripley, #2)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1673020755l/56710874._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.64<br/>
                                      book published: 1970<br/>
                                      rating: 5<br/>
                                      read at: 2026/06/15<br/>
                                      date added: 2026/06/15<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>I am now officially hooked on the Ripley series!! So much fun. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8664938707?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 09 Jun 2026 16:00:09 -0700]]></pubDate>
    <title>This Sweet Sickness</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8664938707?utm_medium=api&utm_source=rss]]></link>
    <book_id>768987</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348037826l/768987._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348037826l/768987._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348037826l/768987._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348037826l/768987.jpg]]></book_large_image_url>
    <book_description><![CDATA[<strong>In <i>This Sweet Sickness</i>, Patricia Highsmith, in her own inimitable fashion, has created a complex psychological tale as suspenseful as <i>The Talented Mr. Ripley</i>.</strong><br /><br />David Kelsey, a young scientist, has an unyielding conviction that life will turn out all right for him; he just has to fix the Situation: he is in love with a married woman. Obsessed with Annabelle and the life he has imagined for them—including the fully furnished cabin he maintains for her—David prepares to win her over, whatever it takes.<br /><br />In this riveting tale of a deluded loner, Highsmith reveals her uncanny ability to draw out the secret obsessions that overwhelm the human heart.]]></book_description>
    <book id="768987">
      <num_pages>288</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393323676</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 9 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 09 Jun 2026 16:00:09 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 06 Jun 2026 16:15:12 -0700]]></user_date_created>
    <user_shelves>female-writers, bluebeard</user_shelves>
    <user_review><![CDATA[This is radical even for Highsmith. I don't think I have ever been so terrified reading a book. Ripley is scary, yes but he is also masterful and there's a method to his madness. Not so with David Kelsey, who is not in control of himself and who consequently does the most insane things and makes the most unbelievable blunders. For half of the book my mouth was agape at the self-incriminating things he does and his fearlessness because of his massive entitlement and ego. Being in the mind of an entitled narcissistic sociopath who is not getting what he wants is a truly frightening thing. It's also frightening because we have all known people like this (or know them now) and it increases the fear of these types of people a hundred-fold.]]></user_review>
    <average_rating>3.79</average_rating>
    <book_published>1960</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/768987.This_Sweet_Sickness?utm_medium=api&amp;utm_source=rss"><img alt="This Sweet Sickness" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348037826l/768987._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.79<br/>
                                      book published: 1960<br/>
                                      rating: 5<br/>
                                      read at: 2026/06/09<br/>
                                      date added: 2026/06/09<br/>
                                      shelves: female-writers, bluebeard<br/>
                                      review: <br/>This is radical even for Highsmith. I don't think I have ever been so terrified reading a book. Ripley is scary, yes but he is also masterful and there's a method to his madness. Not so with David Kelsey, who is not in control of himself and who consequently does the most insane things and makes the most unbelievable blunders. For half of the book my mouth was agape at the self-incriminating things he does and his fearlessness because of his massive entitlement and ego. Being in the mind of an entitled narcissistic sociopath who is not getting what he wants is a truly frightening thing. It's also frightening because we have all known people like this (or know them now) and it increases the fear of these types of people a hundred-fold.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8664927747?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 06 Jun 2026 16:14:48 -0700]]></pubDate>
    <title>The Tremor of Forgery</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8664927747?utm_medium=api&utm_source=rss]]></link>
    <book_id>391890</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1564755848l/391890._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1564755848l/391890._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1564755848l/391890._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1564755848l/391890.jpg]]></book_large_image_url>
    <book_description><![CDATA[An expatriate is beset by dark temptations in this tale by the author of <i>The Talented Mr. Ripley</i>: "Her best novel" (<i>The New Yorker</i>). Set in Tunisia in the mid-1960s, this is the story of Howard Ingham, an American writer who has gone abroad to gather material for a movie too sordid to be set in America. Ingham is cool toward the girlfriend he left behind in New York-but his feelings start to change when she doesn't answer his increasingly aggravated letters, and the filmmaker who hired Ingham fails to show in Tunisia. Amid the tea shops and alleys of the souk, the sun-blasted architecture, and the beaches and hotels frequented by international tourists, Ingham tries to pass the time by working on a writing project. But a series of peculiar events-a hushed-up murder, a vanished corpse, secret broadcasts to the Soviet Union-will pull him in, and may finally put his increasingly fragile sense of morality to the test.]]></book_description>
    <book id="391890">
      <num_pages>249</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0871132583</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 6 Jun 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 06 Jun 2026 16:14:48 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 06 Jun 2026 16:09:47 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[What a strange and unexpected book. Brings up lots of uncomfortable moral questions. Unforgettable characters, especially the gay man Jensen with his dog Hasso. Highsmith as usual makes marriage seem a hell. So atmospheric. You almost feel you yourself are living in Tunisia in the baking sun, questioning everything in your life. Wonderful, complex novel.]]></user_review>
    <average_rating>3.74</average_rating>
    <book_published>1969</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/391890.The_Tremor_of_Forgery?utm_medium=api&amp;utm_source=rss"><img alt="The Tremor of Forgery" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1564755848l/391890._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.74<br/>
                                      book published: 1969<br/>
                                      rating: 5<br/>
                                      read at: 2026/06/06<br/>
                                      date added: 2026/06/06<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>What a strange and unexpected book. Brings up lots of uncomfortable moral questions. Unforgettable characters, especially the gay man Jensen with his dog Hasso. Highsmith as usual makes marriage seem a hell. So atmospheric. You almost feel you yourself are living in Tunisia in the baking sun, questioning everything in your life. Wonderful, complex novel.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8632035963?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 25 May 2026 19:55:44 -0700]]></pubDate>
    <title>A Suspension of Mercy</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8632035963?utm_medium=api&utm_source=rss]]></link>
    <book_id>158885</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347649970l/158885._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347649970l/158885._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347649970l/158885._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347649970l/158885.jpg]]></book_large_image_url>
    <book_description><![CDATA[<strong>Sydney Bartleby has killed his wife, Alicia—at least he has thought about it, compulsively, over and over again, plotting schemes, designing escapes, forging alibis. Of course he has; he's a mystery-script writer. But when Alicia takes a long, unannounced vacation, Sydney seizes the opportunity to perfect his artistic method.</strong><br /><br />With her characteristic precision and unrivaled sensitivity to the inner tremblings of human character, Patricia Highsmith shockingly portrays Sydney's descent into the treacherous world of his own fictions. Once again Highsmith proves herself to be a master at depicting the unsettling forces that boil beneath the surface of everyday life.]]></book_description>
    <book id="158885">
      <num_pages>235</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393321975</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 25 May 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 25 May 2026 19:55:44 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 25 May 2026 19:54:25 -0700]]></user_date_created>
    <user_shelves>bluebeard, female-writers</user_shelves>
    <user_review><![CDATA[Perhaps the most suspenseful book I've ever read. Excruciating—almost unbearable. Why isn't this more famous? Highly recommended!]]></user_review>
    <average_rating>3.83</average_rating>
    <book_published>1965</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/158885.A_Suspension_of_Mercy?utm_medium=api&amp;utm_source=rss"><img alt="A Suspension of Mercy" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347649970l/158885._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.83<br/>
                                      book published: 1965<br/>
                                      rating: 5<br/>
                                      read at: 2026/05/25<br/>
                                      date added: 2026/05/25<br/>
                                      shelves: bluebeard, female-writers<br/>
                                      review: <br/>Perhaps the most suspenseful book I've ever read. Excruciating—almost unbearable. Why isn't this more famous? Highly recommended!<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8567679355?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 19 May 2026 15:54:36 -0700]]></pubDate>
    <title><![CDATA[The Death Wish / Net of Cobwebs]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8567679355?utm_medium=api&utm_source=rss]]></link>
    <book_id>40898273</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1532256578l/40898273._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1532256578l/40898273._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1532256578l/40898273._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1532256578l/40898273._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[DEATH WISH <br /> <br />Poor Mr. Delancey. His wife Josephine belittles him, controlling his purse strings and managing his life. It’s understandable that one might grow a bit resentful. His best friend, Robert Whitestone, is a frustrated artist. Whitestone hates his wife, and is in love with a young girl named Elsie who has come to stay with their neighbors, the Luffs. But Whitestone has a plan to free himself, and naturally Delancey is pulled into the middle of it, willingly or not. And when Mrs. Whitestone is found drowned, what can poor Delancey do? He has to help his friend, no matter what the consequences. If only his wife weren’t so hateful about the whole thing, so unreasonable. It’s only when young Hugh Acheson comes to visit and begins an investigation of his own that things become really complicated. Poor Mr. Delancey—what’s a man to do? It’s enough to drive a person to murder. <br /> <br />NET OF COBWEBS <br /> <br />Malcolm Drake had been a merchant seaman, but has returned from the war a changed man, his nerves completely frayed. Now he lives at his brother Arthur’s house, with his sister-in-law Helene and her sister Virginia—and their domineering Aunt Evie. Aunt Evie only wants what is best for Malcolm, of course, but when she drops dead one evening at a party, the rumors quickly spread that he had something to do with it. Dr. Lurie is sure that Malcolm had loaded her glass with alcohol, inducing a heart attack. The butler, Ben, even claims to have seen him do it. One of the guests, Aunt Evie’s young protégé, Ivan Jenette, has news to the contrary, but has conveniently disappeared. Their neighbor, Lily Kingscrown, believes in his innocence, but there is something decidedly strange going on at her house—her own maid goes into screaming fits for apparently no reason. And now the police have some questions of their own. Malcolm is enmeshed in a neb of cobwebs, and the strands are growing tighter by the moment. <br /> <br />]]></book_description>
    <book id="40898273">
      <num_pages>426</num_pages>
    </book>
    <author_name>Elisabeth Sanxay Holding</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 19 May 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 19 May 2026 15:54:36 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 01 May 2026 15:26:09 -0700]]></user_date_created>
    <user_shelves>bluebeard, female-writers</user_shelves>
    <user_review><![CDATA[So, so good. <i>The Death Wish</i> is a macabre Bluebeard story, with TWO potential Bluebeards (similar to Patricia Highsmith's <i>The Blunderer,</i> which I read quite recently). Like <i>The Blunderer,</i> this novel features both a wife-killer and a wannabe wife killer. But I won't give any more away. <br /><br />it seems these female writers had a radar about men's absolute hatred of their wives, and their desperate desire to kill them. But these wives are no damsels in distress, oh no. They are awful women— negative, manipulative, controlling, violent. It's so refreshing to read novels written before everything had an agenda. There's no sense of the men being worse than the women (although murder isn't great, none of these characters comes out smelling like a rose). It's what I love about noir films: in the mid-century, crime writers relied on true crime stories and complicated people they knew for their characters, and it shows. <br /><br />Which brings me to the second novella, <i>Net of Cobwebs,</i>, another surprising and delightful page-turner. It's kind of disturbing the way the protagonist is always trying to escape the sweet young pretty woman who loves him, but the twist involving her had me reeling. These little novels are exactly like watching a good noir film, which is perfect because I think I've seen every one several times and I've run out of new ones to watch. Addicting.]]></user_review>
    <average_rating>4.00</average_rating>
    <book_published>1934</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/40898273-the-death-wish-net-of-cobwebs?utm_medium=api&amp;utm_source=rss"><img alt="The Death Wish / Net of Cobwebs" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1532256578l/40898273._SY75_.jpg" /></a><br/>
                                      author: Elisabeth Sanxay Holding<br/>
                                      name: Anna<br/>
                                      average rating: 4.00<br/>
                                      book published: 1934<br/>
                                      rating: 5<br/>
                                      read at: 2026/05/19<br/>
                                      date added: 2026/05/19<br/>
                                      shelves: bluebeard, female-writers<br/>
                                      review: <br/>So, so good. <i>The Death Wish</i> is a macabre Bluebeard story, with TWO potential Bluebeards (similar to Patricia Highsmith's <i>The Blunderer,</i> which I read quite recently). Like <i>The Blunderer,</i> this novel features both a wife-killer and a wannabe wife killer. But I won't give any more away. <br /><br />it seems these female writers had a radar about men's absolute hatred of their wives, and their desperate desire to kill them. But these wives are no damsels in distress, oh no. They are awful women— negative, manipulative, controlling, violent. It's so refreshing to read novels written before everything had an agenda. There's no sense of the men being worse than the women (although murder isn't great, none of these characters comes out smelling like a rose). It's what I love about noir films: in the mid-century, crime writers relied on true crime stories and complicated people they knew for their characters, and it shows. <br /><br />Which brings me to the second novella, <i>Net of Cobwebs,</i>, another surprising and delightful page-turner. It's kind of disturbing the way the protagonist is always trying to escape the sweet young pretty woman who loves him, but the twist involving her had me reeling. These little novels are exactly like watching a good noir film, which is perfect because I think I've seen every one several times and I've run out of new ones to watch. Addicting.<br/>
                                      ]]>
    </description>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8554982010?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 27 Apr 2026 11:28:19 -0700]]></pubDate>
    <title><![CDATA[Lady Killer / Miasma (Stark House Mystery Classics)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8554982010?utm_medium=api&utm_source=rss]]></link>
    <book_id>710995</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1177531286l/710995._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1177531286l/710995._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1177531286l/710995.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1177531286l/710995.jpg]]></book_large_image_url>
    <book_description><![CDATA[LADY KILLER Perhaps Honey hadn’t married Weaver for love, but it wasn’t entirely for money. When he had proposed to her he had been so attentive, the perfect gentleman. Now he quarrels with her all the time. And by the time they embark together on a cruise ship to the Caribbean, she begins to have serious doubts about their future together. So it really is quite a welcome distraction to find that the newly-wedded woman who shares the cabin next door with her handsome husband, Captain Lashelle, seems to be in need of her help. Poor Alma has victim written all over her. Soon Honey becomes convinced that Alma's husband is planning to murder his new bride! So why wouldn’t anyone listen to her? Why did Mr. Basingly seem so hostile to her suspicions? Why did Mr. Perez warn her to be quiet? And why is her own husband suddenly so afraid of her? Nothing doesn’t make sense. But it all leads to murder.MIASMA Dr. Dennison is finding that a career in medicine is more challenging than he expected. After several months in business, he still doesn’t have any patients. So when wealthy Dr. Leatherby offers him a position as his assistant and asks him to move into his fine house, Dennison is certain that his troubles are all behind him. But as soon as he arrives, he finds a mystery at every turn. Why does the pretty, young nurse, Hilda Napier, ask him to leave? Who is the mysterious patient that arrives one evening, only to die the next day of a sudden heart attack? Where has his predecessor, Mr. Folyet, disappeared to and why does everyone at the house seem to hate him? And what is the strange drug that Dr. Leatherby keeps in his safe for his special patients? A miasma of doubt and suspicion assails Dr. Dennison, and he will stop at nothing until he can discover its cause—even if it costs him his reputation, and perhaps even his life.]]></book_description>
    <book id="710995">
      <num_pages>270</num_pages>
    </book>
    <author_name>Elisabeth Sanxay Holding</author_name>
    <isbn>0966784871</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 27 Apr 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 27 Apr 2026 11:28:19 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 26 Apr 2026 23:22:01 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Sanxay-Holding is one of the most excellent writers of crime fiction ever. Full of suspense. Finely drawn characters. A totally unexpected twist. An edge-of your-seat nail-chewing mid-century medical scandal novella. Highly recommended.<br /><br />Edit: This review was about MIASMA. LADY KILLER is even better! A newlywed blonde, a cruise ship. a murder, a sketchy husband, a strange couple in the next cabin, multiple suspects, tropical islands, a hunky love interest...super terrific stuff.]]></user_review>
    <average_rating>4.33</average_rating>
    <book_published>2003</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/710995.Lady_Killer_Miasma?utm_medium=api&amp;utm_source=rss"><img alt="Lady Killer / Miasma (Stark House Mystery Classics)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1177531286l/710995._SY75_.jpg" /></a><br/>
                                      author: Elisabeth Sanxay Holding<br/>
                                      name: Anna<br/>
                                      average rating: 4.33<br/>
                                      book published: 2003<br/>
                                      rating: 5<br/>
                                      read at: 2026/04/27<br/>
                                      date added: 2026/04/27<br/>
                                      shelves: <br/>
                                      review: <br/>Sanxay-Holding is one of the most excellent writers of crime fiction ever. Full of suspense. Finely drawn characters. A totally unexpected twist. An edge-of your-seat nail-chewing mid-century medical scandal novella. Highly recommended.<br /><br />Edit: This review was about MIASMA. LADY KILLER is even better! A newlywed blonde, a cruise ship. a murder, a sketchy husband, a strange couple in the next cabin, multiple suspects, tropical islands, a hunky love interest...super terrific stuff.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8554757118?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 26 Apr 2026 20:47:49 -0700]]></pubDate>
    <title>A Harlot High and Low</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8554757118?utm_medium=api&utm_source=rss]]></link>
    <book_id>25934</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1628107926l/25934._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1628107926l/25934._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[Finance, fashionable society, and the intrigues of the underworld and the police system form the heart of this powerful novel, which introduces the satanic genius Vautrin, one of the greatest villains in world literature.]]></book_description>
    <book id="25934">
      <num_pages>554</num_pages>
    </book>
    <author_name>Honoré de Balzac</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 26 Apr 2026 20:47:49 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 26 Apr 2026 20:47:49 -0700]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.09</average_rating>
    <book_published>1838</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/25934.A_Harlot_High_and_Low?utm_medium=api&amp;utm_source=rss"><img alt="A Harlot High and Low" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1628107926l/25934._SY75_.jpg" /></a><br/>
                                      author: Honoré de Balzac<br/>
                                      name: Anna<br/>
                                      average rating: 4.09<br/>
                                      book published: 1838<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/04/26<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8472766066?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 27 Mar 2026 22:15:01 -0700]]></pubDate>
    <title>The Blunderer</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8472766066?utm_medium=api&utm_source=rss]]></link>
    <book_id>276203</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388190660l/276203._SX50_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388190660l/276203._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388190660l/276203.jpg]]></book_large_image_url>
    <book_description><![CDATA[For two years, Walter Stackhouse has been a faithful and supportive husband to his wife, Clara. She is distant and neurotic, and Walter finds himself harboring gruesome fantasies about her demise. When Clara's dead body turns up at the bottom of a cliff in a manner uncannily resembling the recent death of a woman named Helen Kimmel who was murdered by her husband, Walter finds himself under scrutiny. He commits several blunders that claim his career and his reputation, cost him his friends, and eventually threaten his life. <i>The Blunderer</i> examines the dark obsessions that lie beneath the surface of seemingly ordinary people. With unerring psychological insight, Patricia Highsmith portrays characters who cross the precarious line separating fantasy from reality.<br /><br />NB: The title in England was changed to <i>Lament for a Lover</i>.]]></book_description>
    <book id="276203">
      <num_pages>288</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393322440</isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Sat, 28 Mar 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Fri, 27 Mar 2026 22:15:01 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 27 Mar 2026 14:22:33 -0700]]></user_date_created>
    <user_shelves>bluebeard, female-writers</user_shelves>
    <user_review><![CDATA[One of the more interesting Bluebeard novels out there. The brilliance of Patricia Highsmith's method is that she gets inside the minds of sociopathic men so that we sympathize with them, and then we increasingly see that those minds are filled with insanity and cobwebs. Wife-killers are common, she seems to say; both the ones who really do it, and the ones who want to but don't have the courage. There are tiny glimpses of female subjectivity here, mostly seen through the selfish rage and confused fumblings of the protagonist. Women are creatures who alternately sexually enchant or annoy and disgust him, and there is no consistency in his feelings, which flicker in and out in total chaos. All the men in this novel are boiling over with self-entitlement, and to spy on them is endlessly entertaining, amusing, and appalling. I place it squarely in the category of fiction I call "women telling on men." Highly recommended. ]]></user_review>
    <average_rating>3.71</average_rating>
    <book_published>1954</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/276203.The_Blunderer?utm_medium=api&amp;utm_source=rss"><img alt="The Blunderer" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388190660l/276203._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.71<br/>
                                      book published: 1954<br/>
                                      rating: 4<br/>
                                      read at: 2026/03/28<br/>
                                      date added: 2026/03/27<br/>
                                      shelves: bluebeard, female-writers<br/>
                                      review: <br/>One of the more interesting Bluebeard novels out there. The brilliance of Patricia Highsmith's method is that she gets inside the minds of sociopathic men so that we sympathize with them, and then we increasingly see that those minds are filled with insanity and cobwebs. Wife-killers are common, she seems to say; both the ones who really do it, and the ones who want to but don't have the courage. There are tiny glimpses of female subjectivity here, mostly seen through the selfish rage and confused fumblings of the protagonist. Women are creatures who alternately sexually enchant or annoy and disgust him, and there is no consistency in his feelings, which flicker in and out in total chaos. All the men in this novel are boiling over with self-entitlement, and to spy on them is endlessly entertaining, amusing, and appalling. I place it squarely in the category of fiction I call "women telling on men." Highly recommended. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8373256495?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 19 Feb 2026 09:44:36 -0800]]></pubDate>
    <title>Repetition</title>
    <link><![CDATA[https://www.goodreads.com/review/show/8373256495?utm_medium=api&utm_source=rss]]></link>
    <book_id>235697352</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1750707914l/235697352._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1750707914l/235697352.jpg]]></book_large_image_url>
    <book_description><![CDATA[As winter approaches in Norway and the daylight dwindles, a chance encounter prompts a novelist to reexamine her past. The seismic events following her sixteenth birthday return with haunting vividness, exposing a story both utterly familiar and desperately strange.<br /><br />It was the year she first got drunk, the year she first had sex with a boy. She was watched like a hawk by an anxious mother and a silent, distant father. It was a year of typical teenage fixation and typical teenage frivolity, and of all the usual parental fretting. Until something else took hold, and her family made an unspoken decision and a terrible sacrifice. Only now, decades later, can these events come close to being comprehended.<br /><br />In <i>Repetition,</i> award-winning novelist Vigdis Hjorth explores through fiction the parts of childhood that chime through the decades.]]></book_description>
    <book id="235697352">
      <num_pages>144</num_pages>
    </book>
    <author_name>Vigdis Hjorth</author_name>
    <isbn>1804298948</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 19 Feb 2026 09:44:36 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 19 Feb 2026 09:44:36 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.07</average_rating>
    <book_published>2023</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/235697352-repetition?utm_medium=api&amp;utm_source=rss"><img alt="Repetition" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1750707914l/235697352._SY75_.jpg" /></a><br/>
                                      author: Vigdis Hjorth<br/>
                                      name: Anna<br/>
                                      average rating: 4.07<br/>
                                      book published: 2023<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2026/02/19<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/8239313436?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 08 Jan 2026 23:28:37 -0800]]></pubDate>
    <title><![CDATA[In the Blink of an Eye: A Perspective on Film Editing]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/8239313436?utm_medium=api&utm_source=rss]]></link>
    <book_id>2141</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1723231142l/2141._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1723231142l/2141._SY75_.jpg]]></book_small_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1723231142l/2141._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought -- provoking essay on film editing. Starting with what might be the most basic editing question -- Why do cuts work? -- Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing (which accounts for a third of the book's pages) in light of the technological changes that have taken place in the six years since its publication.]]></book_description>
    <book id="2141">
      <num_pages>146</num_pages>
    </book>
    <author_name>Walter Murch</author_name>
    <isbn>1879505622</isbn>
    <user_name>Anna</user_name>
    <user_rating>3</user_rating>
    <user_read_at><![CDATA[Thu, 8 Jan 2026 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 08 Jan 2026 23:28:37 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 08 Jan 2026 09:51:33 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Why do I keep reading books on editing when I already know how to edit? I hoped there would be some amazing insights here that would take my editing to another level, but it's just reinforcing what I already know. That said, everything he says here is true: emotion is first, story second, rhythm third, continuity fourth etc., and the edit should accomplish all of these things.<br /><br />And there was an insane anecdote about the author editing Apocalypse Now, which is almost beyond belief, and which shows how editors like Murch really should be considered co-authors of pictures where the director was indulgent enough to shoot 100:1 or whatever crazy ratio Coppola shot that film in.]]></user_review>
    <average_rating>4.21</average_rating>
    <book_published>1995</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2141.In_the_Blink_of_an_Eye?utm_medium=api&amp;utm_source=rss"><img alt="In the Blink of an Eye: A Perspective on Film Editing" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1723231142l/2141._SY75_.jpg" /></a><br/>
                                      author: Walter Murch<br/>
                                      name: Anna<br/>
                                      average rating: 4.21<br/>
                                      book published: 1995<br/>
                                      rating: 3<br/>
                                      read at: 2026/01/08<br/>
                                      date added: 2026/01/08<br/>
                                      shelves: <br/>
                                      review: <br/>Why do I keep reading books on editing when I already know how to edit? I hoped there would be some amazing insights here that would take my editing to another level, but it's just reinforcing what I already know. That said, everything he says here is true: emotion is first, story second, rhythm third, continuity fourth etc., and the edit should accomplish all of these things.<br /><br />And there was an insane anecdote about the author editing Apocalypse Now, which is almost beyond belief, and which shows how editors like Murch really should be considered co-authors of pictures where the director was indulgent enough to shoot 100:1 or whatever crazy ratio Coppola shot that film in.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5717622510?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 04 Dec 2025 12:08:41 -0800]]></pubDate>
    <title><![CDATA[Lustmord by Maria Tatar (1997-05-05)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5717622510?utm_medium=api&utm_source=rss]]></link>
    <book_id>129201370</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1699248710l/129201370._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place-both artistically and socially-in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder (Lustmord), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers-George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife-but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social andsexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims. Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.]]></book_description>
    <book id="129201370">
      <num_pages>0</num_pages>
    </book>
    <author_name>Maria Tatar</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 24 Aug 2023 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 04 Dec 2025 12:08:41 -0800]]></user_date_added>
    <user_date_created><![CDATA[Mon, 24 Jul 2023 18:03:59 -0700]]></user_date_created>
    <user_shelves><![CDATA[female-writers, bluebeard, feminism]]></user_shelves>
    <user_review><![CDATA[I had very strong emotions on reading this, so much so that I view it as a transformative, nearly life-changing read. In <i>Lustmord</i>, Maria Tatar examines male fantasies of violence towards women as expressed mainly in artworks from the Weimar era in Germany. She explores how these artists, traumatized by World War I, sublimated their anxieties about war-torn, mutilated soldiers' bodies onto women, especially prostitutes, whom they depicted mutilated and disemboweled in numerous gruesome artworks. Tatar cites numerous sources to back up her claims that these artists resented women, who remained intact at home while the male soldiers were subjected to senseless violence and mutilation. And they were especially resentful and envious of women's life-giving powers, seeking to symbolically destroy the bodies of women in order to create a more meaningful, durable, spiritual life in their canvases, films, and novels. <br /><br />The reason this book was so important for me is that it linked certain things together in my mind that had hitherto been separate. In my film and writing practice I have been interested in subverting male fantasy in favor of female fantasy in the horror genre, and in resisting the depiction of female bodies as mutilated, humiliated, and debased. I saw this as a response to sadistic slasher films, and a desire for a return to women-in-peril pictures from the classic Hollywood era. <br /><br />But this book was like a dark therapy session, because it brought me back to the first artworks I had ever seen depicting female mutilation: namely, my father's art books. I spent hours and hours as a child poring over Otto Dix and George Grosz reproductions, and because of this I developed a staunchly expressionistic style when I later went to art school and studied painting. And I literally sucked in air as I read Tatar's analysis of how these artists thought of women as muses and men as creators (she points to numerous creation myths in which women's bodies are destroyed in order to create a new, male-created universe), because when I was in art school, I once heard a male art professor state outright, "Men are creators—women are muses." And this attitude, widely held by male artists but rarely expressed directly, has oppressed me throughout my life as an artist, especially in an environment in which my father and his friends regularly drew and painted the nude female model, which was considered merely "form." But to read about how the same artists who painted canvases titled "Lustmord" (sexual murder), were the ones who thought of women as base, sensual creatures, in contrast with males, who were highly evolved, spiritual creatures, crystallized for me the whole reason I became an artist. <br /><br />I loved German Expressionist art as a child (and I still do), because it's strong and visceral, it has great compositional and visual integrity, and it's powerfully evocative. It's "good" art in every sense. And its bright colors and emotional intensity would have obvious appeal for a child (I distinctly remember my sister and I as small children giggling over the obscene nudes). But I discovered, on reading Tatar's book, that Dix and Grosz in fact created self-portraits of themselves as sexual murderers—as Bluebeards! Then I had a dizzying moment where I realized that my interest in this theme didn't come just from the fairy tale; images of dead women had been firing my imagination even before I was able to read. Why do we have a cultural fascination with dead women? Why are images of dead and mutilated women so normalized? This casual attitude about images of dismembered women is accurately summarized by a Brian De Palma quote Tatar uses at the start of her first chapter: "I don't particularly want to chop up women but it seems to work."<br /><br />One of the most fascinating parts of Tatar's analysis is when she talks about how persistently art historians ignore and efface the graphically brutal depictions of murdered women in artworks, focusing instead on the aesthetic and formal qualities of the work, or on biographical details of the artist. In a gruesome parallel, she recounts how serial murderers at the time were indirectly excused for their crimes by journalists, who focused instead on the killer's poverty or suffering, or on the public's hysteria. Karl Denke, for example, was said to have murdered and eaten his victims because of poverty: "the pots of fat and tubs of preserved human flesh in Denke's kitchen were evidently there because he needed the food." Worse, the victims were often blamed for the crimes committed against them (as Jews were often blamed for the acts of Nazi perpetrators), since murderous rage against loose, vulgar, mothering, or controlling women was seen as normal and natural. <br /><br />Tatar points out how this logic also applies to Weimar films films, such as Fritz Lang's <i>M,</i> in which the child murderer Beckert, played by Peter Lorre, moves subtly from perpetrator at the beginning of the film to victim of an angry mob of mothers at the end of the film; and to <i>Psycho</i> (Hitchcock was heavily influenced by Weimar cinema), in which Norman disappears as the perpetrator as he is completely taken over by "Mother," who is the "real" killer. And Tatar says of the murders in Alfred Döblin's famous novel <i>Berlin Alexanderplatz:</i><br /><br />"The sexual demonization of women in <i>Berlin Alexanderplatz</i> has a function not very different from the racial demonization of Jews in the Third Reich. In both cases, repression and projection operate in such as way as to turn the target of murderous violence into a peril of monstrous proportions, one that threatens to sap the lifeblood of the 'victims' and thereby authorizes a form of unrestrained retaliatory violence marked by frenzied excess."<br /><br />There is much more in the book that is thought-provoking and startling, which a brief review can't cover; one must read it in full. But it's a truly illuminating and harrowing book which provides a sharp feminist analysis of artworks, films, and novels which depict male violence against women as justifiable homicide because of the inherently awful qualities of the victims, who are in fact seen as perpetrators. This book was published in 1995. This fact seems significant, because her scathing arguments represent a type of critique that would be unthinkable in today's climate, in which any critique a feminist makes about male violence is put under a microscope, and the writer savaged and demonized (much like the examples in the book itself). For this and other reasons, I find Tatar's book to be especially timely, relevant, and valuable.]]></user_review>
    <average_rating>5.00</average_rating>
    <book_published>1995</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/129201370-lustmord-by-maria-tatar?utm_medium=api&amp;utm_source=rss"><img alt="Lustmord by Maria Tatar (1997-05-05)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1699248710l/129201370._SY75_.jpg" /></a><br/>
                                      author: Maria Tatar<br/>
                                      name: Anna<br/>
                                      average rating: 5.00<br/>
                                      book published: 1995<br/>
                                      rating: 5<br/>
                                      read at: 2023/08/24<br/>
                                      date added: 2025/12/04<br/>
                                      shelves: female-writers, bluebeard, feminism<br/>
                                      review: <br/>I had very strong emotions on reading this, so much so that I view it as a transformative, nearly life-changing read. In <i>Lustmord</i>, Maria Tatar examines male fantasies of violence towards women as expressed mainly in artworks from the Weimar era in Germany. She explores how these artists, traumatized by World War I, sublimated their anxieties about war-torn, mutilated soldiers' bodies onto women, especially prostitutes, whom they depicted mutilated and disemboweled in numerous gruesome artworks. Tatar cites numerous sources to back up her claims that these artists resented women, who remained intact at home while the male soldiers were subjected to senseless violence and mutilation. And they were especially resentful and envious of women's life-giving powers, seeking to symbolically destroy the bodies of women in order to create a more meaningful, durable, spiritual life in their canvases, films, and novels. <br /><br />The reason this book was so important for me is that it linked certain things together in my mind that had hitherto been separate. In my film and writing practice I have been interested in subverting male fantasy in favor of female fantasy in the horror genre, and in resisting the depiction of female bodies as mutilated, humiliated, and debased. I saw this as a response to sadistic slasher films, and a desire for a return to women-in-peril pictures from the classic Hollywood era. <br /><br />But this book was like a dark therapy session, because it brought me back to the first artworks I had ever seen depicting female mutilation: namely, my father's art books. I spent hours and hours as a child poring over Otto Dix and George Grosz reproductions, and because of this I developed a staunchly expressionistic style when I later went to art school and studied painting. And I literally sucked in air as I read Tatar's analysis of how these artists thought of women as muses and men as creators (she points to numerous creation myths in which women's bodies are destroyed in order to create a new, male-created universe), because when I was in art school, I once heard a male art professor state outright, "Men are creators—women are muses." And this attitude, widely held by male artists but rarely expressed directly, has oppressed me throughout my life as an artist, especially in an environment in which my father and his friends regularly drew and painted the nude female model, which was considered merely "form." But to read about how the same artists who painted canvases titled "Lustmord" (sexual murder), were the ones who thought of women as base, sensual creatures, in contrast with males, who were highly evolved, spiritual creatures, crystallized for me the whole reason I became an artist. <br /><br />I loved German Expressionist art as a child (and I still do), because it's strong and visceral, it has great compositional and visual integrity, and it's powerfully evocative. It's "good" art in every sense. And its bright colors and emotional intensity would have obvious appeal for a child (I distinctly remember my sister and I as small children giggling over the obscene nudes). But I discovered, on reading Tatar's book, that Dix and Grosz in fact created self-portraits of themselves as sexual murderers—as Bluebeards! Then I had a dizzying moment where I realized that my interest in this theme didn't come just from the fairy tale; images of dead women had been firing my imagination even before I was able to read. Why do we have a cultural fascination with dead women? Why are images of dead and mutilated women so normalized? This casual attitude about images of dismembered women is accurately summarized by a Brian De Palma quote Tatar uses at the start of her first chapter: "I don't particularly want to chop up women but it seems to work."<br /><br />One of the most fascinating parts of Tatar's analysis is when she talks about how persistently art historians ignore and efface the graphically brutal depictions of murdered women in artworks, focusing instead on the aesthetic and formal qualities of the work, or on biographical details of the artist. In a gruesome parallel, she recounts how serial murderers at the time were indirectly excused for their crimes by journalists, who focused instead on the killer's poverty or suffering, or on the public's hysteria. Karl Denke, for example, was said to have murdered and eaten his victims because of poverty: "the pots of fat and tubs of preserved human flesh in Denke's kitchen were evidently there because he needed the food." Worse, the victims were often blamed for the crimes committed against them (as Jews were often blamed for the acts of Nazi perpetrators), since murderous rage against loose, vulgar, mothering, or controlling women was seen as normal and natural. <br /><br />Tatar points out how this logic also applies to Weimar films films, such as Fritz Lang's <i>M,</i> in which the child murderer Beckert, played by Peter Lorre, moves subtly from perpetrator at the beginning of the film to victim of an angry mob of mothers at the end of the film; and to <i>Psycho</i> (Hitchcock was heavily influenced by Weimar cinema), in which Norman disappears as the perpetrator as he is completely taken over by "Mother," who is the "real" killer. And Tatar says of the murders in Alfred Döblin's famous novel <i>Berlin Alexanderplatz:</i><br /><br />"The sexual demonization of women in <i>Berlin Alexanderplatz</i> has a function not very different from the racial demonization of Jews in the Third Reich. In both cases, repression and projection operate in such as way as to turn the target of murderous violence into a peril of monstrous proportions, one that threatens to sap the lifeblood of the 'victims' and thereby authorizes a form of unrestrained retaliatory violence marked by frenzied excess."<br /><br />There is much more in the book that is thought-provoking and startling, which a brief review can't cover; one must read it in full. But it's a truly illuminating and harrowing book which provides a sharp feminist analysis of artworks, films, and novels which depict male violence against women as justifiable homicide because of the inherently awful qualities of the victims, who are in fact seen as perpetrators. This book was published in 1995. This fact seems significant, because her scathing arguments represent a type of critique that would be unthinkable in today's climate, in which any critique a feminist makes about male violence is put under a microscope, and the writer savaged and demonized (much like the examples in the book itself). For this and other reasons, I find Tatar's book to be especially timely, relevant, and valuable.<br/>
                                      ]]>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5564931519?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 10 Nov 2025 10:28:02 -0800]]></pubDate>
    <title><![CDATA[The Memoirs of Casanova (Complete)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5564931519?utm_medium=api&utm_source=rss]]></link>
    <book_id>20504101</book_id>
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    <book_description><![CDATA[This Tribeca Press edition includes the full original text as well as an easy to use interactive table of contents.<br /><br /><br />Histoire de ma vie (Story of my Life) is both the memoir and autobiography of Giacomo Casanova, a famous 18th-century Italian adventurer. A previous, bowdlerizedversion was originally known in English as The Memoirs of Jacques Casanova (from the French Mémoires de Jacques Casanova) until the original version was published in 1960.<br /><br /><br />Although Casanova was Venetian (born April 2, 1725, in Venice, died June 4, 1798, in Dux, Bohemia, now Duchcov, Czech Republic), the book is written in French, which was the dominant language in the upper class at the time. The book covers Casanova's life only through 1774, although the full title of the book is Histoire de ma vie jusqu'à l'an 1797, (History of my Life until the year 1797).<br /><br /><br />On February 18, 2010, the National Library of France purchased the 3,700 page manuscript of Histoire de ma vie for approximately €7 million. The manuscript is believed to have been given to Casanova's nephew, Carlo Angiolini, in 1798. The manuscript is believed to contain pages not previously read or published.<br /><br /><br />From 1838 to 1960, all the editions of the memoirs were derived from one of these editions. Arthur Machen used one of these inaccurate versions for his English translation published in 1894 which remained the Standard English edition for many years.<br /><br /><br />The original manuscript was stored in the editor's head office in Leipzig until 1943, when after the closure of the office; they were secured in a bank, saving them just before the 1943 bombings of Leipzig. In June 1945, it was moved to the new head office in Wiesbaden by the American troops.]]></book_description>
    <book id="20504101">
      <num_pages>0</num_pages>
    </book>
    <author_name>Giacomo Casanova</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 10 Nov 2025 10:28:02 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sun, 21 May 2023 12:09:03 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review></user_review>
    <average_rating>3.77</average_rating>
    <book_published></book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/20504101-the-memoirs-of-casanova?utm_medium=api&amp;utm_source=rss"><img alt="The Memoirs of Casanova (Complete)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1389346303l/20504101._SY75_.jpg" /></a><br/>
                                      author: Giacomo Casanova<br/>
                                      name: Anna<br/>
                                      average rating: 3.77<br/>
                                      book published: <br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/11/10<br/>
                                      shelves: <br/>
                                      review: <br/><br/>
                                      ]]>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557438354?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 05 Nov 2025 08:27:43 -0800]]></pubDate>
    <title>Mansfield Park</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557438354?utm_medium=api&utm_source=rss]]></link>
    <book_id>45032</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1397063295l/45032._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Taken from the poverty of her parents' home in Portsmouth, Fanny Price is brought up with her rich cousins at Mansfield Park, acutely aware of her humble rank and with her cousin Edmund as her sole ally. During her uncle's absence in Antigua, the Crawfords arrive in the neighbourhood bringing with them the glamour of London life and a reckless taste for flirtation. Mansfield Park is considered Jane Austen's first mature work and, with its quiet heroine and subtle examination of social position and moral integrity, one of her most profound.]]></book_description>
    <book id="45032">
      <num_pages>488</num_pages>
    </book>
    <author_name>Jane Austen</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 16 Sep 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Wed, 05 Nov 2025 08:27:43 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 17:26:11 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[This is an extremely clever satirical retelling of Cinderella, the point of which appears to be to imbue its heroine with real character and moral virtues, as opposed to the original Cinderella who was just young, lovely, passive, and in need of being rescued by a fairy godmother and a handsome prince. Its goal also seems to be to create a realistic novel with complex characters and motivations at a time when realism in novels was fairly new. However, it remains a fairy tale in that the characters are chess pieces in a game that ends well for those who are wise and prudent and have a long view of circumstances, and badly for those who are self-indulgent, cruel, and impulsive. <br /><br />Fanny, the youngest and most innocent of the main characters, and yet the wisest, wins the game of life handily over her silly cousins (symbolically stepsisters), her neglectful mother and stepmother-aunt, her godmother-aunt (a vicious, ridiculous character, and yet the one who secures her happiness by arranging for her to be lifted out of poverty and transported to the idyllic Mansfield), and her feckless, womanizing suitor. And she wins by being clear-eyed, not easily manipulated or wooed, and being an observer rather than an active participant as others spin their wheels and destroy themselves all around her.<br /><br />In some ways it's the ultimate feminist novel, because it takes what makes Fanny human, what makes her tick, what makes her real, and what is invisible to nearly everyone else in the story, and makes that the catalyst for her triumph, rather than a rich man whisking her away to a ball (Henry Crawford does that, but it doesn't impress her—indeed, she mercilessly skewers the entitled rich and their frivolity and lack of character). A handsome prince at a ball, Austen says? Nothing but a vainglorious fop, not worth much more than the fancy gold chain he gifts her! The idle stepsisters? No need to punish them—they will destroy themselves with their foolishness. Cinderella herself? She's fine, thank you, no prince or godmother needed. She knows who she is, and she'll always have what she wants. Does she want a man? Yes, but more than that, she wants her autonomy, her freedom, her values. The man can wait until he wakes up and sees what a gem he's missing due to his immaturity and blindness, or he can fade into the distance, and she will be fine. She has herself, and that's what matters.<br /><br />Another breathtaking aspect of the book is how Fanny's poor family is treated. No rose-colored glasses here, no sentimentalizing or demonizing of the rustic poor. One simply feels how uncomfortable it is to be crowded together with so many other people, with so little physical and mental space and so little time for reflection and leisure. It's this which causes Fanny's mother's indifference, her father's uncouthness, and the behavioral problems of her younger siblings. Fanny is lifted away from all this into a world of shady walks, libraries, young love, playacting, horsemanship, the finer points of moral living, and large swathes of time to reflect and better herself. It's a wonderful contribution to the realistic novel, and a bitter recognition of the unfairness and blind cruelty of wealth and social class.<br /><br />In some ways the most delicious part of the book is where Fanny is in love with a man who is in love with someone else, and she has to hear constantly from each of them, through talks and letters, about the other one. It's a great device for creating suspense, heartache, and comedy, and she executes this tension masterfully. <br /><br />Austen clearly had a considerable influence on other writers, although they were ungenerous in crediting her. For instance, a conversation in this book in which two women discuss the name Edmund, and how they infinitely prefer it to a name like John or Jack, appears to be the origin seed of Oscar Wilde's <i>The Importance of Being Ernest.</i> And in Nabokov's <i>Lectures on Literature,</i> when he points to a charming device in this book which was also used in <i>Bleak House,</i> he claims that if Dickens had done it first she would have been said to have been copying him, but since Austen did it first his use of it was just a coincidence.]]></user_review>
    <average_rating>3.86</average_rating>
    <book_published>1814</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/45032.Mansfield_Park?utm_medium=api&amp;utm_source=rss"><img alt="Mansfield Park" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1397063295l/45032._SY75_.jpg" /></a><br/>
                                      author: Jane Austen<br/>
                                      name: Anna<br/>
                                      average rating: 3.86<br/>
                                      book published: 1814<br/>
                                      rating: 5<br/>
                                      read at: 2024/09/16<br/>
                                      date added: 2025/11/05<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>This is an extremely clever satirical retelling of Cinderella, the point of which appears to be to imbue its heroine with real character and moral virtues, as opposed to the original Cinderella who was just young, lovely, passive, and in need of being rescued by a fairy godmother and a handsome prince. Its goal also seems to be to create a realistic novel with complex characters and motivations at a time when realism in novels was fairly new. However, it remains a fairy tale in that the characters are chess pieces in a game that ends well for those who are wise and prudent and have a long view of circumstances, and badly for those who are self-indulgent, cruel, and impulsive. <br /><br />Fanny, the youngest and most innocent of the main characters, and yet the wisest, wins the game of life handily over her silly cousins (symbolically stepsisters), her neglectful mother and stepmother-aunt, her godmother-aunt (a vicious, ridiculous character, and yet the one who secures her happiness by arranging for her to be lifted out of poverty and transported to the idyllic Mansfield), and her feckless, womanizing suitor. And she wins by being clear-eyed, not easily manipulated or wooed, and being an observer rather than an active participant as others spin their wheels and destroy themselves all around her.<br /><br />In some ways it's the ultimate feminist novel, because it takes what makes Fanny human, what makes her tick, what makes her real, and what is invisible to nearly everyone else in the story, and makes that the catalyst for her triumph, rather than a rich man whisking her away to a ball (Henry Crawford does that, but it doesn't impress her—indeed, she mercilessly skewers the entitled rich and their frivolity and lack of character). A handsome prince at a ball, Austen says? Nothing but a vainglorious fop, not worth much more than the fancy gold chain he gifts her! The idle stepsisters? No need to punish them—they will destroy themselves with their foolishness. Cinderella herself? She's fine, thank you, no prince or godmother needed. She knows who she is, and she'll always have what she wants. Does she want a man? Yes, but more than that, she wants her autonomy, her freedom, her values. The man can wait until he wakes up and sees what a gem he's missing due to his immaturity and blindness, or he can fade into the distance, and she will be fine. She has herself, and that's what matters.<br /><br />Another breathtaking aspect of the book is how Fanny's poor family is treated. No rose-colored glasses here, no sentimentalizing or demonizing of the rustic poor. One simply feels how uncomfortable it is to be crowded together with so many other people, with so little physical and mental space and so little time for reflection and leisure. It's this which causes Fanny's mother's indifference, her father's uncouthness, and the behavioral problems of her younger siblings. Fanny is lifted away from all this into a world of shady walks, libraries, young love, playacting, horsemanship, the finer points of moral living, and large swathes of time to reflect and better herself. It's a wonderful contribution to the realistic novel, and a bitter recognition of the unfairness and blind cruelty of wealth and social class.<br /><br />In some ways the most delicious part of the book is where Fanny is in love with a man who is in love with someone else, and she has to hear constantly from each of them, through talks and letters, about the other one. It's a great device for creating suspense, heartache, and comedy, and she executes this tension masterfully. <br /><br />Austen clearly had a considerable influence on other writers, although they were ungenerous in crediting her. For instance, a conversation in this book in which two women discuss the name Edmund, and how they infinitely prefer it to a name like John or Jack, appears to be the origin seed of Oscar Wilde's <i>The Importance of Being Ernest.</i> And in Nabokov's <i>Lectures on Literature,</i> when he points to a charming device in this book which was also used in <i>Bleak House,</i> he claims that if Dickens had done it first she would have been said to have been copying him, but since Austen did it first his use of it was just a coincidence.<br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/7946056166?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 16 Oct 2025 08:37:52 -0700]]></pubDate>
    <title>Film Music: A Neglected Art</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7946056166?utm_medium=api&utm_source=rss]]></link>
    <book_id>452689</book_id>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348914638l/452689._SX98_.jpg]]></book_medium_image_url>
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    <book_description><![CDATA["That Mr. Prendergast is unusually well-equipped to discuss both the technology and the aesthetics of film music is revealed once more in this second edition, particularly in the new section on synthesizers. And in this discussion he is disarmingly frank and perceptive. The hands-on experience he has had as one of Hollywood's leading music editors has allowed him to make comments and judgments that serve the history of film music." ―William Kraft, composer, from the Foreword In addition to the new material on the synthesizer mentioned above, the author has completely reviewed the four parts of the book and integrated new material where appropriate: History (an overview from the silent films to the present); Aesthetics (the artistic purposes film music serves and the forms it takes); Technique (how to synchronize music to picture and the special demands of television); and Contemporary Techniques and Tools (comprising video post-production, digital audio, and other innovations). A completely updated bibliography rounds out this informative study.]]></book_description>
    <book id="452689">
      <num_pages>329</num_pages>
    </book>
    <author_name>Roy M. Pendergast</author_name>
    <isbn>039330874X</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 16 Oct 2025 08:37:52 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 26 Sep 2025 10:57:51 -0700]]></user_date_created>
    <user_shelves>currently-reading</user_shelves>
    <user_review></user_review>
    <average_rating>3.73</average_rating>
    <book_published>1992</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/452689.Film_Music?utm_medium=api&amp;utm_source=rss"><img alt="Film Music: A Neglected Art" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348914638l/452689._SY75_.jpg" /></a><br/>
                                      author: Roy M. Pendergast<br/>
                                      name: Anna<br/>
                                      average rating: 3.73<br/>
                                      book published: 1992<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2025/10/16<br/>
                                      shelves: currently-reading<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7932955303?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 09 Oct 2025 23:39:20 -0700]]></pubDate>
    <title><![CDATA[On Film Editing: An Introduction to the Art of Film Construction]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/7932955303?utm_medium=api&utm_source=rss]]></link>
    <book_id>758487</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1393220085l/758487._SX50_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1393220085l/758487.jpg]]></book_large_image_url>
    <book_description><![CDATA[On Film Editing explains, in simple terms, the principles of film editing, using examples and anecdotes. Written in an informal "how-to-do-it" style, renowned director Edward Dmytyrk shares his expertise and experience in film editing in an anecdotal and philosophical way.<br /><br />In On Film Editing, Dmytryk contends that many technicians and professionals on the film crew-- from the cameraman and his assistants to the producer and director-- must understand film editing to produce a truly polished work. In this book he explains in layman's terms the principles of film editing, using examples and anecdotes from almost five decades in the film industry.]]></book_description>
    <book id="758487">
      <num_pages>160</num_pages>
    </book>
    <author_name>Edward Dmytryk</author_name>
    <isbn>0240517385</isbn>
    <user_name>Anna</user_name>
    <user_rating>3</user_rating>
    <user_read_at><![CDATA[Thu, 9 Oct 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 09 Oct 2025 23:39:20 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 21 Sep 2025 13:17:52 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Edward Dmytryk was a good editor, but this book is just okay. I learned a few things though. There's this great rule about editing dialogue that I've never seen anywhere else and that I can't wait to try. I also read his book on directing, and although he directed some fantastic films, that was also just okay. Apropos of nothing, I still can't believe that the same person who directed the excellent Crossfire, The Caine Mutiny, Warlock, and The Hidden Room also directed the 1972 travesty Bluebeard starring Richard Burton and Joey Heatherton. But then a lot of people went totally insane in 1972.]]></user_review>
    <average_rating>4.04</average_rating>
    <book_published>1984</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/758487.On_Film_Editing?utm_medium=api&amp;utm_source=rss"><img alt="On Film Editing: An Introduction to the Art of Film Construction" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1393220085l/758487._SX50_.jpg" /></a><br/>
                                      author: Edward Dmytryk<br/>
                                      name: Anna<br/>
                                      average rating: 4.04<br/>
                                      book published: 1984<br/>
                                      rating: 3<br/>
                                      read at: 2025/10/09<br/>
                                      date added: 2025/10/09<br/>
                                      shelves: <br/>
                                      review: <br/>Edward Dmytryk was a good editor, but this book is just okay. I learned a few things though. There's this great rule about editing dialogue that I've never seen anywhere else and that I can't wait to try. I also read his book on directing, and although he directed some fantastic films, that was also just okay. Apropos of nothing, I still can't believe that the same person who directed the excellent Crossfire, The Caine Mutiny, Warlock, and The Hidden Room also directed the 1972 travesty Bluebeard starring Richard Burton and Joey Heatherton. But then a lot of people went totally insane in 1972.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557324531?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 01 Oct 2025 20:10:46 -0700]]></pubDate>
    <title>Doctor Faustus</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557324531?utm_medium=api&utm_source=rss]]></link>
    <book_id>34440</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1403189005l/34440._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA["John E. Woods is revising our impression of Thomas Mann, masterpiece by masterpiece." —The New Yorker<br /><br />"Doctor Faustus is Mann's deepest artistic gesture. . . . Finely translated by John E. Woods." —The New Republic<br /><br />Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul—and the ability to love his fellow man.<br /><br />Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and nihilism. It is also Mann's most profound meditation on the German genius—both national and individual—and the terrible responsibilities of the truly great artist.]]></book_description>
    <book id="34440">
      <num_pages>535</num_pages>
    </book>
    <author_name>Thomas Mann</author_name>
    <isbn>0375701168</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 01 Oct 2025 20:10:46 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 16:10:58 -0700]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, currently-reading]]></user_shelves>
    <user_review></user_review>
    <average_rating>4.07</average_rating>
    <book_published>1947</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/34440.Doctor_Faustus?utm_medium=api&amp;utm_source=rss"><img alt="Doctor Faustus" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1403189005l/34440._SX50_.jpg" /></a><br/>
                                      author: Thomas Mann<br/>
                                      name: Anna<br/>
                                      average rating: 4.07<br/>
                                      book published: 1947<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/10/01<br/>
                                      shelves: gothic-fiction, currently-reading<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7691460460?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 28 Sep 2025 11:55:30 -0700]]></pubDate>
    <title>Resurrection</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7691460460?utm_medium=api&utm_source=rss]]></link>
    <book_id>42641</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1335874776l/42641._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1335874776l/42641._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1335874776l/42641._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1335874776l/42641.jpg]]></book_large_image_url>
    <book_description><![CDATA[Resurrection (1899) is the last of Tolstoy's major novels. It tells the story of a nobleman's attempt to redeem the suffering his youthful philandering inflicted on a peasant girl who ends up a prisoner in Siberia. Tolstoy's vision of redemption, achieved through loving forgiveness and his condemnation of violence, dominate the novel. An intimate, psychological tale of guilt, anger, and forgiveness, Resurrection is at the same time a panoramic description of social life in Russia at the end of the nineteenth century, reflecting its author's outrage at the social injustices of the world in which he lived. This edition, which updates a classic translation, has explanatory notes, and a substantial introduction based on the most recent scholarship in the field.]]></book_description>
    <book id="42641">
      <num_pages>562</num_pages>
    </book>
    <author_name>Leo Tolstoy</author_name>
    <isbn>0735102864</isbn>
    <user_name>Anna</user_name>
    <user_rating>3</user_rating>
    <user_read_at><![CDATA[Fri, 26 Sep 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sun, 28 Sep 2025 11:55:30 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 28 Jun 2025 06:57:05 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Tolstoy is usually a really interesting writer for me, but I found this so didactic and dismal. There were a few interesting moments at the beginning a la Anna Karenina, in which a young woman's psychology was dissected with incisive clarity, but after that it was just one long guilt trip of a rich, privileged man patting himself on the back for his selflessness and sacrifice to the poor girl he ruined, along with all her class. There is endless misery of the poor and the disenfranchised, and religious epiphanies about love and God, but what is missing is a central character. <br /><br />We know from reading Tolstoy's own biography that he is speaking here of his own spiritual journey, and that makes this book triply repugnant. For instance, I couldn't help but think about how he tormented his wife and family when he decided to give up everything when he discovered God, and how he made them suffer in deprivation along with him. Also I couldn't help but think about how he, as a self-professed philanderer, probably did the same thing to a young girl in his own life, and how this whole book is a fantasy of saving her, while making himself out as the hero. For once the great realist and master of prose is unable to be honest in painting portraits of flesh-and-blood men and women; every character in this is a symbol and not a human being. I could barely get through it.]]></user_review>
    <average_rating>4.16</average_rating>
    <book_published>1899</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/42641.Resurrection?utm_medium=api&amp;utm_source=rss"><img alt="Resurrection" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1335874776l/42641._SX50_.jpg" /></a><br/>
                                      author: Leo Tolstoy<br/>
                                      name: Anna<br/>
                                      average rating: 4.16<br/>
                                      book published: 1899<br/>
                                      rating: 3<br/>
                                      read at: 2025/09/26<br/>
                                      date added: 2025/09/28<br/>
                                      shelves: <br/>
                                      review: <br/>Tolstoy is usually a really interesting writer for me, but I found this so didactic and dismal. There were a few interesting moments at the beginning a la Anna Karenina, in which a young woman's psychology was dissected with incisive clarity, but after that it was just one long guilt trip of a rich, privileged man patting himself on the back for his selflessness and sacrifice to the poor girl he ruined, along with all her class. There is endless misery of the poor and the disenfranchised, and religious epiphanies about love and God, but what is missing is a central character. <br /><br />We know from reading Tolstoy's own biography that he is speaking here of his own spiritual journey, and that makes this book triply repugnant. For instance, I couldn't help but think about how he tormented his wife and family when he decided to give up everything when he discovered God, and how he made them suffer in deprivation along with him. Also I couldn't help but think about how he, as a self-professed philanderer, probably did the same thing to a young girl in his own life, and how this whole book is a fantasy of saving her, while making himself out as the hero. For once the great realist and master of prose is unable to be honest in painting portraits of flesh-and-blood men and women; every character in this is a symbol and not a human being. I could barely get through it.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5589068260?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 19 Jun 2025 00:59:50 -0700]]></pubDate>
    <title>Faust</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5589068260?utm_medium=api&utm_source=rss]]></link>
    <book_id>406373</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1758424096l/406373._SY75_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1758424096l/406373._SX98_.jpg]]></book_medium_image_url>
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    <book_description><![CDATA[Goethe’s <i>Faust</i> reworks the late medieval myth of a brilliant scholar so disillusioned he resolves to make a contract with Mephistopheles. The devil will do all he asks on Earth and seeks to grant him a moment in life so glorious that he will wish it to last forever. But if Faust does bid the moment stay, he falls to Mephistopheles and must serve him after death. In this first part of Goethe’s great work, the embittered thinker and Mephistopheles enter into their agreement, and soon Faust is living a rejuvenated life and winning the love of the beautiful Gretchen. But in this compelling tragedy of arrogance, unfulfilled desire, and self-delusion, Faust heads inexorably toward an infernal destruction.]]></book_description>
    <book id="406373">
      <num_pages>503</num_pages>
    </book>
    <author_name>Johann Wolfgang von Goethe</author_name>
    <isbn>0385031149</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 19 Jun 2025 00:59:50 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 01 Jun 2023 10:00:29 -0700]]></user_date_created>
    <user_shelves>gothic-fiction</user_shelves>
    <user_review><![CDATA[I've read three translations of this. The first, by Longfellow, I found overly Victorian and flowery. Then I read John Stuart Blackie's version, which I liked better, and then this version, translated by Walter Kaufmann. This was the best of the three, but I still felt I was missing something. So since the German was on the opposite page and I was curious, with the English text as a guide I painstakingly went through the first few pages. And all I can say is that none of the English translations captures the feeling of the original, with its exultant, operatic drama, and the sheer sensuousness of the words and language. Even without understanding all the words, it was a delight just to sound them out. It's still a stunning work in English, transcendental and poetic, but I suppose poetry is one form that's never really translatable, even if the translator is an accomplished poet. That said, the famous story of Mephistopheles descending to earth and visiting Faust, and their strange encounter, and the tragic story of Gretchen, makes for a most stimulating and memorable read. Schumann's song "Gretchen Am Spinnrade" nicely captures the operatic drama of it all. "Sein Händedruck—und acht—sein Kuss!"]]></user_review>
    <average_rating>3.90</average_rating>
    <book_published>1808</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/406373.Faust?utm_medium=api&amp;utm_source=rss"><img alt="Faust" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1758424096l/406373._SY75_.jpg" /></a><br/>
                                      author: Johann Wolfgang von Goethe<br/>
                                      name: Anna<br/>
                                      average rating: 3.90<br/>
                                      book published: 1808<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/06/19<br/>
                                      shelves: gothic-fiction<br/>
                                      review: <br/>I've read three translations of this. The first, by Longfellow, I found overly Victorian and flowery. Then I read John Stuart Blackie's version, which I liked better, and then this version, translated by Walter Kaufmann. This was the best of the three, but I still felt I was missing something. So since the German was on the opposite page and I was curious, with the English text as a guide I painstakingly went through the first few pages. And all I can say is that none of the English translations captures the feeling of the original, with its exultant, operatic drama, and the sheer sensuousness of the words and language. Even without understanding all the words, it was a delight just to sound them out. It's still a stunning work in English, transcendental and poetic, but I suppose poetry is one form that's never really translatable, even if the translator is an accomplished poet. That said, the famous story of Mephistopheles descending to earth and visiting Faust, and their strange encounter, and the tragic story of Gretchen, makes for a most stimulating and memorable read. Schumann's song "Gretchen Am Spinnrade" nicely captures the operatic drama of it all. "Sein Händedruck—und acht—sein Kuss!"<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7494781760?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 31 May 2025 00:48:40 -0700]]></pubDate>
    <title>Japanese Ghost Stories</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7494781760?utm_medium=api&utm_source=rss]]></link>
    <book_id>41728466</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1540828155l/41728466._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[In this collection of classic ghost stories from Japan, beautiful princesses turn out to be frogs, paintings come alive, deadly spectral brides haunt the living, and a samurai delivers the baby of a Shinto goddess with mystical help. Here are all the phantoms and ghouls of Japanese folklore: 'rokuro-kubi', whose heads separate from their bodies at night; 'jikininki', or flesh-eating goblins; and terrifying faceless 'mujina' who haunt lonely neighbourhoods. Lafcadio Hearn, a master storyteller, drew on traditional Japanese folklore, infused with memories of his own haunted childhood in Ireland, to create these chilling tales. They are today regarded in Japan as classics in their own right.]]></book_description>
    <book id="41728466">
      <num_pages>272</num_pages>
    </book>
    <author_name>Lafcadio Hearn</author_name>
    <isbn>0241381274</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 31 May 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 31 May 2025 00:48:40 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 16 Apr 2025 18:44:05 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Just absolutely incredible and stunning. And so inspiring for the film I'm working on. Japanese ghosts are the scariest ghosts! What's scarier: some rattling in the night, a few raps on a ouija board, unexplained moaning; or a female ghost who marries you and has your child, but then it turns out that all along she was a GHOST?? You see her as young and beautiful, but your neighbor peeks through the window and sees a grotesque rotting skeleton. CREEPY!!]]></user_review>
    <average_rating>3.68</average_rating>
    <book_published>2019</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/41728466-japanese-ghost-stories?utm_medium=api&amp;utm_source=rss"><img alt="Japanese Ghost Stories" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1540828155l/41728466._SY75_.jpg" /></a><br/>
                                      author: Lafcadio Hearn<br/>
                                      name: Anna<br/>
                                      average rating: 3.68<br/>
                                      book published: 2019<br/>
                                      rating: 5<br/>
                                      read at: 2025/05/31<br/>
                                      date added: 2025/05/31<br/>
                                      shelves: <br/>
                                      review: <br/>Just absolutely incredible and stunning. And so inspiring for the film I'm working on. Japanese ghosts are the scariest ghosts! What's scarier: some rattling in the night, a few raps on a ouija board, unexplained moaning; or a female ghost who marries you and has your child, but then it turns out that all along she was a GHOST?? You see her as young and beautiful, but your neighbor peeks through the window and sees a grotesque rotting skeleton. CREEPY!!<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6331504700?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 05 May 2025 01:03:08 -0700]]></pubDate>
    <title><![CDATA[Death in Venice and Other Tales]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6331504700?utm_medium=api&utm_source=rss]]></link>
    <book_id>53064</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1309376701l/53064._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1309376701l/53064._SY75_.jpg]]></book_small_image_url>
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    <book_description><![CDATA[Featuring his world-famous masterpiece, "Death in Venice," this new collection of Nobel laureate Thomas Mann's stories and novellas reveals his artistic evolution. In this new, widely acclaimed translation that restores the controversial passages that were cut out of the original English version, "Death in Venice" tells about a ruinous quest for love and beauty amid degenerating splendor. Gustav von Aschenbach, a successful but lonely author, travels to the Queen of the Adriatic in search of an elusive spiritual fulfillment that turns into his erotic doom. Spellbound by a beautiful Polish boy, he finds himself fettered to this hypnotic city of sun-drenched sensuality and eerie physical decay. Also included in this volume are eleven other stories by Mann: "Tonio Kroger," "Gladius Dei," "The Blood of the Walsungs," "The Will for Happiness," "Little Herr Friedmann," "Tobias Mindernickel," "Little Lizzy," "Tristan," "The Starvelings," "The Wunderkind," and "Harsh Hour." All of the stories collected here display Mann's inimitable use of irony, his subtle characterizations, and superb, complex plots.]]></book_description>
    <book id="53064">
      <num_pages>384</num_pages>
    </book>
    <author_name>Thomas Mann</author_name>
    <isbn>0141181737</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 05 May 2025 01:03:08 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 09 Mar 2024 22:47:29 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[I love Thomas Mann! It's so hard to believe he lived in Los Angeles, practically in my old neighborhood, while he was writing masterpieces like this. Death in Venice captures so many things about life, death, youth, aging, theater, masks, despair, and <i>Venice,</i> which is also sad, beautiful, poetic, theatrical, and aging. This and Casanova's memoirs present the perfect imaginary for me of that great city. When I first read Death in Venice as a teenager I think it was my favorite thing I had ever read, and much later I discovered the Visconti film and it became all the more haunting. ]]></user_review>
    <average_rating>3.92</average_rating>
    <book_published>1998</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/53064.Death_in_Venice_and_Other_Tales?utm_medium=api&amp;utm_source=rss"><img alt="Death in Venice and Other Tales" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1309376701l/53064._SY75_.jpg" /></a><br/>
                                      author: Thomas Mann<br/>
                                      name: Anna<br/>
                                      average rating: 3.92<br/>
                                      book published: 1998<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/05/05<br/>
                                      shelves: <br/>
                                      review: <br/>I love Thomas Mann! It's so hard to believe he lived in Los Angeles, practically in my old neighborhood, while he was writing masterpieces like this. Death in Venice captures so many things about life, death, youth, aging, theater, masks, despair, and <i>Venice,</i> which is also sad, beautiful, poetic, theatrical, and aging. This and Casanova's memoirs present the perfect imaginary for me of that great city. When I first read Death in Venice as a teenager I think it was my favorite thing I had ever read, and much later I discovered the Visconti film and it became all the more haunting. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7435284295?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 17 Apr 2025 08:14:35 -0700]]></pubDate>
    <title>La Rabouilleuse</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7435284295?utm_medium=api&utm_source=rss]]></link>
    <book_id>2366707</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1450249140l/2366707._SY75_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1450249140l/2366707._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1450249140l/2366707.jpg]]></book_large_image_url>
    <book_description><![CDATA[<i>Alternate cover edition of ISBN 9782070357369</i><br /><br />Petite fille, la Rabouilleuse troublait l'eau des ruisseaux pour que son oncle braconnier pêche plus d'écrevisses. Jeune fille, Flore continue à «rabouiller.» Elle détourne la fortune d'un vieillard d'Issoudun au profit de son amant. Mais un plus fort survient, qui s'attribuera le produit de la pêche, le redoutable Philippe Bridau. Cet ex-lieutenant-colonel de l'armée impériale, le fils chéri d'Agathe, est devenu un affreux soudard qui mène sa vie privée comme une charge sur un champ de bataille. Ce parvenu dont la route est jonchée de cadavres, dépravé par le métier et la famille, les succès et les malheurs, est l'un des monstres les plus odieux de La Comédie humaine. C'est aussi l'un des personnages les plus forts. «Un tableau de maître,» disait Victor Hugo.]]></book_description>
    <book id="2366707">
      <num_pages>381</num_pages>
    </book>
    <author_name>Honoré de Balzac</author_name>
    <isbn>2253020923</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 17 Apr 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 17 Apr 2025 08:14:35 -0700]]></user_date_added>
    <user_date_created><![CDATA[Tue, 25 Mar 2025 18:03:22 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Balzac never ceases to entertain, astonish, educate, and delight. The characters are as fresh as wet paint, especially Philippe Bridau, one of the worst villains in literature. Like Jane Austen, Balzac focuses on the minutiae of daily life, including the exact amount of money people are living on and how their investments and annuities and inheritances and gambling addictions and desperate financial choices shape their life. The result is a sobering overview of wealth inequality and how it's maintained by criminals and psychopaths, which actually is not too different (or at all different) from today. In this <i>comedie humaine</i> characters are not round but flat, imprisoned in their own habits and vices, which in my opinion is how life works and is the foundation of good social satire. A strangely refreshing romance, thrilling, chilling, and fun.]]></user_review>
    <average_rating>3.97</average_rating>
    <book_published>1842</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2366707.La_Rabouilleuse?utm_medium=api&amp;utm_source=rss"><img alt="La Rabouilleuse" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1450249140l/2366707._SY75_.jpg" /></a><br/>
                                      author: Honoré de Balzac<br/>
                                      name: Anna<br/>
                                      average rating: 3.97<br/>
                                      book published: 1842<br/>
                                      rating: 5<br/>
                                      read at: 2025/04/17<br/>
                                      date added: 2025/04/17<br/>
                                      shelves: <br/>
                                      review: <br/>Balzac never ceases to entertain, astonish, educate, and delight. The characters are as fresh as wet paint, especially Philippe Bridau, one of the worst villains in literature. Like Jane Austen, Balzac focuses on the minutiae of daily life, including the exact amount of money people are living on and how their investments and annuities and inheritances and gambling addictions and desperate financial choices shape their life. The result is a sobering overview of wealth inequality and how it's maintained by criminals and psychopaths, which actually is not too different (or at all different) from today. In this <i>comedie humaine</i> characters are not round but flat, imprisoned in their own habits and vices, which in my opinion is how life works and is the foundation of good social satire. A strangely refreshing romance, thrilling, chilling, and fun.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7483782671?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 14 Apr 2025 16:36:29 -0700]]></pubDate>
    <title><![CDATA[The Young Girl's Handbook of Good Manners for Use in Educational Establishments (Wakefield Handbooks)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/7483782671?utm_medium=api&utm_source=rss]]></link>
    <book_id>7562251</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348360269l/7562251._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348360269l/7562251.jpg]]></book_large_image_url>
    <book_description><![CDATA[A bestselling author in his time, Pierre Louÿs (1870-1925) was a friend of, and influence on, André Gide, Paul Valéry, Oscar Wilde and Stephane Mallarmé among others. He achieved instant notoriety with <i>Aphrodite</i> and <i>The Songs of Bilitis</i>, but it was only after his death that Louÿs' true legacy was to be discovered: nearly 900 pounds of erotic manuscripts were found in his home, all of them immediately scattered among collectors and many subsequently lost. Since then, it has become clear that Louÿs is the greatest French writer of erotica there ever was. <i>The Young Girl's Handbook of Good Manners </i>was the first of his erotic manuscripts to see publication, and it also remains his most outrageous—an erotic classic in which humor takes precedence over arousal. By means of shockingly filthy advice—ostensibly offered "for use in educational establishments"—couched in a hilariously parodic admonitory tone, Louÿs turns late-nineteenth-century manners roundly on their head, with ass prominently skyward. Whether offering rules for etiquette in church, school or home, or outlining a girl's duties toward family, neighbor or God, Louÿs manages to mock every institution and leave no taboo unsullied. <i>The Young Girl's Handbook of Good Manners</i> has only grown more scandalous and subversive since its first appearance in 1926.]]></book_description>
    <book id="7562251">
      <num_pages>76</num_pages>
    </book>
    <author_name>Pierre Louÿs</author_name>
    <isbn>098411551X</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 14 Apr 2025 16:36:29 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 12 Apr 2025 17:39:36 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[I love Pierre Louys's short stories, especially "Woman and Puppet," and his "Songs of Bilitis." This, however, is too much! Examples range from mildly amusing: Never call your mother: "Old bitch! Pisspot trollop! Whore-licker! Walking pox! etc..." Those are expressions left for the common herd." To slightly nauseating: "Do not strap on a dildo to screw your mother unless she asks for it." To beyond the pale: "It is not proper for a little girl to still be a virgin after the age of eight, even if she has been sucking c**k for several years." Other examples are so filthy I don't dare even type them here. Although the intent—to skewer the strait-laced manuals written for young girls which deny that they possess any sexuality at all—is admirable, the text gives the impression that girl children are made to be the sex toys and partners of adults, and that's where I draw the line.]]></user_review>
    <average_rating>3.88</average_rating>
    <book_published>1919</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/7562251-the-young-girl-s-handbook-of-good-manners-for-use-in-educational-establi?utm_medium=api&amp;utm_source=rss"><img alt="The Young Girl&#39;s Handbook of Good Manners for Use in Educational Establishments (Wakefield Handbooks)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348360269l/7562251._SY75_.jpg" /></a><br/>
                                      author: Pierre Louÿs<br/>
                                      name: Anna<br/>
                                      average rating: 3.88<br/>
                                      book published: 1919<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2025/04/14<br/>
                                      shelves: <br/>
                                      review: <br/>I love Pierre Louys's short stories, especially "Woman and Puppet," and his "Songs of Bilitis." This, however, is too much! Examples range from mildly amusing: Never call your mother: "Old bitch! Pisspot trollop! Whore-licker! Walking pox! etc..." Those are expressions left for the common herd." To slightly nauseating: "Do not strap on a dildo to screw your mother unless she asks for it." To beyond the pale: "It is not proper for a little girl to still be a virgin after the age of eight, even if she has been sucking c**k for several years." Other examples are so filthy I don't dare even type them here. Although the intent—to skewer the strait-laced manuals written for young girls which deny that they possess any sexuality at all—is admirable, the text gives the impression that girl children are made to be the sex toys and partners of adults, and that's where I draw the line.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557320076?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 11 Mar 2025 07:47:19 -0700]]></pubDate>
    <title>Bonjour tristesse</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557320076?utm_medium=api&utm_source=rss]]></link>
    <book_id>61672</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1346107613l/61672._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[(English follows French)<br /><br />La villa est magnifique, l'été brûlant, la Méditerranée toute proche. Cécile a dix-sept ans. Elle ne connaît de l'amour que des baisers, des rendez-vous, des lassitudes. Pas pour longtemps. Son père, veuf, est un adepte joyeux des liaisons passagères et sans importance. Ils s'amusent, ils n'ont besoin de personne, ils sont heureux. La visite d'une femme de cœur, intelligente et calme, vient troubler ce délicieux désordre. Comment écarter la menace ? Dans la pinède embrasée, un jeu cruel se prépare.<br />C'était l'été 1954. On entendait pour la première fois la voix sèche et rapide d'un « charmant petit monstre » qui allait faire scandale. la deuxième moitié du XXe siècle commençait. Elle serait à l'image de cette adolescente déchirée entre le remords et le culte du plaisir.<br /><br />Set against the translucent beauty of France in summer, Bonjour Tristesse is a bittersweet tale narrated by Cecile, a seventeen-year-old girl on the brink of womanhood, whose meddling in her father's love life leads to tragic consequences.<br /><br />Endearing, self-absorbed, seventeen-year-old Cécile is the very essence of untroubled amorality. Freed from the stifling constraints of boarding school, she joins her father—a handsome, still-young widower with a wandering eye—for a carefree, two-month summer vacation in a beautiful villa outside of Paris with his latest mistress. Cécile cherishes the free-spirited moments she and her father share, while plotting her own sexual adventures with a "tall and almost beautiful" law student. But the arrival of her late mother's best friend intrudes upon a young girl's pleasures. And when a relationship begins to develop between the adults, Cécile and her lover set in motion a plan to keep them apart...with tragic, unexpected consequences.<br /><br />The internationally beloved story of a precocious teenager's attempts to understand and control the world around her, Françoise Sagan's Bonjour Tristesse is a beautifully composed, wonderfully ambiguous celebration of sexual liberation, at once sympathetic and powerfully unsparing.]]></book_description>
    <book id="61672">
      <num_pages>154</num_pages>
    </book>
    <author_name>Françoise Sagan</author_name>
    <isbn>2266127748</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 11 Mar 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 11 Mar 2025 07:47:19 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 16:07:56 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[What a beautiful, excellent book. Even better than the movie. I think I need to read it now in French.]]></user_review>
    <average_rating>3.78</average_rating>
    <book_published>1954</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/61672.Bonjour_tristesse?utm_medium=api&amp;utm_source=rss"><img alt="Bonjour tristesse" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1346107613l/61672._SY75_.jpg" /></a><br/>
                                      author: Françoise Sagan<br/>
                                      name: Anna<br/>
                                      average rating: 3.78<br/>
                                      book published: 1954<br/>
                                      rating: 5<br/>
                                      read at: 2025/03/11<br/>
                                      date added: 2025/03/11<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>What a beautiful, excellent book. Even better than the movie. I think I need to read it now in French.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7295262855?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 05 Feb 2025 23:14:59 -0800]]></pubDate>
    <title><![CDATA[Self-Portraits: Tales from the Life of Japan's Great Decadent Romantic]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/7295262855?utm_medium=api&utm_source=rss]]></link>
    <book_id>953401</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1563216547l/953401._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[A rich boy turned drop-out, a radical turned drug addict, obsessed with self destruction and suicide, Osamu Dazai retains his cult status among Japan's intellectual youth more than forty years after his death. These stories, based on his own experiences and arranged chronologically, provide insight into the sources of Dazai's enduring appeal as well as his art.]]></book_description>
    <book id="953401">
      <num_pages>232</num_pages>
    </book>
    <author_name>Osamu Dazai</author_name>
    <isbn>0870117793</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 05 Feb 2025 23:14:59 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 05 Feb 2025 23:14:58 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.16</average_rating>
    <book_published>1991</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/953401.Self_Portraits?utm_medium=api&amp;utm_source=rss"><img alt="Self-Portraits: Tales from the Life of Japan&#39;s Great Decadent Romantic" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1563216547l/953401._SX50_.jpg" /></a><br/>
                                      author: Osamu Dazai<br/>
                                      name: Anna<br/>
                                      average rating: 4.16<br/>
                                      book published: 1991<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2025/02/05<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6403227406?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 04 Feb 2025 11:54:19 -0800]]></pubDate>
    <title>The Gift</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6403227406?utm_medium=api&utm_source=rss]]></link>
    <book_id>8147</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1526825311l/8147._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>The Gift</i> is the last of the novels Nabokov wrote in his native Russian and the crowning achievement of that period in his literary career. It is also his ode to Russian literature, evoking the works of Pushkin, Gogol, and others in the course of its narrative: the story of Fyodor Godunov-Cherdyntsev, an impoverished émigré poet living in Berlin, who dreams of the book he will someday write—a book very much like <i>The Gift</i> itself.]]></book_description>
    <book id="8147">
      <num_pages>403</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0141185872</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Tue, 04 Feb 2025 11:54:19 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 04 Apr 2024 20:22:25 -0700]]></user_date_created>
    <user_shelves>currently-reading</user_shelves>
    <user_review></user_review>
    <average_rating>4.00</average_rating>
    <book_published>1937</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/8147.The_Gift?utm_medium=api&amp;utm_source=rss"><img alt="The Gift" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1526825311l/8147._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 4.00<br/>
                                      book published: 1937<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2025/02/04<br/>
                                      shelves: currently-reading<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6394445653?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 03 Feb 2025 14:03:54 -0800]]></pubDate>
    <title>The Old Man and the Sea</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6394445653?utm_medium=api&utm_source=rss]]></link>
    <book_id>2165</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1329189714l/2165._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>Librarian's note: An alternate cover edition can be found <a href="https://www.goodreads.com/book/show/53291522.here" title="here" rel="nofollow noopener">here</a></i><br /><br />The last novel Ernest Hemingway saw published, <i>The Old Man and the Sea</i> has proved itself to be one of the most enduring works of American fiction. It is the story of an old Cuban fisherman, down on his luck, and his supreme ordeal: a relentless, agonizing battle with a giant marlin far out in the Gulf Stream.<br /><br />Using the simple, powerful language of a fable, Hemingway takes the timeless themes of courage in the face of defeat and personal triumph won from loss and transforms them into a magnificent twentieth-century classic. Written in 1952, this hugely successful novel confirmed his power and presence in the literary world and played a large part in his winning the 1954 Nobel Prize for Literature.]]></book_description>
    <book id="2165">
      <num_pages>96</num_pages>
    </book>
    <author_name>Ernest Hemingway</author_name>
    <isbn>0684830493</isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Mon, 3 Feb 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 03 Feb 2025 14:03:54 -0800]]></user_date_added>
    <user_date_created><![CDATA[Mon, 01 Apr 2024 18:56:19 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review>Somewhat of a fish story. </user_review>
    <average_rating>3.82</average_rating>
    <book_published>1952</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2165.The_Old_Man_and_the_Sea?utm_medium=api&amp;utm_source=rss"><img alt="The Old Man and the Sea" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1329189714l/2165._SY75_.jpg" /></a><br/>
                                      author: Ernest Hemingway<br/>
                                      name: Anna<br/>
                                      average rating: 3.82<br/>
                                      book published: 1952<br/>
                                      rating: 4<br/>
                                      read at: 2025/02/03<br/>
                                      date added: 2025/02/03<br/>
                                      shelves: <br/>
                                      review: <br/>Somewhat of a fish story. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7274995616?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 30 Jan 2025 23:25:39 -0800]]></pubDate>
    <title><![CDATA[The Soul's Code: In Search of Character and Calling]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/7274995616?utm_medium=api&utm_source=rss]]></link>
    <book_id>970831</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1344271501l/970831._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Plato and the Greeks called it "daimon," the Romans "genius," the Christians "guardian angel." Today we use the terms heart, spirit, and soul. To James Hillman, the acknowledged intellectual source for Thomas Moore's bestselling sensation Care of the Soul, it is the central and guiding force of his utterly compelling "acorn theory" in which each life is formed by a unique image, an image that is the essence of that life and calls it to a destiny, just as the mighty oak's destiny is written in the tiny acorn.<br /><br />In this new look at age-old themes, Hillman provides a radical, frequently amusing, and highly accessible path to realization through an extensive array of examples. He urges his readers to discover the "blueprints" particular to their own individual lives, certain that there is more to life than can be explained by genetics or environment. As he says, "We need a fresh way of looking at the importance of our lives."<br /><br />What The Soul's Code offers is an inspirational, positive approach to life, a way of seeing, and a way of recovering what has been lost of our intrinsic selves.]]></book_description>
    <book id="970831">
      <num_pages>352</num_pages>
    </book>
    <author_name>James Hillman</author_name>
    <isbn>0446673714</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 30 Jan 2025 23:25:39 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 30 Jan 2025 23:25:39 -0800]]></user_date_created>
    <user_shelves>psychology</user_shelves>
    <user_review></user_review>
    <average_rating>3.89</average_rating>
    <book_published>1996</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/970831.The_Soul_s_Code?utm_medium=api&amp;utm_source=rss"><img alt="The Soul&#39;s Code: In Search of Character and Calling" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1344271501l/970831._SY75_.jpg" /></a><br/>
                                      author: James Hillman<br/>
                                      name: Anna<br/>
                                      average rating: 3.89<br/>
                                      book published: 1996<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/01/30<br/>
                                      shelves: psychology<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6989649242?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 30 Jan 2025 22:32:42 -0800]]></pubDate>
    <title>Despair</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6989649242?utm_medium=api&utm_source=rss]]></link>
    <book_id>19286580</book_id>
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    <book_description><![CDATA[Extensively revised by Nabokov in 1965--thirty years after its original publication--<b>Despair</b> is the wickedly inventive and richly derisive story of Hermann, a man who undertakes the perfect crime--his own murder.<br /><br /><br /><i>From the Trade Paperback edition.</i>]]></book_description>
    <book id="19286580">
      <num_pages>284</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Wed, 29 Jan 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 30 Jan 2025 22:32:42 -0800]]></user_date_added>
    <user_date_created><![CDATA[Fri, 08 Nov 2024 18:43:17 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[A fun story about a man trying to commit the perfect murder, told by a madman who informs us that he is a liar. It's a crime novel absent the heroism, the coincidences, the luck, and the bravado of popular crime novels, or the ponderous guilt of literary crime novels. At one point the narrator describes a successful ending to his crime, a sentimental and idyllic exile, and then he exclaims, “Finis. Farewell, Turgy! Fairwell (sic), Dusty!" I had to reread this several times before I guffawed at realizing he was referring here to famous Russian authors here in diminutives, and disparaging their endings as pat and convenient before proceeding to tell us what really happened, a far more interesting and harrowing set of events.<br /><br />This is where we finally glimpse the horror of the narrator's true personality through the way others see him. Flights of narcissistic and manic fancy now give way to rage at how he is described by the newspapers as a deranged thug, at how they don't see his brilliance, at how easily his ruse was detected etc. And this is where we are treated to delicious scenes of him being pitied by a doctor at a hotel who tries to soothe his nerves, and an angry letter from a rival, both of which reveal the sad reality of his character. In fact, this character Hermann Hermann reminds me startlingly of a person I know who is a clinically insane narcissist. The flights of manic superiority and omnipotence in contrast to her actual shabby interactions with people and the muddled horror of her existence, which barely hangs by a thread...Nabokov has painstakingly researched this type of mind.<br /><br />Yet Hermann Hermann is not only trying to create the perfect murder; he is trying to write the perfect novel, one that is superior to "Crime and Slime" by "Dusty." But his sense of reality is so shaky that he can accomplish neither. After writing this sentence I changed my rating from 4 to 5, because I suddenly realized that it would be false for this mediocrity to be able to write a good novel, so Nabokov has made his book deliberately bad. Of course it's not actually bad, but so much of it consists of self-aggrandizing posturing and false observations and murky details that it can be exhausting to read. And as usual Nabokov drops many hints which don't make any sense until you've read all the way to the end, so, like all of his novels, it needs to be read twice to be fully grasped.<br /><br />Nabokov hated criminals and thought they were stupid and worthless, and this attitude is reflected in each of his novels and stories I have read. Perhaps his disdain (which mirrors Hermann Hermann's disdain) for Dostoevsky lies in the fact that D had so much pity for a character such as Raskolnokiv (in <i>Despair</i> spelled "Rascalnikov"). Hermann Hermann is self-pitying, but we are not asked to pity him. He is a fool and a bully who deserves nothing but our sneers and our contempt. This consistent attitude towards criminals makes me think that in constructing Humbert Humbert in <i>Lolita</i> Nabokov was hoping to create an anti-hero who was so vicious, so pathetic, so immoral that no one could possibly sympathize with him. But instead, large swathes of the public condemned Nabokov as a pedophile apologist or as a pedophile himself. It seems there are no depths of stupidity to which the public can't or won’t descend.]]></user_review>
    <average_rating>4.01</average_rating>
    <book_published>1934</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/19286580-despair?utm_medium=api&amp;utm_source=rss"><img alt="Despair" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386505997l/19286580._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 4.01<br/>
                                      book published: 1934<br/>
                                      rating: 5<br/>
                                      read at: 2025/01/29<br/>
                                      date added: 2025/01/30<br/>
                                      shelves: <br/>
                                      review: <br/>A fun story about a man trying to commit the perfect murder, told by a madman who informs us that he is a liar. It's a crime novel absent the heroism, the coincidences, the luck, and the bravado of popular crime novels, or the ponderous guilt of literary crime novels. At one point the narrator describes a successful ending to his crime, a sentimental and idyllic exile, and then he exclaims, “Finis. Farewell, Turgy! Fairwell (sic), Dusty!" I had to reread this several times before I guffawed at realizing he was referring here to famous Russian authors here in diminutives, and disparaging their endings as pat and convenient before proceeding to tell us what really happened, a far more interesting and harrowing set of events.<br /><br />This is where we finally glimpse the horror of the narrator's true personality through the way others see him. Flights of narcissistic and manic fancy now give way to rage at how he is described by the newspapers as a deranged thug, at how they don't see his brilliance, at how easily his ruse was detected etc. And this is where we are treated to delicious scenes of him being pitied by a doctor at a hotel who tries to soothe his nerves, and an angry letter from a rival, both of which reveal the sad reality of his character. In fact, this character Hermann Hermann reminds me startlingly of a person I know who is a clinically insane narcissist. The flights of manic superiority and omnipotence in contrast to her actual shabby interactions with people and the muddled horror of her existence, which barely hangs by a thread...Nabokov has painstakingly researched this type of mind.<br /><br />Yet Hermann Hermann is not only trying to create the perfect murder; he is trying to write the perfect novel, one that is superior to "Crime and Slime" by "Dusty." But his sense of reality is so shaky that he can accomplish neither. After writing this sentence I changed my rating from 4 to 5, because I suddenly realized that it would be false for this mediocrity to be able to write a good novel, so Nabokov has made his book deliberately bad. Of course it's not actually bad, but so much of it consists of self-aggrandizing posturing and false observations and murky details that it can be exhausting to read. And as usual Nabokov drops many hints which don't make any sense until you've read all the way to the end, so, like all of his novels, it needs to be read twice to be fully grasped.<br /><br />Nabokov hated criminals and thought they were stupid and worthless, and this attitude is reflected in each of his novels and stories I have read. Perhaps his disdain (which mirrors Hermann Hermann's disdain) for Dostoevsky lies in the fact that D had so much pity for a character such as Raskolnokiv (in <i>Despair</i> spelled "Rascalnikov"). Hermann Hermann is self-pitying, but we are not asked to pity him. He is a fool and a bully who deserves nothing but our sneers and our contempt. This consistent attitude towards criminals makes me think that in constructing Humbert Humbert in <i>Lolita</i> Nabokov was hoping to create an anti-hero who was so vicious, so pathetic, so immoral that no one could possibly sympathize with him. But instead, large swathes of the public condemned Nabokov as a pedophile apologist or as a pedophile himself. It seems there are no depths of stupidity to which the public can't or won’t descend.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5878074419?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 30 Jan 2025 22:30:05 -0800]]></pubDate>
    <title>Catch-22</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5878074419?utm_medium=api&utm_source=rss]]></link>
    <book_id>168668</book_id>
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    <book_description><![CDATA[Fifty years after its original publication, Catch-22 remains a cornerstone of American literature and one of the funniest—and most celebrated—books of all time. In recent years it has been named to “best novels” lists by Time, Newsweek, the Modern Library, and the London Observer.<br /><br />Set in Italy during World War II, this is the story of the incomparable, malingering bombardier, Yossarian, a hero who is furious because thousands of people he has never met are trying to kill him. But his real problem is not the enemy—it is his own army, which keeps increasing the number of missions the men must fly to complete their service. Yet if Yossarian makes any attempt to excuse himself from the perilous missions he’s assigned, he’ll be in violation of Catch-22, a hilariously sinister bureaucratic rule: a man is considered insane if he willingly continues to fly dangerous combat missions, but if he makes a formal request to be removed from duty, he is proven sane and therefore ineligible to be relieved.<br /><br />This fiftieth-anniversary edition commemorates Joseph Heller’s masterpiece with a new introduction by Christopher Buckley; a wealth of critical essays and reviews by Norman Mailer, Alfred Kazin, Anthony Burgess, and others; rare papers and photos from Joseph Heller’s personal archive; and much more. Here, at last, is the definitive edition of a classic of world literature.]]></book_description>
    <book id="168668">
      <num_pages>453</num_pages>
    </book>
    <author_name>Joseph Heller</author_name>
    <isbn>0684833395</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 30 Jan 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 30 Jan 2025 22:30:05 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sat, 30 Sep 2023 16:49:29 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[This was very absurd and funny, until it got harrowing, gut-wrenching, and sad. Then it was funny again. I got attached to each one of the crazy cast of characters, because each one was a human being in a terrible, dangerous, and absurd situation with insane, power-hungry, capricious leaders who were trying to get them killed at every turn. <br /><br />If I'm glad about anything in my life, it's that I never had to be a soldier. But there were women in the book too—a few nurses whose main job seemed to be to tolerate constant ogling and groping, and a whorehouse full of wild and sometimes violent prostitutes—and they had it bad too. This is because they were either dirt poor or because they were mistreated by men who knew they could die any minute. War puts sexism into perspective; these men's lives were hanging by a thread, so I tried to give them the benefit of the doubt (except for one instance of sexual violence late in the book that will shock every reader).<br /><br />So much rollicking humor, based on characters that were satirical and hyperbolic at the time because of their extreme cruelty and corruption but who now seem familiar with the recent stunts of our right wing political regime. Really great scenes and dialogues, and lots of death to ground the humor. Is this the greatest anti-war novel ever written? Maybe.]]></user_review>
    <average_rating>3.99</average_rating>
    <book_published>1961</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/168668.Catch_22?utm_medium=api&amp;utm_source=rss"><img alt="Catch-22" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1463157317l/168668._SY75_.jpg" /></a><br/>
                                      author: Joseph Heller<br/>
                                      name: Anna<br/>
                                      average rating: 3.99<br/>
                                      book published: 1961<br/>
                                      rating: 5<br/>
                                      read at: 2025/01/30<br/>
                                      date added: 2025/01/30<br/>
                                      shelves: <br/>
                                      review: <br/>This was very absurd and funny, until it got harrowing, gut-wrenching, and sad. Then it was funny again. I got attached to each one of the crazy cast of characters, because each one was a human being in a terrible, dangerous, and absurd situation with insane, power-hungry, capricious leaders who were trying to get them killed at every turn. <br /><br />If I'm glad about anything in my life, it's that I never had to be a soldier. But there were women in the book too—a few nurses whose main job seemed to be to tolerate constant ogling and groping, and a whorehouse full of wild and sometimes violent prostitutes—and they had it bad too. This is because they were either dirt poor or because they were mistreated by men who knew they could die any minute. War puts sexism into perspective; these men's lives were hanging by a thread, so I tried to give them the benefit of the doubt (except for one instance of sexual violence late in the book that will shock every reader).<br /><br />So much rollicking humor, based on characters that were satirical and hyperbolic at the time because of their extreme cruelty and corruption but who now seem familiar with the recent stunts of our right wing political regime. Really great scenes and dialogues, and lots of death to ground the humor. Is this the greatest anti-war novel ever written? Maybe.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7248080180?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 25 Jan 2025 10:16:27 -0800]]></pubDate>
    <title>Eugene Onegin</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7248080180?utm_medium=api&utm_source=rss]]></link>
    <book_id>27822</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388373138l/27822._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<em>Eugene Onegin</em> is the master work of the poet whom Russians regard as the fountainhead of their literature. Set in 1820s Russia, Pushkin's verse novel follows the fates of three men and three women. Engaging, full of suspense, and varied in tone, it also portrays a large cast of other<br />characters and offers the reader many literary, philosophical, and autobiographical digressions, often in a highly satirical vein. <em>Eugene Onegin</em> was Pushkin's own favourite work, and this new translation conveys the literal sense and the poetic music of the original.]]></book_description>
    <book id="27822">
      <num_pages>240</num_pages>
    </book>
    <author_name>Alexander Pushkin</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Sat, 25 Jan 2025 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 25 Jan 2025 10:16:27 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 23 Jan 2025 06:47:01 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[A charming and delightful epic love poem. <br /><br />"True love is truly Satan's sport." <br />"Long live bordeaux, our friend, our treasure."<br /><br />A tale stuffed with every kind of hedonism, its author mentions Moet, Dom, and Veuve Clicquot by name as superior wines in 1825!<br /><br />My favorite part is the beginning, in which our hero Onegin is described. I could have read (and indeed would have preferred to read) an entire volume about his wardrobe, his dandyism, his foppish and Machiavellian disposition, his delight in balls, and his boredom at the ballet, as opposed to this rather conventional moral tale about how this shallow, selfish, narcissistic character nearly ruined a young girl's life. Still, the wit, humor, and fancifulness shine through, and we glimpse here the beginnings of a more modern sensibility enmeshed within the ancient chivalric fairy tale.]]></user_review>
    <average_rating>4.12</average_rating>
    <book_published>1831</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/27822.Eugene_Onegin?utm_medium=api&amp;utm_source=rss"><img alt="Eugene Onegin" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388373138l/27822._SY75_.jpg" /></a><br/>
                                      author: Alexander Pushkin<br/>
                                      name: Anna<br/>
                                      average rating: 4.12<br/>
                                      book published: 1831<br/>
                                      rating: 4<br/>
                                      read at: 2025/01/25<br/>
                                      date added: 2025/01/25<br/>
                                      shelves: <br/>
                                      review: <br/>A charming and delightful epic love poem. <br /><br />"True love is truly Satan's sport." <br />"Long live bordeaux, our friend, our treasure."<br /><br />A tale stuffed with every kind of hedonism, its author mentions Moet, Dom, and Veuve Clicquot by name as superior wines in 1825!<br /><br />My favorite part is the beginning, in which our hero Onegin is described. I could have read (and indeed would have preferred to read) an entire volume about his wardrobe, his dandyism, his foppish and Machiavellian disposition, his delight in balls, and his boredom at the ballet, as opposed to this rather conventional moral tale about how this shallow, selfish, narcissistic character nearly ruined a young girl's life. Still, the wit, humor, and fancifulness shine through, and we glimpse here the beginnings of a more modern sensibility enmeshed within the ancient chivalric fairy tale.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5102772388?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 22 Jan 2025 19:30:29 -0800]]></pubDate>
    <title>Rebecca</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5102772388?utm_medium=api&utm_source=rss]]></link>
    <book_id>17899948</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386605169l/17899948._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[<em>Last night I dreamt I went to Manderley again...</em><br /><br />The novel begins in Monte Carlo, where our heroine is swept off her feet by the dashing widower Maxim de Winter and his sudden proposal of marriage. Orphaned and working as a lady's maid, she can barely believe her luck. It is only when they arrive at his massive country estate that she realizes how large a shadow his late wife will cast over their lives--presenting her with a lingering evil that threatens to destroy their marriage from beyond the grave.<br /><br />First published in 1938, this classic gothic novel is such a compelling read that it won the Anthony Award for Best Novel of the Century.]]></book_description>
    <book id="17899948">
      <num_pages>449</num_pages>
    </book>
    <author_name>Daphne du Maurier</author_name>
    <isbn>0316323705</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 22 Jan 2025 19:30:29 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sun, 13 Nov 2022 18:27:26 -0800]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, bluebeard, female-writers]]></user_shelves>
    <user_review><![CDATA[This is simply a ravishing tale: dramatic, engrossing, subversive and wild. I'm so glad that it's now considered an important work of literature. I had seen Hitchcock's film many times before reading the novel, and I'm glad I did, because it's one of the few movies that's as good as its source material, highlighting the most important themes and perversions of the book. (My favorite sequence in the film is the one in which Mrs. Danvers takes the new Mrs. De Winter, played by Joan Fontaine, into the dead former Mrs De Winter's exquisite bedroom, and shows her Rebecca's racy, expensive lace underwear, made by nuns in a convent, while fingering the crotches fondly ... so sexual, so naughty, so lesbian. And Joan Fontaine's facial expressions ... priceless)!<br /><br />The narrator Mrs. De Winter, who lacks a first name, is a stand-in for Bluebeard's wife, drawn into a Gothic castle in the middle of nowhere to grapple with her distant, moody, and at times frighteningly opaque husband. She is, although young and naive, a matter-of-fact Englishwoman with a sharp and canny perception, which makes it impossible not to empathize with her and to follow her perceptions and feelings. She is never drawn into excesses of emotion over her lavish surroundings or her handsome husband, and her feelings of envy for the first Mrs. de Winter—Rebecca—emerge slowly and cautiously. So, the reader is drawn almost imperceptibly into her corruption in the face of all of this Gothic evil, which unfolds like a poisonous black rose. <br /><br />Even this corruption of innocence is subtle, so the reader might not be aware of it unless they recall the opening narration, which suggests a slow decay, purchased on the wings of fresh love, as the couple flees, haunted and hag-ridden, from place to place. And the way in which Mrs. De Winter is forced to grow up and lose her innocence is so extreme, so breathtaking, and so perverted—it's just absolutely the best. I don't want to spoil it by adding more, but you probably already know the story by watching the film. Watch the 1940 film if you haven't, and read the book if if you haven't. A million stars for both.]]></user_review>
    <average_rating>4.28</average_rating>
    <book_published>1938</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/17899948-rebecca?utm_medium=api&amp;utm_source=rss"><img alt="Rebecca" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386605169l/17899948._SX50_.jpg" /></a><br/>
                                      author: Daphne du Maurier<br/>
                                      name: Anna<br/>
                                      average rating: 4.28<br/>
                                      book published: 1938<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2025/01/22<br/>
                                      shelves: gothic-fiction, bluebeard, female-writers<br/>
                                      review: <br/>This is simply a ravishing tale: dramatic, engrossing, subversive and wild. I'm so glad that it's now considered an important work of literature. I had seen Hitchcock's film many times before reading the novel, and I'm glad I did, because it's one of the few movies that's as good as its source material, highlighting the most important themes and perversions of the book. (My favorite sequence in the film is the one in which Mrs. Danvers takes the new Mrs. De Winter, played by Joan Fontaine, into the dead former Mrs De Winter's exquisite bedroom, and shows her Rebecca's racy, expensive lace underwear, made by nuns in a convent, while fingering the crotches fondly ... so sexual, so naughty, so lesbian. And Joan Fontaine's facial expressions ... priceless)!<br /><br />The narrator Mrs. De Winter, who lacks a first name, is a stand-in for Bluebeard's wife, drawn into a Gothic castle in the middle of nowhere to grapple with her distant, moody, and at times frighteningly opaque husband. She is, although young and naive, a matter-of-fact Englishwoman with a sharp and canny perception, which makes it impossible not to empathize with her and to follow her perceptions and feelings. She is never drawn into excesses of emotion over her lavish surroundings or her handsome husband, and her feelings of envy for the first Mrs. de Winter—Rebecca—emerge slowly and cautiously. So, the reader is drawn almost imperceptibly into her corruption in the face of all of this Gothic evil, which unfolds like a poisonous black rose. <br /><br />Even this corruption of innocence is subtle, so the reader might not be aware of it unless they recall the opening narration, which suggests a slow decay, purchased on the wings of fresh love, as the couple flees, haunted and hag-ridden, from place to place. And the way in which Mrs. De Winter is forced to grow up and lose her innocence is so extreme, so breathtaking, and so perverted—it's just absolutely the best. I don't want to spoil it by adding more, but you probably already know the story by watching the film. Watch the 1940 film if you haven't, and read the book if if you haven't. A million stars for both.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7022059183?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 31 Dec 2024 18:31:40 -0800]]></pubDate>
    <title>Sodom and Gomorrah</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7022059183?utm_medium=api&utm_source=rss]]></link>
    <book_id>18799</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657565244l/18799._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>Sodom and Gomorrah</i> – now in a superb translation by John Sturrock – takes up the theme of homosexual love, male and female, and dwells on how destructive sexual jealousy can be for those who suffer it. Proust's novel is also an unforgiving analysis of both the decadent high society of Paris, and the rise of a philistine bourgeoisie that is on the way to supplanting it. Characters who had lesser roles in earlier volumes now reappear in a different light and take center stage, notably Albertine, with whom the narrator believes he is in love, and also the insanely haughty Baron de Charlus.]]></book_description>
    <book id="18799">
      <num_pages>557</num_pages>
    </book>
    <author_name>Marcel Proust</author_name>
    <isbn>0143039318</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 31 Dec 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 31 Dec 2024 18:31:40 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 20 Nov 2024 19:26:25 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Why does no one talk about how funny Proust is? Several of his scenarios here are first-rate farces. The books get funnier as they go, without losing their charm, their poetry, or the finesse of their language. I must confess, I very much enjoy spending time with these rakes, dandies, artists, neurasthenics, great ladies, homosexuals, prostitutes, imposters, and insufferable French snobs from a far more interesting time and place than here and now.]]></user_review>
    <average_rating>4.31</average_rating>
    <book_published>1922</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/18799.Sodom_and_Gomorrah?utm_medium=api&amp;utm_source=rss"><img alt="Sodom and Gomorrah" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657565244l/18799._SY75_.jpg" /></a><br/>
                                      author: Marcel Proust<br/>
                                      name: Anna<br/>
                                      average rating: 4.31<br/>
                                      book published: 1922<br/>
                                      rating: 5<br/>
                                      read at: 2024/12/31<br/>
                                      date added: 2024/12/31<br/>
                                      shelves: <br/>
                                      review: <br/>Why does no one talk about how funny Proust is? Several of his scenarios here are first-rate farces. The books get funnier as they go, without losing their charm, their poetry, or the finesse of their language. I must confess, I very much enjoy spending time with these rakes, dandies, artists, neurasthenics, great ladies, homosexuals, prostitutes, imposters, and insufferable French snobs from a far more interesting time and place than here and now.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6067671007?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 31 Dec 2024 11:09:00 -0800]]></pubDate>
    <title>Barbe bleue</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6067671007?utm_medium=api&utm_source=rss]]></link>
    <book_id>15831864</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345146806l/15831864._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Saturnine cherche une colocation car vivre sur le canapé du tout petit appartement de sa copine, c’est bien gentil mais ce n’est pas une solution durable. C’est alors qu’elle tombe sur une offre des plus alléchantes : une grande chambre dans un super quartier et pour un loyer des plus modestes. Mais elle n’est pas la seule à postuler forcément. Etrangement, elle est la seule vraie candidate, les autres ayant juste envie de voir l’homme dont les huit précédentes colocataires ont disparu. Et en effet, c’est elle que choisit don Elemirio Nibal y Milcar pour devenir la neuvième colocataire. L’homme est étrange, parle comme dans un livre, ne sort jamais et tel Barbe-Bleue lui donne accès à tout sauf à une seule pièce dans laquelle elle ne devra jamais se rendre. Saturnine va-t-elle reproduire le schéma des huit autres femmes ? Va-t-elle disparaître à son tour ? Et ces dernières, qu’est-il advenu d’elles ? Dès le début du roman, le suspense est à son comble…]]></book_description>
    <book id="15831864">
      <num_pages>170</num_pages>
    </book>
    <author_name>Amélie Nothomb</author_name>
    <isbn>2226242961</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 31 Dec 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 31 Dec 2024 11:09:00 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 21 Dec 2023 07:07:43 -0800]]></user_date_created>
    <user_shelves><![CDATA[female-writers, bluebeard, gothic-fiction]]></user_shelves>
    <user_review><![CDATA[Un chef d'oeuvre sublime sur un sujet dont je suis évidemment une grande fan. I wish there was an English translation so I could recommend this perfect novel to everyone I know. ]]></user_review>
    <average_rating>3.56</average_rating>
    <book_published>2012</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/15831864-barbe-bleue?utm_medium=api&amp;utm_source=rss"><img alt="Barbe bleue" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345146806l/15831864._SY75_.jpg" /></a><br/>
                                      author: Amélie Nothomb<br/>
                                      name: Anna<br/>
                                      average rating: 3.56<br/>
                                      book published: 2012<br/>
                                      rating: 5<br/>
                                      read at: 2024/12/31<br/>
                                      date added: 2024/12/31<br/>
                                      shelves: female-writers, bluebeard, gothic-fiction<br/>
                                      review: <br/>Un chef d'oeuvre sublime sur un sujet dont je suis évidemment une grande fan. I wish there was an English translation so I could recommend this perfect novel to everyone I know. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6201376374?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 24 Dec 2024 05:32:32 -0800]]></pubDate>
    <title><![CDATA[I Spit On Your Celluloid: The History of Women Directing Horror Movies]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6201376374?utm_medium=api&utm_source=rss]]></link>
    <book_id>205784445</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1705938712l/205784445._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho… These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic — and the one thing they share in common.<br /><br />This is the true history of women directing horror movies.<br /><br />Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre.<br /><br />Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror.<br /><br />I Spit on Your Celluloid is a first-of-its-kind celebration, study, and “a book that needed to be written” (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again!]]></book_description>
    <book id="205784445">
      <num_pages>464</num_pages>
    </book>
    <author_name>Heidi Honeycutt</author_name>
    <isbn>1915316294</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sun, 21 Jul 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 24 Dec 2024 05:32:32 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 24 Jan 2024 11:28:57 -0800]]></user_date_created>
    <user_shelves>female-writers, feminism</user_shelves>
    <user_review><![CDATA[The first comprehensive guide to women in horror, this painstakingly researched volume includes every significant female filmmaker to ever direct a film or a TV show in the horror or thriller genre, from the silent era to today. Chock full of biographies, anecdotes, interviews, analysis, and trivia, and with a fresh and entertaining style, this encyclopedic reference book is a must for any serious horror fan.<br /><br />More than just a history of women filmmakers directing horror films, this hefty tome, replete with a number of gorgeous color stills, highlights the history of film in general, covering the practices and concerns of independent vs. studio films, film vs. television, and the types of stories people were writing in the 1920s as opposed to the 1960s or now. One of my favorite things is the description of all the crazy plots of obscure silent films ("Her early experiments in genre film include depictions of grotesque images such as doctors amputating patients' limbs and then holding up the fake severed arms and waving them about”), exploitation films ("an onslaught of disturbing cello music, a court jester speaking cryptically, red-stained concrete walls, white nightgowns, religious iconography, sexual revulsion and exploration, and human emotional suffering”), or early television shows. I also love the anecdotes about low budget filmmaking (“we put in all our relatives as ghouls”), the quotes and interview snippets from the filmmakers (Wendy Toye: "People say, 'You've never been a feminist, and you never fight for women.' Well, I don't, really, but I think an example of doing something and getting on with it and not being a crashing bore about things is probably better than getting onto a platform and making some speech about it all”), and the current of feminist analysis that runs throughout. <br /><br />Despite her serious concerns, Honeycutt's style is journalistic rather than academic, and refreshingly candid. For instance, in discussing the “remarkably, objectively terrible” films of Doris Wishman, she says, “as a fan or cinephile, one can search hard for some stylistic meaning to the odd editing and weird framing, but there’s nothing behind it;” or, “<i>The Ghosts of Hanley House</i> is somewhat unbearable as far as films go."<br /><br />The way Honeycutt places people and their projects in their time, rather than trying to plaster over them with the politics and aesthetics of our own day, is one of the pleasures of this book. And including as it does so many direct quotes and vivid scenarios, it sets the record straight on what have been highly contested topics concerning the filmmakers, their intentions, and what really happened during the production of many famous and infamous films. Highly recommended.]]></user_review>
    <average_rating>3.94</average_rating>
    <book_published></book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/205784445-i-spit-on-your-celluloid?utm_medium=api&amp;utm_source=rss"><img alt="I Spit On Your Celluloid: The History of Women Directing Horror Movies" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1705938712l/205784445._SX50_.jpg" /></a><br/>
                                      author: Heidi Honeycutt<br/>
                                      name: Anna<br/>
                                      average rating: 3.94<br/>
                                      book published: <br/>
                                      rating: 5<br/>
                                      read at: 2024/07/21<br/>
                                      date added: 2024/12/24<br/>
                                      shelves: female-writers, feminism<br/>
                                      review: <br/>The first comprehensive guide to women in horror, this painstakingly researched volume includes every significant female filmmaker to ever direct a film or a TV show in the horror or thriller genre, from the silent era to today. Chock full of biographies, anecdotes, interviews, analysis, and trivia, and with a fresh and entertaining style, this encyclopedic reference book is a must for any serious horror fan.<br /><br />More than just a history of women filmmakers directing horror films, this hefty tome, replete with a number of gorgeous color stills, highlights the history of film in general, covering the practices and concerns of independent vs. studio films, film vs. television, and the types of stories people were writing in the 1920s as opposed to the 1960s or now. One of my favorite things is the description of all the crazy plots of obscure silent films ("Her early experiments in genre film include depictions of grotesque images such as doctors amputating patients' limbs and then holding up the fake severed arms and waving them about”), exploitation films ("an onslaught of disturbing cello music, a court jester speaking cryptically, red-stained concrete walls, white nightgowns, religious iconography, sexual revulsion and exploration, and human emotional suffering”), or early television shows. I also love the anecdotes about low budget filmmaking (“we put in all our relatives as ghouls”), the quotes and interview snippets from the filmmakers (Wendy Toye: "People say, 'You've never been a feminist, and you never fight for women.' Well, I don't, really, but I think an example of doing something and getting on with it and not being a crashing bore about things is probably better than getting onto a platform and making some speech about it all”), and the current of feminist analysis that runs throughout. <br /><br />Despite her serious concerns, Honeycutt's style is journalistic rather than academic, and refreshingly candid. For instance, in discussing the “remarkably, objectively terrible” films of Doris Wishman, she says, “as a fan or cinephile, one can search hard for some stylistic meaning to the odd editing and weird framing, but there’s nothing behind it;” or, “<i>The Ghosts of Hanley House</i> is somewhat unbearable as far as films go."<br /><br />The way Honeycutt places people and their projects in their time, rather than trying to plaster over them with the politics and aesthetics of our own day, is one of the pleasures of this book. And including as it does so many direct quotes and vivid scenarios, it sets the record straight on what have been highly contested topics concerning the filmmakers, their intentions, and what really happened during the production of many famous and infamous films. Highly recommended.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7060953403?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 18 Dec 2024 23:36:17 -0800]]></pubDate>
    <title>Understanding Human Nature</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7060953403?utm_medium=api&utm_source=rss]]></link>
    <book_id>255263</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1240574460l/255263._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[Originally published in 1927 this book attempts to acquaint the general public with the fundamentals of Individual Psychology. At the same time it's a demonstration of the practical application of these principles to the conduct of everyday relationships &amp; the organization of personal life. Based upon a year's lectures to audiences at the People's Institute in Vienna, the book pointd out how the mistaken behavior of individuals affects social &amp; communal harmony; to teach individuals to recognize their mistakes; &amp; finally, to show them how they may effect a harmonious adjustment to communal life. Adler felt that mistakes in business or in science were costly &amp; deplorable, but mistakes in the conduct of life are often dangerous to life itself. This book is dedicated by the author in his preface to the task of illuminating progress toward a better understanding of human nature.]]></book_description>
    <book id="255263">
      <num_pages>224</num_pages>
    </book>
    <author_name>Alfred Adler</author_name>
    <isbn>0449308332</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Wed, 18 Dec 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Wed, 18 Dec 2024 23:36:17 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 05 Dec 2024 19:55:56 -0800]]></user_date_created>
    <user_shelves>psychology</user_shelves>
    <user_review><![CDATA[Adler is one of my favorite psychologists. He maintains that children adopt a worldview and a "lifestyle" at a very young age which they stick to throughout their lives. If this worldview is faulty (which it often is) it sets people up for unproductive, unhappy, or unsatisfying lives. What is most fascinating to me about Adler's theories is that (as opposed to, say, Laing, who blames the parents and the family unit for the child's neurosis or psychosis), he places all the agency on the child. This seems harsh but it also makes sense. In addition he claims that a child need not be actually pampered and spoiled to behave as such; the child need only construct a fantasy in which they are pampered to develop the problems later in life that come with pampering.<br /><br />The thought that people have a fixed lifestyle that they never change is shocking, and yet if one examines the people one knows (and also the self) one will find that it's true. This is a hard lesson, especially for those of us who fantasize about people we know changing for the better, or about discarding our own early unhappy selves. He also says that you only need to see one instance of a person lacking social feeling to decide that it's that person's "lifestyle" to lack social feeling. <br /><br />I had forgotten how interesting Adler is. He claims that men's idea that women are inferior is simply wrong and leads to terrible strife in relationships and marriages, and he includes examples of terrible behavior from both men and women due to this enforced inequality. He also condemns every type of child and adult as having awful motives and extreme vanity and striving for power in nearly every situation (including the feigning of illness and weakness). <br /><br />This is a very entertaining book, in the sense that the case studies are little psychodramas that read like movie plots. But it's even more beneficial to read for self-understanding (especially if you are feeling confused, stuck in a bad pattern, or crazy), or if you are in a crisis with a difficult or insane friend or family member. Everyone can benefit from reading Adler.<br />]]></user_review>
    <average_rating>4.00</average_rating>
    <book_published>1927</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/255263.Understanding_Human_Nature?utm_medium=api&amp;utm_source=rss"><img alt="Understanding Human Nature" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1240574460l/255263._SX50_.jpg" /></a><br/>
                                      author: Alfred Adler<br/>
                                      name: Anna<br/>
                                      average rating: 4.00<br/>
                                      book published: 1927<br/>
                                      rating: 5<br/>
                                      read at: 2024/12/18<br/>
                                      date added: 2024/12/18<br/>
                                      shelves: psychology<br/>
                                      review: <br/>Adler is one of my favorite psychologists. He maintains that children adopt a worldview and a "lifestyle" at a very young age which they stick to throughout their lives. If this worldview is faulty (which it often is) it sets people up for unproductive, unhappy, or unsatisfying lives. What is most fascinating to me about Adler's theories is that (as opposed to, say, Laing, who blames the parents and the family unit for the child's neurosis or psychosis), he places all the agency on the child. This seems harsh but it also makes sense. In addition he claims that a child need not be actually pampered and spoiled to behave as such; the child need only construct a fantasy in which they are pampered to develop the problems later in life that come with pampering.<br /><br />The thought that people have a fixed lifestyle that they never change is shocking, and yet if one examines the people one knows (and also the self) one will find that it's true. This is a hard lesson, especially for those of us who fantasize about people we know changing for the better, or about discarding our own early unhappy selves. He also says that you only need to see one instance of a person lacking social feeling to decide that it's that person's "lifestyle" to lack social feeling. <br /><br />I had forgotten how interesting Adler is. He claims that men's idea that women are inferior is simply wrong and leads to terrible strife in relationships and marriages, and he includes examples of terrible behavior from both men and women due to this enforced inequality. He also condemns every type of child and adult as having awful motives and extreme vanity and striving for power in nearly every situation (including the feigning of illness and weakness). <br /><br />This is a very entertaining book, in the sense that the case studies are little psychodramas that read like movie plots. But it's even more beneficial to read for self-understanding (especially if you are feeling confused, stuck in a bad pattern, or crazy), or if you are in a crisis with a difficult or insane friend or family member. Everyone can benefit from reading Adler.<br /><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6403227702?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 13 Dec 2024 12:51:02 -0800]]></pubDate>
    <title>King, Queen, Knave</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6403227702?utm_medium=api&utm_source=rss]]></link>
    <book_id>8154</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1609264656l/8154._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA['Of all my novels this bright brute is the gayest', Nabokov wrote of <i>King, Queen, Knave</i>. Comic, sensual and cerebral, it dramatizes an Oedipal love triangle, a tragi-comedy of husband, wife and lover, through Dreyer the rich businessman, his ripe-lipped ad mercenary wife Martha, and their bespectacled nephew Franz. 'If a resolute Freudian manages to slip in' - Nabokov darts a glance to the reader - 'he or she should be warned that a number of cruel traps have been set up here and there'.]]></book_description>
    <book id="8154">
      <num_pages>275</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Fri, 13 Dec 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Fri, 13 Dec 2024 12:51:02 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 04 Apr 2024 20:22:33 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[This is one of the best crime novels I've ever read, along with <i>Crime and Punishment, Lolita,</i> and <i>Pale Fire.</i> I will be thinking about Martha, Dreyer, and poor Franz for years to come. How can a writer be so precise and so loose at the same time? He was only twenty-eight when it was published, yet it contains all the seeds of his mature work. Nabokov himself said of it, "Of all my novels this bright brute is the gayest." <br /><br />]]></user_review>
    <average_rating>3.84</average_rating>
    <book_published>1928</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/8154.King_Queen_Knave?utm_medium=api&amp;utm_source=rss"><img alt="King, Queen, Knave" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1609264656l/8154._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 3.84<br/>
                                      book published: 1928<br/>
                                      rating: 5<br/>
                                      read at: 2024/12/13<br/>
                                      date added: 2024/12/13<br/>
                                      shelves: <br/>
                                      review: <br/>This is one of the best crime novels I've ever read, along with <i>Crime and Punishment, Lolita,</i> and <i>Pale Fire.</i> I will be thinking about Martha, Dreyer, and poor Franz for years to come. How can a writer be so precise and so loose at the same time? He was only twenty-eight when it was published, yet it contains all the seeds of his mature work. Nabokov himself said of it, "Of all my novels this bright brute is the gayest." <br /><br /><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7075166905?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 10 Dec 2024 18:30:35 -0800]]></pubDate>
    <title>Seven Types of Ambiguity</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7075166905?utm_medium=api&utm_source=rss]]></link>
    <book_id>765167</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347159802l/765167._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[First published in 1930, Seven Types of Ambiguity has long been recognized as a landmark in the history of English literary criticism. Revised twice since it first appeared, it has remained one of the most widely read and quoted works of literary analysis. Ambiguity, according to Empson, includes "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." From this definition, broad enough by his own admission sometimes to see "stretched absurdly far," he launches into a brilliant discussion, under seven classifications of differing complexity and depth, of such works, among others, as Shakespeare's plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth, Gerard Manley Hopkins, and T. S. Eliot.]]></book_description>
    <book id="765167">
      <num_pages>256</num_pages>
    </book>
    <author_name>William Empson</author_name>
    <isbn>081120037X</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Tue, 10 Dec 2024 18:30:35 -0800]]></user_date_added>
    <user_date_created><![CDATA[Tue, 10 Dec 2024 18:30:35 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>3.83</average_rating>
    <book_published>1930</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/765167.Seven_Types_of_Ambiguity?utm_medium=api&amp;utm_source=rss"><img alt="Seven Types of Ambiguity" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1347159802l/765167._SY75_.jpg" /></a><br/>
                                      author: William Empson<br/>
                                      name: Anna<br/>
                                      average rating: 3.83<br/>
                                      book published: 1930<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/12/10<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5595575848?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 07 Dec 2024 10:14:11 -0800]]></pubDate>
    <title>Villette</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5595575848?utm_medium=api&utm_source=rss]]></link>
    <book_id>31173</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1320412741l/31173._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[With her final novel, <i>Villette</i>, Charlotte Brontë reached the height of her artistic power. First published in 1853, <i>Villette</i> is Brontë's most accomplished and deeply felt work, eclipsing even <i>Jane Eyre</i> in critical acclaim. Her narrator, the autobiographical Lucy Snowe, flees England and a tragic past to become an instructor in a French boarding school in the town of Villette. There she unexpectedly confronts her feelings of love and longing as she witnesses the fitful romance between Dr. John, a handsome young Englishman, and Ginerva Fanshawe, a beautiful coquette. The first pain brings others, and with them comes the heartache Lucy has tried so long to escape. Yet in spite of adversity and disappointment, Lucy Snowe survives to recount the unstinting vision of a turbulent life's journey - a journey that is one of the most insightful fictional studies of a woman's consciousness in English literature.]]></book_description>
    <book id="31173">
      <num_pages>573</num_pages>
    </book>
    <author_name>Charlotte Brontë</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sun, 21 Jan 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 07 Dec 2024 10:14:11 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sun, 04 Jun 2023 10:05:37 -0700]]></user_date_created>
    <user_shelves><![CDATA[female-writers, gothic-fiction]]></user_shelves>
    <user_review><![CDATA[This is a surprising and original novel. It's partly a "female Gothic" novel in the sense in which it represents women in various states of distress, often involving poverty, working for irascible employers, encountering the supernatural and the excesses of Roman Catholicism, and falling in love with a would-be tyrant who is not all he seems to be. But mostly it's a modern realistic psychological novel that is about a woman's life in the Victorian era.<br /><br />A lot of the book consists of our narrator Lucy Snowe, a teacher at a girl's school, sitting on the sidelines—an "old maid" at twenty-three years of age—while two teenaged girls secure the undying love and attention of the man she secretly loves and adores. She is the friend and confidant of these girls, one, Ginevra Fanshawe, a shallow coquette, and the other, Paulina Home de Bassompierre, an innocent angel. And she is also the confidant of the man whose affections swing from one to the other of these fresh young beauties, leading to a particularly painful and heartbreaking narrative. <br /><br />Eventually she finds solace in a more mature, lasting friendship, but this also comes with its perils. Like his counterpart in <i>Jane Eyre</i>, this man is much older and very controlling. Interestingly, he chastises Lucy for dressing ostentatiously and being a coquette, whereas all other men find her plain, and her dress sober. There is an interesting little flirtation in which Lucy, pretending to be outraged, asks this gentleman, who insists that pink is too frivolous for her, if she is allowed to wear flowers, ribbons, etc. Although the problem of men only valuing women if they are young and pretty is timeless and universal, it's shocking to see how much worse it was back then, especially for a poor woman. At twenty-three Lucy is considered an old maid. Without money or beauty, her marriage prospects are slight. At best she can hope to work at a respectable profession, looking on while other women—born either rich or beautiful—marry, raise families, travel, enjoy life, participate in society. <br /><br />At one point while she is isolated during winter break at the school, she collapses in the snow and nearly dies, ill from loneliness and despair. She wonders what type of a life she will have, and the future looks extremely dreary. She does imagine how she might save up some money and buy a school of her own, partly to be out from under the thumb of her cruel employer, Madame Beck, but then the problem of her severe loneliness would remain unsolved. In this context, having the love of a man is revealed to be almost a life or death situation. If one is so lonely that one wishes to die, and if there are no proper social outlets other than polite and distant ones open to a woman with no family, then a man is a kind of anchor, a way back into society, a means of surrounding yourself with love, children, warmth, belongingness, when otherwise there is just yourself, your loneliness, the little emotional sustenance you can gain from your colleagues and your pupils, and God. <br /><br />This is a tragic novel that suggests that certain people are born to a life of happiness, and others to a life of sadness and privation. And while it lacks the immediate pleasures of <i>Jane Eyre</i>, the more I think about it, the more I consider it to be an important and groundbreaking novel, especially in the way in which it describes both a ruthless society and the intricate psychology of a woman striving for something better.]]></user_review>
    <average_rating>3.79</average_rating>
    <book_published>1853</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/31173.Villette?utm_medium=api&amp;utm_source=rss"><img alt="Villette" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1320412741l/31173._SY75_.jpg" /></a><br/>
                                      author: Charlotte Brontë<br/>
                                      name: Anna<br/>
                                      average rating: 3.79<br/>
                                      book published: 1853<br/>
                                      rating: 5<br/>
                                      read at: 2024/01/21<br/>
                                      date added: 2024/12/07<br/>
                                      shelves: female-writers, gothic-fiction<br/>
                                      review: <br/>This is a surprising and original novel. It's partly a "female Gothic" novel in the sense in which it represents women in various states of distress, often involving poverty, working for irascible employers, encountering the supernatural and the excesses of Roman Catholicism, and falling in love with a would-be tyrant who is not all he seems to be. But mostly it's a modern realistic psychological novel that is about a woman's life in the Victorian era.<br /><br />A lot of the book consists of our narrator Lucy Snowe, a teacher at a girl's school, sitting on the sidelines—an "old maid" at twenty-three years of age—while two teenaged girls secure the undying love and attention of the man she secretly loves and adores. She is the friend and confidant of these girls, one, Ginevra Fanshawe, a shallow coquette, and the other, Paulina Home de Bassompierre, an innocent angel. And she is also the confidant of the man whose affections swing from one to the other of these fresh young beauties, leading to a particularly painful and heartbreaking narrative. <br /><br />Eventually she finds solace in a more mature, lasting friendship, but this also comes with its perils. Like his counterpart in <i>Jane Eyre</i>, this man is much older and very controlling. Interestingly, he chastises Lucy for dressing ostentatiously and being a coquette, whereas all other men find her plain, and her dress sober. There is an interesting little flirtation in which Lucy, pretending to be outraged, asks this gentleman, who insists that pink is too frivolous for her, if she is allowed to wear flowers, ribbons, etc. Although the problem of men only valuing women if they are young and pretty is timeless and universal, it's shocking to see how much worse it was back then, especially for a poor woman. At twenty-three Lucy is considered an old maid. Without money or beauty, her marriage prospects are slight. At best she can hope to work at a respectable profession, looking on while other women—born either rich or beautiful—marry, raise families, travel, enjoy life, participate in society. <br /><br />At one point while she is isolated during winter break at the school, she collapses in the snow and nearly dies, ill from loneliness and despair. She wonders what type of a life she will have, and the future looks extremely dreary. She does imagine how she might save up some money and buy a school of her own, partly to be out from under the thumb of her cruel employer, Madame Beck, but then the problem of her severe loneliness would remain unsolved. In this context, having the love of a man is revealed to be almost a life or death situation. If one is so lonely that one wishes to die, and if there are no proper social outlets other than polite and distant ones open to a woman with no family, then a man is a kind of anchor, a way back into society, a means of surrounding yourself with love, children, warmth, belongingness, when otherwise there is just yourself, your loneliness, the little emotional sustenance you can gain from your colleagues and your pupils, and God. <br /><br />This is a tragic novel that suggests that certain people are born to a life of happiness, and others to a life of sadness and privation. And while it lacks the immediate pleasures of <i>Jane Eyre</i>, the more I think about it, the more I consider it to be an important and groundbreaking novel, especially in the way in which it describes both a ruthless society and the intricate psychology of a woman striving for something better.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6403229716?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 07 Dec 2024 10:05:29 -0800]]></pubDate>
    <title>Invitation to a Beheading</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6403229716?utm_medium=api&utm_source=rss]]></link>
    <book_id>376561</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1753736645l/376561._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>An alternative cover edition for this ISBN can be found <a href="https://www.goodreads.com/book/show/32147746-invitation-to-a-beheading" rel="nofollow noopener">here</a></i> <br /><br />Like Kafka's <i>The Castle</i>, <i>Invitation to a Beheading</i> embodies a vision of a bizarre and irrational world. In an unnamed dream country, the young man Cincinnatus C. is condemned to death by beheading for "gnostical turpitude", an imaginary crime that defies definition. Cincinnatus spends his final days in an absurd jail, where he is visited by chimerical jailers, an executioner who masquerades as a fellow prisoner, and by his in-laws, who lug their furniture with them into his prison cell.]]></book_description>
    <book id="376561">
      <num_pages>223</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0679725318</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Wed, 4 Dec 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 07 Dec 2024 10:05:29 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 04 Apr 2024 20:23:27 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[“But then I have long since grown accustomed to the thought that what we call dreams is semi-reality, the promise of reality, a foreglimpse and a whiff of it; that is they contain, in a very vague, diluted state, more genuine reality than our vaunted waking life which, in its turn, is semi-sleep, an evil drowsiness into which penetrate in grotesque disguise the sounds and sights of the real world, flowing beyond the periphery of the mind—as when you hear during sleep a dreadful insidious tale because a branch is scraping on the pane, or see yourself sinking into snow because your blanket is sliding off.”<br /><br />“I am surrounded by some sort of wretched specters, not by people. They torment me as can torment only senseless visions, bad dreams, dregs of delirium, the drivel of nightmares and everything that passes down here for real life.”<br /><br />“...the compensation for a death sentence is knowledge of the exact hour when one is to die.”<br /><br />This is a novel about waiting for death. Cinncinatus, its hapless protagonist, is in anguish because he has been condemned to death and he doesn't know precisely when the axe will fall (the predicament we all find ourselves in). It's also about the prisons we confine ourselves in—our existential hells. Cinncinatus' jailors (who, we are told, are everyone) continually tease and torment him, his wife has deceived him with multiple men, his mother conceived him with a stranger who was a tramp, his extended family are a nightmare of vulgarity and banality, and society shuns him at every turn. At the factory, he made grotesque rag dolls of Russian authors. But he has a courageous, clear-sighted double with the ability to free himself from his chains and say and do as he pleases. This double (we all have one, Nabokov informs us—you and me and him over there)—will escape Cinncinatus' fate, and his prison walls and executioner's scaffolding will vanish. <br /><br />His prison is not metaphorical—it's a real fortress, and there is real prison food, and real sadistic guards who feed him well, dance, joke, and play chess with and practical jokes on him; there is real scrawling on the walls by former prisoners, and a real prison guard's little daughter who promises to save him, and he's had a real jury trial with a real, albeit absurd, verdict (he was sentenced to death for "gnostic turpitude")—so I don't want to give the impression that this novel is only metaphorical and symbolic. But it demonstrates again and again that just as every waking moment contains a corresponding dream, and every present moment a memory, every moment of real or existential imprisonment contains an analogue of creativity and freedom. <br /><br />Nabokov was irritated that everyone called this book Kafkaesque, not being familiar with Kafka when he wrote it; but he was also irritated that critics continually compared him to a number of other authors. This is an understandable pet peeve, given that he clearly worked every sentence until it was like no other sentence ever penned, and that he combined different kinds of philosophical and literary ideas together through character and precise observation of nature in a way that was thoroughly original. This novel, despite its similar themes and grim whimsy, is not Kafkaesque to me in the sense that the only other works it really reminds me of are Nabokov's own works (<i>Bend Sinister, The Waltz Invention,</i> and some of his short stories). In the end it's a hundred percent Nabokov, and a hundred percent fascinating.]]></user_review>
    <average_rating>3.95</average_rating>
    <book_published>1938</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/376561.Invitation_to_a_Beheading?utm_medium=api&amp;utm_source=rss"><img alt="Invitation to a Beheading" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1753736645l/376561._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 3.95<br/>
                                      book published: 1938<br/>
                                      rating: 5<br/>
                                      read at: 2024/12/04<br/>
                                      date added: 2024/12/07<br/>
                                      shelves: <br/>
                                      review: <br/>“But then I have long since grown accustomed to the thought that what we call dreams is semi-reality, the promise of reality, a foreglimpse and a whiff of it; that is they contain, in a very vague, diluted state, more genuine reality than our vaunted waking life which, in its turn, is semi-sleep, an evil drowsiness into which penetrate in grotesque disguise the sounds and sights of the real world, flowing beyond the periphery of the mind—as when you hear during sleep a dreadful insidious tale because a branch is scraping on the pane, or see yourself sinking into snow because your blanket is sliding off.”<br /><br />“I am surrounded by some sort of wretched specters, not by people. They torment me as can torment only senseless visions, bad dreams, dregs of delirium, the drivel of nightmares and everything that passes down here for real life.”<br /><br />“...the compensation for a death sentence is knowledge of the exact hour when one is to die.”<br /><br />This is a novel about waiting for death. Cinncinatus, its hapless protagonist, is in anguish because he has been condemned to death and he doesn't know precisely when the axe will fall (the predicament we all find ourselves in). It's also about the prisons we confine ourselves in—our existential hells. Cinncinatus' jailors (who, we are told, are everyone) continually tease and torment him, his wife has deceived him with multiple men, his mother conceived him with a stranger who was a tramp, his extended family are a nightmare of vulgarity and banality, and society shuns him at every turn. At the factory, he made grotesque rag dolls of Russian authors. But he has a courageous, clear-sighted double with the ability to free himself from his chains and say and do as he pleases. This double (we all have one, Nabokov informs us—you and me and him over there)—will escape Cinncinatus' fate, and his prison walls and executioner's scaffolding will vanish. <br /><br />His prison is not metaphorical—it's a real fortress, and there is real prison food, and real sadistic guards who feed him well, dance, joke, and play chess with and practical jokes on him; there is real scrawling on the walls by former prisoners, and a real prison guard's little daughter who promises to save him, and he's had a real jury trial with a real, albeit absurd, verdict (he was sentenced to death for "gnostic turpitude")—so I don't want to give the impression that this novel is only metaphorical and symbolic. But it demonstrates again and again that just as every waking moment contains a corresponding dream, and every present moment a memory, every moment of real or existential imprisonment contains an analogue of creativity and freedom. <br /><br />Nabokov was irritated that everyone called this book Kafkaesque, not being familiar with Kafka when he wrote it; but he was also irritated that critics continually compared him to a number of other authors. This is an understandable pet peeve, given that he clearly worked every sentence until it was like no other sentence ever penned, and that he combined different kinds of philosophical and literary ideas together through character and precise observation of nature in a way that was thoroughly original. This novel, despite its similar themes and grim whimsy, is not Kafkaesque to me in the sense that the only other works it really reminds me of are Nabokov's own works (<i>Bend Sinister, The Waltz Invention,</i> and some of his short stories). In the end it's a hundred percent Nabokov, and a hundred percent fascinating.<br/>
                                      ]]>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557440538?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 07 Dec 2024 08:14:49 -0800]]></pubDate>
    <title>Far From the Madding Crowd</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557440538?utm_medium=api&utm_source=rss]]></link>
    <book_id>31463</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1631259654l/31463._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>This is an alternate cover edition for ISBN <a href="https://www.goodreads.com/search/search?q=9780141439655" title="9780141439655" rel="nofollow noopener">9780141439655</a></i><br /><br />Independent and spirited Bathsheba Everdene has come to Weatherbury to take up her position as a farmer on the largest estate in the area. Her bold presence draws three very different suitors: the gentleman-farmer Boldwood, soldier-seducer Sergeant Troy and the devoted shepherd Gabriel Oak. Each, in contrasting ways, unsettles her decisions and complicates her life, and tragedy ensues, threatening the stability of the whole community. The first of his works set in the fictional county of Wessex, Hardy's novel of swift passion and slow courtship is imbued with his evocative descriptions of rural life and landscapes, and with unflinching honesty about sexual relationships.]]></book_description>
    <book id="31463">
      <num_pages>433</num_pages>
    </book>
    <author_name>Thomas Hardy</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 15 Feb 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 07 Dec 2024 08:14:49 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 17:27:30 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Thomas Hardy is a master storyteller, and one can learn a lot about writing from reading him. He states and restates his themes so that they are very clear, but he also leaves certain mysteries hanging, and he drives suspense to the highest pitch. He introduces us to characters who are completely entrenched within their own habits, desires, and personalities, and then has them interact with each other with inevitable, and often disastrous, consequences. <br /><br />The biblically-named Bathsheba, introduced as beautiful and vain, will of course reject the simple Farmer Oak for the dashing reprobate Sergeant Troy. Farmer Boldwood, initially a steadfast and reliable tree like Farmer Oak, and the only man in the village who never notices Bathsheba (or any other woman for that matter), will go completely insane over her. What Hardy does here (as in all of his novels) is to start off slow, then ratchet up the tension to an almost unbearable degree. His skill at dialogue is unprecedented. Everything is so realistic and so melodramatic at the same time. He writes with the naturalism of Zola, and the flamboyance of Flaubert. <i>Je l'adore.</i><br /><br />This book seems to be partly an allegory about Bathsheba and King David (who, like Farmer Oak, started off as a shepherd), and as such it posits that a Simple Farmer can become a Great Man through cultivating a noble character. Being set in the imaginary countryside of Wessex, it also contains a remarkable level of detail about sheep farming. The story of the feckless and over-eager young dog who drives the sheep to their deaths was incredibly moving, as were other touching dramas about newborn lambs, storms, and people living at the mercy of the elements and of strange natural accidents beyond their control. Also moving was the unexpected love the womanizer Troy had for the woman he ruined, and the thoughtless Valentine card that destroyed another man's life. People, Hardy seems to say, are also forces of nature: unpredictable, destructive, and tied to their fates through the force of their personalities. <br /><br />Throughout it all Bathsheba remains another force of nature, as inevitable as lightning, causing the hearts of men to blaze up, and pushing them to their limits. There is a lot of humor too, with the drunken men at the tavern, and various absurd sequences and dialogues. Just an incredibly entertaining, beautiful, and moving book. Highly recommended.]]></user_review>
    <average_rating>3.97</average_rating>
    <book_published>1874</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/31463.Far_From_the_Madding_Crowd?utm_medium=api&amp;utm_source=rss"><img alt="Far From the Madding Crowd" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1631259654l/31463._SY75_.jpg" /></a><br/>
                                      author: Thomas Hardy<br/>
                                      name: Anna<br/>
                                      average rating: 3.97<br/>
                                      book published: 1874<br/>
                                      rating: 5<br/>
                                      read at: 2024/02/15<br/>
                                      date added: 2024/12/07<br/>
                                      shelves: <br/>
                                      review: <br/>Thomas Hardy is a master storyteller, and one can learn a lot about writing from reading him. He states and restates his themes so that they are very clear, but he also leaves certain mysteries hanging, and he drives suspense to the highest pitch. He introduces us to characters who are completely entrenched within their own habits, desires, and personalities, and then has them interact with each other with inevitable, and often disastrous, consequences. <br /><br />The biblically-named Bathsheba, introduced as beautiful and vain, will of course reject the simple Farmer Oak for the dashing reprobate Sergeant Troy. Farmer Boldwood, initially a steadfast and reliable tree like Farmer Oak, and the only man in the village who never notices Bathsheba (or any other woman for that matter), will go completely insane over her. What Hardy does here (as in all of his novels) is to start off slow, then ratchet up the tension to an almost unbearable degree. His skill at dialogue is unprecedented. Everything is so realistic and so melodramatic at the same time. He writes with the naturalism of Zola, and the flamboyance of Flaubert. <i>Je l'adore.</i><br /><br />This book seems to be partly an allegory about Bathsheba and King David (who, like Farmer Oak, started off as a shepherd), and as such it posits that a Simple Farmer can become a Great Man through cultivating a noble character. Being set in the imaginary countryside of Wessex, it also contains a remarkable level of detail about sheep farming. The story of the feckless and over-eager young dog who drives the sheep to their deaths was incredibly moving, as were other touching dramas about newborn lambs, storms, and people living at the mercy of the elements and of strange natural accidents beyond their control. Also moving was the unexpected love the womanizer Troy had for the woman he ruined, and the thoughtless Valentine card that destroyed another man's life. People, Hardy seems to say, are also forces of nature: unpredictable, destructive, and tied to their fates through the force of their personalities. <br /><br />Throughout it all Bathsheba remains another force of nature, as inevitable as lightning, causing the hearts of men to blaze up, and pushing them to their limits. There is a lot of humor too, with the drunken men at the tavern, and various absurd sequences and dialogues. Just an incredibly entertaining, beautiful, and moving book. Highly recommended.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7057984233?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 04 Dec 2024 18:39:31 -0800]]></pubDate>
    <title>Private Rites</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7057984233?utm_medium=api&utm_source=rss]]></link>
    <book_id>199645404</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1709679673l/199645404._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1709679673l/199645404._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[<b>From the bestselling author of <i>Our Wives Under the Sea,</i> a haunting novel of three sisters navigating queer love and faith at the end of the world.</b><br /><br /><i>There’s no way to bury a body in earth which is flooded<br />It is a fact consigned to history along with almost everything else</i><br /><br />It’s been raining for a long time now, for so long that the lands have reshaped themselves. Old places have been lost. Arcane rituals and religions have crept back into practice.<br /><br />Sisters Isla, Irene and Agnes have not spoken in some time when their estranged father dies. A famous architect revered for making the new world navigable, he had long cut himself off from public life. They find themselves uncertain of how to grieve his passing when everything around them seems to be ending anyway.<br /><br />As the sisters come together to clear the grand glass house that is the pinnacle of his legacy, they begin to sense that the magnetic influence of their father lives on through it. Something sinister seems to be unfolding, something related to their mother’s long-ago disappearance and the strangers who have always been unusually interested in their lives. Soon, it becomes clear that the sisters have been chosen for a very particular purpose, one with shattering implications for their family and their imperilled world.]]></book_description>
    <book id="199645404">
      <num_pages>336</num_pages>
    </book>
    <author_name>Julia Armfield</author_name>
    <isbn>0008608032</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 04 Dec 2024 18:39:31 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 04 Dec 2024 18:39:28 -0800]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.72</average_rating>
    <book_published>2024</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/199645404-private-rites?utm_medium=api&amp;utm_source=rss"><img alt="Private Rites" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1709679673l/199645404._SY75_.jpg" /></a><br/>
                                      author: Julia Armfield<br/>
                                      name: Anna<br/>
                                      average rating: 3.72<br/>
                                      book published: 2024<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/12/04<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7040601366?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 28 Nov 2024 10:01:08 -0800]]></pubDate>
    <title>Look at the Harlequins!</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7040601366?utm_medium=api&utm_source=rss]]></link>
    <book_id>54993</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657568272l/54993._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657568272l/54993._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657568272l/54993._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657568272l/54993._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[Focusing on the central figures of his life--his four wives, his books, and his muse, Dementia--the book leads us to suspect that the fictions Vadim has created as an author have crossed the line between his life's work and his life itself, as the worlds of reality and literary invention grow increasingly indistinguishable.]]></book_description>
    <book id="54993">
      <num_pages>272</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0679727280</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 28 Nov 2024 10:01:08 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 28 Nov 2024 10:01:08 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>3.74</average_rating>
    <book_published>1974</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/54993.Look_at_the_Harlequins_?utm_medium=api&amp;utm_source=rss"><img alt="Look at the Harlequins!" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657568272l/54993._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 3.74<br/>
                                      book published: 1974<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/28<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5548910696?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 26 Nov 2024 13:28:26 -0800]]></pubDate>
    <title>Verity</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5548910696?utm_medium=api&utm_source=rss]]></link>
    <book_id>59344312</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1634158558l/59344312._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish.<br /><br />Lowen arrives at the Crawford home, ready to sort through years of Verity's notes and outlines, hoping to find enough material to get her started. What Lowen doesn't expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of what really happened the day her daughter died.<br /><br />Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents would devastate the already grieving father. But as Lowen's feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife's words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue to love her.]]></book_description>
    <book id="59344312">
      <num_pages>336</num_pages>
    </book>
    <author_name>Colleen Hoover</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at><![CDATA[Sat, 1 Jan 2022 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 26 Nov 2024 13:28:26 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sat, 13 May 2023 19:31:33 -0700]]></user_date_created>
    <user_shelves>bluebeard, female-writers</user_shelves>
    <user_review><![CDATA[I read this because I was trying to secure an agent for my book, and on the manuscript wish list of one of the agents I submitted to this book was listed, alongside <i>Jane Eyre, Rebecca, Wuthering Heights, Gone with the Wind</i>, etc. So I thought, this book <i>Verity</i> must really be something!<br /><br />But after perusing its pages with half-stifled horror, I became stunned by its popularity (it was on bestseller lists for weeks and weeks, and maybe still is), because it was mainly a bunch of tawdry, badly-written sex scenes with some thriller elements thrown in. I shuddered at the names of the characters (Lowen, Harper, Crew—AGH)!! and at the cliché that people in New York don't care about other people. For instance, in the very first scene, our hapless heroine from podunk nowhere is standing on a street corner when she is sprayed with blood from a hit and run accident. New Yorkers are so cold, callous, and incurious that they just walk on by, ignoring both a gory mangled corpse and a traumatized woman standing there drenched in blood. The only man who is human enough (or indeed, alive enough—the others must be robots) to inquire about her well-being and help her is a man who is likewise from a small town. He goes into a bathroom with her, locks the door, and gives her his shirt, all of which is the start of the central romance. Of course, it's all completely ludicrous.<br /><br />When I read that crack about New York it seemed like a dog whistle—like when people say "urban" when they mean "black people." Instantly I thought that this writer must be from a small town, and I was right! She grew up in a town of three hundred people! Maybe that's the secret to her popularity ... that she writes with a kind of wholesome American xenophobic ignorance worn as a badge of honor, with some terrible sex thrown in to make it all seem spicy and new. At first I found it entertaining in a debased sort of way, but in the end there was no insight into human character or motivation, nor any meaningful themes (everyone acted nonsensically and only in the service of the plot), so I got quite bored.]]></user_review>
    <average_rating>4.27</average_rating>
    <book_published>2018</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/59344312-verity?utm_medium=api&amp;utm_source=rss"><img alt="Verity" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1634158558l/59344312._SY75_.jpg" /></a><br/>
                                      author: Colleen Hoover<br/>
                                      name: Anna<br/>
                                      average rating: 4.27<br/>
                                      book published: 2018<br/>
                                      rating: 0<br/>
                                      read at: 2022/01/01<br/>
                                      date added: 2024/11/26<br/>
                                      shelves: bluebeard, female-writers<br/>
                                      review: <br/>I read this because I was trying to secure an agent for my book, and on the manuscript wish list of one of the agents I submitted to this book was listed, alongside <i>Jane Eyre, Rebecca, Wuthering Heights, Gone with the Wind</i>, etc. So I thought, this book <i>Verity</i> must really be something!<br /><br />But after perusing its pages with half-stifled horror, I became stunned by its popularity (it was on bestseller lists for weeks and weeks, and maybe still is), because it was mainly a bunch of tawdry, badly-written sex scenes with some thriller elements thrown in. I shuddered at the names of the characters (Lowen, Harper, Crew—AGH)!! and at the cliché that people in New York don't care about other people. For instance, in the very first scene, our hapless heroine from podunk nowhere is standing on a street corner when she is sprayed with blood from a hit and run accident. New Yorkers are so cold, callous, and incurious that they just walk on by, ignoring both a gory mangled corpse and a traumatized woman standing there drenched in blood. The only man who is human enough (or indeed, alive enough—the others must be robots) to inquire about her well-being and help her is a man who is likewise from a small town. He goes into a bathroom with her, locks the door, and gives her his shirt, all of which is the start of the central romance. Of course, it's all completely ludicrous.<br /><br />When I read that crack about New York it seemed like a dog whistle—like when people say "urban" when they mean "black people." Instantly I thought that this writer must be from a small town, and I was right! She grew up in a town of three hundred people! Maybe that's the secret to her popularity ... that she writes with a kind of wholesome American xenophobic ignorance worn as a badge of honor, with some terrible sex thrown in to make it all seem spicy and new. At first I found it entertaining in a debased sort of way, but in the end there was no insight into human character or motivation, nor any meaningful themes (everyone acted nonsensically and only in the service of the plot), so I got quite bored.<br/>
                                      ]]>
    </description>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7024560410?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 26 Nov 2024 05:46:23 -0800]]></pubDate>
    <title>Robinson Crusoe</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7024560410?utm_medium=api&utm_source=rss]]></link>
    <book_id>2932</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1682976488l/2932._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Daniel Defoe relates the tale of an English sailor marooned on a desert island for nearly three decades. An ordinary man struggling to survive in extraordinary circumstances, Robinson Crusoe wrestles with fate and the nature of God. This edition features maps.]]></book_description>
    <book id="2932">
      <num_pages>320</num_pages>
    </book>
    <author_name>Daniel Defoe</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at><![CDATA[Tue, 26 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 26 Nov 2024 05:46:23 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 21 Nov 2024 19:41:46 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[A rollicking good yarn! It was fascinating to read about all the things Robinson Crusoe made on that island, an example of the endless creativity and resourcefulness of human beings when pushed to their limits. The details of how he built himself three "houses" and husbanded animals and planted crops and made clothing and pots and boats and a working umbrella and taught a parrot to speak and managed and organized his little kingdom and defended himself from potential enemies was just so extraordinary. I was bored by the Christian soul-searching, and yet I realize that Christianity is partly what saved him—that, and the building of his world. If he had not found a spiritual center, and if he had not spent all that time building and creating new things, he would have gone insane on that island. Making art is personally what keeps me from going insane, so I found the lessons this book imparts very wise. ]]></user_review>
    <average_rating>3.69</average_rating>
    <book_published>1719</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2932.Robinson_Crusoe?utm_medium=api&amp;utm_source=rss"><img alt="Robinson Crusoe" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1682976488l/2932._SY75_.jpg" /></a><br/>
                                      author: Daniel Defoe<br/>
                                      name: Anna<br/>
                                      average rating: 3.69<br/>
                                      book published: 1719<br/>
                                      rating: 4<br/>
                                      read at: 2024/11/26<br/>
                                      date added: 2024/11/26<br/>
                                      shelves: <br/>
                                      review: <br/>A rollicking good yarn! It was fascinating to read about all the things Robinson Crusoe made on that island, an example of the endless creativity and resourcefulness of human beings when pushed to their limits. The details of how he built himself three "houses" and husbanded animals and planted crops and made clothing and pots and boats and a working umbrella and taught a parrot to speak and managed and organized his little kingdom and defended himself from potential enemies was just so extraordinary. I was bored by the Christian soul-searching, and yet I realize that Christianity is partly what saved him—that, and the building of his world. If he had not found a spiritual center, and if he had not spent all that time building and creating new things, he would have gone insane on that island. Making art is personally what keeps me from going insane, so I found the lessons this book imparts very wise. <br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6317624131?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 24 Nov 2024 12:48:51 -0800]]></pubDate>
    <title>Self and Others</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6317624131?utm_medium=api&utm_source=rss]]></link>
    <book_id>305380</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348806439l/305380._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[This work is available on its own or as part of the 7 volume set "Selected Works of R. D. Laing"]]></book_description>
    <book id="305380">
      <num_pages>184</num_pages>
    </book>
    <author_name>R.D. Laing</author_name>
    <isbn>0415198194</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 9 Mar 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sun, 24 Nov 2024 12:48:51 -0800]]></user_date_added>
    <user_date_created><![CDATA[Mon, 04 Mar 2024 19:28:09 -0800]]></user_date_created>
    <user_shelves>psychology</user_shelves>
    <user_review><![CDATA[This is one of the most important books I've ever read. It's changed how I view myself, my relationships, and the world at large. I know that sounds hyperbolic, but it's true. Although I'm a sane person (I <i>swear</i> I am)!, and the book gleans its data by studying the minds of psychotics, it's very revealing as to mental fantasy structures in general, and how understanding them can lead to personal and interpersonal healing. As such, I place it up there with the works of Adler and Kohut in its ability to help the modern person to come to an understanding about their own mind and the minds of others.<br /><br />The book is so illuminating and empathic at the same time that I found myself forgiving others in my life who have wounded me. I also was able to understand words and actions of others that have haunted me for years, and to unpick their and my own fixed fantasy structures. Just the assertion that all individuals and groups <i>have</i> their own fantasy structures was an immense revelation to me, since we are taught that most groups (such as the family) are sane, and that something is wrong with us if we feel alienated from them. <br /><br />There are essays on "Phantasy and Experience," "Presence and Elusion," "Complementary Identity," "Collusion," and "False and Untenable Positions," among others. Together they create a furiously intellectual and progressive (but direct and accessible) view of personality, identity, self in relations to others, and the various fantasy structures that govern the psyche of both the individual and the group. Highly recommended.]]></user_review>
    <average_rating>4.02</average_rating>
    <book_published>1959</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/305380.Self_and_Others?utm_medium=api&amp;utm_source=rss"><img alt="Self and Others" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348806439l/305380._SY75_.jpg" /></a><br/>
                                      author: R.D. Laing<br/>
                                      name: Anna<br/>
                                      average rating: 4.02<br/>
                                      book published: 1959<br/>
                                      rating: 5<br/>
                                      read at: 2024/03/09<br/>
                                      date added: 2024/11/24<br/>
                                      shelves: psychology<br/>
                                      review: <br/>This is one of the most important books I've ever read. It's changed how I view myself, my relationships, and the world at large. I know that sounds hyperbolic, but it's true. Although I'm a sane person (I <i>swear</i> I am)!, and the book gleans its data by studying the minds of psychotics, it's very revealing as to mental fantasy structures in general, and how understanding them can lead to personal and interpersonal healing. As such, I place it up there with the works of Adler and Kohut in its ability to help the modern person to come to an understanding about their own mind and the minds of others.<br /><br />The book is so illuminating and empathic at the same time that I found myself forgiving others in my life who have wounded me. I also was able to understand words and actions of others that have haunted me for years, and to unpick their and my own fixed fantasy structures. Just the assertion that all individuals and groups <i>have</i> their own fantasy structures was an immense revelation to me, since we are taught that most groups (such as the family) are sane, and that something is wrong with us if we feel alienated from them. <br /><br />There are essays on "Phantasy and Experience," "Presence and Elusion," "Complementary Identity," "Collusion," and "False and Untenable Positions," among others. Together they create a furiously intellectual and progressive (but direct and accessible) view of personality, identity, self in relations to others, and the various fantasy structures that govern the psyche of both the individual and the group. Highly recommended.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6403229566?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 22 Nov 2024 07:53:26 -0800]]></pubDate>
    <title>Laughter in the Dark</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6403229566?utm_medium=api&utm_source=rss]]></link>
    <book_id>8151</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1359043933l/8151._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA["Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster." Thus begins Vladimir Nabokov's Laughter in the Dark; this, the author tells us, is the whole story except that he starts from here, with his characteristic dazzling skill and irony, and brilliantly turns a fable into a chilling, original novel of folly and destruction. Amidst a Weimar-era milieu of silent film stars, artists, and aspirants, Nabokov creates a merciless masterwork as Albinus, an aging critic, falls prey to his own desires, to his teenage mistress, and to Axel Rex, the scheming rival for her affections who finds his greatest joy in the downfall of others. Published first in Russian as Kamera Obskura in 1932, this book appeared in Nabokov's own English translation six years later. This New Directions edition, based on the text as Nabokov revised it in 1960, features a new introduction by Booker Prize-winner John Banville.]]></book_description>
    <book id="8151">
      <num_pages>292</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0811216748</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 19 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Fri, 22 Nov 2024 07:53:26 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 04 Apr 2024 20:23:22 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[I have heard this novel called "a light work" and "a rehearsal for <i>Lolita</i>." This is all true (the story is about a wealthy married man with a teenaged mistress who cuckolds him with a diabolical artist) but Nabokov's attempt at writing in a popular style—this reads like a genre novel that could be a study for a film—is anything but generic or lightweight. Where the book shines is in its creation of appalling, cruel, foolish, and absurd characters, putting them together with inevitable tragicomic results; it reads, in fact, like the best farces by Feydeau, Balzac, or Moliere.<br /><br />One thing about Nabokov's writing is that it never descends into <i>poshlost,</i> a Russian word which describes work that is vulgar, crass, banal, pompous, sanctimonious, self-serving, tasteless, corny, sentimental, etc. So even if the story, as in this case, relies on certain clichés of genre novels, Nabokov never lets the reader fall into an abyss. He leads you in a dance where he jokes with you and pretends he is going to step on your feet, but in the end he sweeps you across the floor with grace, assurance, and elegance.<br /><br />And it's not the case that the style of this book is popular because Nabokov only later learned to write in a more complex fashion; some of his earliest stories were quite complex. I think it's more that he was highly competitive (he was a chess master after all), and he wanted to outdo the others by writing a better, more sensational, more interesting and entertaining popular novel than anyone else. Bravo, Vladimir, you succeeded.]]></user_review>
    <average_rating>4.03</average_rating>
    <book_published>1932</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/8151.Laughter_in_the_Dark?utm_medium=api&amp;utm_source=rss"><img alt="Laughter in the Dark" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1359043933l/8151._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 4.03<br/>
                                      book published: 1932<br/>
                                      rating: 5<br/>
                                      read at: 2024/11/19<br/>
                                      date added: 2024/11/22<br/>
                                      shelves: <br/>
                                      review: <br/>I have heard this novel called "a light work" and "a rehearsal for <i>Lolita</i>." This is all true (the story is about a wealthy married man with a teenaged mistress who cuckolds him with a diabolical artist) but Nabokov's attempt at writing in a popular style—this reads like a genre novel that could be a study for a film—is anything but generic or lightweight. Where the book shines is in its creation of appalling, cruel, foolish, and absurd characters, putting them together with inevitable tragicomic results; it reads, in fact, like the best farces by Feydeau, Balzac, or Moliere.<br /><br />One thing about Nabokov's writing is that it never descends into <i>poshlost,</i> a Russian word which describes work that is vulgar, crass, banal, pompous, sanctimonious, self-serving, tasteless, corny, sentimental, etc. So even if the story, as in this case, relies on certain clichés of genre novels, Nabokov never lets the reader fall into an abyss. He leads you in a dance where he jokes with you and pretends he is going to step on your feet, but in the end he sweeps you across the floor with grace, assurance, and elegance.<br /><br />And it's not the case that the style of this book is popular because Nabokov only later learned to write in a more complex fashion; some of his earliest stories were quite complex. I think it's more that he was highly competitive (he was a chess master after all), and he wanted to outdo the others by writing a better, more sensational, more interesting and entertaining popular novel than anyone else. Bravo, Vladimir, you succeeded.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5878061166?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 20 Nov 2024 08:59:29 -0800]]></pubDate>
    <title>The Aeneid</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5878061166?utm_medium=api&utm_source=rss]]></link>
    <book_id>12914</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386923968l/12914._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386923968l/12914.jpg]]></book_large_image_url>
    <book_description><![CDATA[Adaptação em prosa<br />«Após uma longa guerra, os Gregos conquistam finalmente a cidade de Tróia, que põem a ferro e fogo. Alguns troianos conseguem fugir da cidade e, liderados por Eneias, partem pelo mar fora em busca de uma nova pátria e de um recomeço para as suas vidas. É destes homens que nos fala a Eneida, da sua demanda de um lugar no mundo, da sua chegada a Itália, da sua luta pelo direito a habitar a terra. Dos seus infortúnios e combates, que cumprem o que está determinado pelos Fados, nascerá uma estirpe troiana em Itália, origem mítica de Roma e da sua grandeza. (...)».]]></book_description>
    <book id="12914">
      <num_pages>442</num_pages>
    </book>
    <author_name>Virgil</author_name>
    <isbn>0679729526</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 19 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Wed, 20 Nov 2024 08:59:29 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sat, 30 Sep 2023 16:41:09 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[Simply extraordinary. Virgil's story dazzles, including as it does all the greatest hits: the Cyclops. the Furies, the Harpies, Scylla and Charybdis, Hercules killing a giant, the fearless warrior Camilla, the Trojan horse episode from the Trojans' point of view, the Trojans' homelessness and endless sea voyages and temporary settlements, Aeneas' battle with Turnus, feasts, sacrifices, Vulcan's marvelous weapons, athletic games, sacrifices, burials, the Underworld, Charon, Styx, the Shades, the Cumaean Sybil, the capricious gods Jupiter, Juno, Venus, Mercury, and Neptune, and especially the great love, rage, and suicide of Queen Dido after she is abandoned by her lover Aeneas, which in my opinion is one of the greatest scenes in literature.<br /><br />I'm in a period of mourning right now, and I didn't realize how much the solemnity and beautiful prose contained within these pages (in an excellent translation by Cecil Day-Lewis), would help assuage my grief. To read about proper rites for the dead administered, mortality and the fleetingness of life considered with such gravity and emotional heft, and dramatic disasters which make one's own troubles seem paltry by comparison—all this is very healing, not the least because it's so grand and pageant-like, and because it's such magnificent art. In periods of depression, shock, grief, and despair, the classics never disappoint.]]></user_review>
    <average_rating>3.86</average_rating>
    <book_published>-19</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/12914.The_Aeneid?utm_medium=api&amp;utm_source=rss"><img alt="The Aeneid" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386923968l/12914._SY75_.jpg" /></a><br/>
                                      author: Virgil<br/>
                                      name: Anna<br/>
                                      average rating: 3.86<br/>
                                      book published: -19<br/>
                                      rating: 5<br/>
                                      read at: 2024/11/19<br/>
                                      date added: 2024/11/20<br/>
                                      shelves: <br/>
                                      review: <br/>Simply extraordinary. Virgil's story dazzles, including as it does all the greatest hits: the Cyclops. the Furies, the Harpies, Scylla and Charybdis, Hercules killing a giant, the fearless warrior Camilla, the Trojan horse episode from the Trojans' point of view, the Trojans' homelessness and endless sea voyages and temporary settlements, Aeneas' battle with Turnus, feasts, sacrifices, Vulcan's marvelous weapons, athletic games, sacrifices, burials, the Underworld, Charon, Styx, the Shades, the Cumaean Sybil, the capricious gods Jupiter, Juno, Venus, Mercury, and Neptune, and especially the great love, rage, and suicide of Queen Dido after she is abandoned by her lover Aeneas, which in my opinion is one of the greatest scenes in literature.<br /><br />I'm in a period of mourning right now, and I didn't realize how much the solemnity and beautiful prose contained within these pages (in an excellent translation by Cecil Day-Lewis), would help assuage my grief. To read about proper rites for the dead administered, mortality and the fleetingness of life considered with such gravity and emotional heft, and dramatic disasters which make one's own troubles seem paltry by comparison—all this is very healing, not the least because it's so grand and pageant-like, and because it's such magnificent art. In periods of depression, shock, grief, and despair, the classics never disappoint.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7019085419?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 19 Nov 2024 17:26:57 -0800]]></pubDate>
    <title>The Death of Jane Lawrence</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7019085419?utm_medium=api&utm_source=rss]]></link>
    <book_id>48915818</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1611848428l/48915818._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Practical, unassuming Jane Shoringfield has done the calculations and decided that the most secure path forward is this: a husband, in a marriage of convenience, who will allow her to remain independent and occupied with meaningful work. Her first choice, the dashing but reclusive doctor Augustine Lawrence, agrees to her proposal with only one condition: that she must never visit Lindridge Hall, his crumbling family manor outside of town.<br /><br />Yet on their wedding night, an accident strands her at his door in a pitch-black rainstorm, and she finds him changed. Gone is the bold, courageous surgeon, and in his place is a terrified, paranoid man—one who cannot tell reality from nightmare, and fears Jane is an apparition, come to haunt him. By morning, Augustine is himself again, but Jane knows something is deeply wrong at Lindridge Hall, and with the man she has so hastily bound her safety to.<br /><br />In The Death of Jane Lawrence, Caitlin Starling crafts a new kind of gothic horror from the bones of the beloved canon, set in a dark-mirror version of postwar England. This Crimson Peak-inspired story assembles, then upends, every expectation set in place by Shirley Jackson and Rebecca, and will leave readers shaken, desperate to begin again as soon as they are finished.]]></book_description>
    <book id="48915818">
      <num_pages>362</num_pages>
    </book>
    <author_name>Caitlin  Starling</author_name>
    <isbn>1250272580</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at><![CDATA[Mon, 1 Jan 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 19 Nov 2024 17:26:57 -0800]]></user_date_added>
    <user_date_created><![CDATA[Tue, 19 Nov 2024 17:25:23 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[This started out quite good, and then it became a case of the characters lacking plausible motivation, and the world they inhabit (a kind of science fiction version of Victorian England) being too convoluted for my tastes. I just couldn't see the point of inventing a world that's almost Victorian England but isn't. The only book where this works for me is Nabokov's <i>Ada</i>, because the imaginary world he creates (much like our own America but blended together with Russia), which slips in and out of time, is essential for tying together different points in Nabokov's life and the lives of his ancestors. But with this book, the science fiction world doesn't seem to have a reason for existing other than keeping the plot moving. (Or maybe it does, but I didn't get far enough to find out.) I'm sure it's very clever, and it probably gets scary at some point, but I lost interest about a hundred pages in so I'll never know.]]></user_review>
    <average_rating>3.22</average_rating>
    <book_published>2021</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/48915818-the-death-of-jane-lawrence?utm_medium=api&amp;utm_source=rss"><img alt="The Death of Jane Lawrence" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1611848428l/48915818._SY75_.jpg" /></a><br/>
                                      author: Caitlin  Starling<br/>
                                      name: Anna<br/>
                                      average rating: 3.22<br/>
                                      book published: 2021<br/>
                                      rating: 0<br/>
                                      read at: 2024/01/01<br/>
                                      date added: 2024/11/19<br/>
                                      shelves: <br/>
                                      review: <br/>This started out quite good, and then it became a case of the characters lacking plausible motivation, and the world they inhabit (a kind of science fiction version of Victorian England) being too convoluted for my tastes. I just couldn't see the point of inventing a world that's almost Victorian England but isn't. The only book where this works for me is Nabokov's <i>Ada</i>, because the imaginary world he creates (much like our own America but blended together with Russia), which slips in and out of time, is essential for tying together different points in Nabokov's life and the lives of his ancestors. But with this book, the science fiction world doesn't seem to have a reason for existing other than keeping the plot moving. (Or maybe it does, but I didn't get far enough to find out.) I'm sure it's very clever, and it probably gets scary at some point, but I lost interest about a hundred pages in so I'll never know.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6842755850?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 18 Nov 2024 15:48:37 -0800]]></pubDate>
    <title>If Only (Verso Fiction)</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6842755850?utm_medium=api&utm_source=rss]]></link>
    <book_id>217050743</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1722495389l/217050743._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<i>A relatively young woman, aged thirty. She married in her early twenties, had two children. It is winter. January and minus 14�C, white, frosty mist around the parked car, around the spruces, the mailbox on its post, but higher up the sky is blue, clear, the sun has come back. She has written in her diary that she is waiting for the heartbreak that will turn her into her true self. She has an impending sense of doom or possibly her own death.</i><br /><br />Can passion be mistaken for love? When Ida meets Arnold, also married, at a conference, she impulsively invites him to share her bed. She returns home, already half-obsessed, and the dissolution of her marriage and break-up of her family pass almost without her noticing. Arnold has a more relaxed attitude toward the affair. But neither his coolness nor the alarming talk she hears about him can dampen her desire. When she finally has Arnold for herself, all the surface niceties and indulgences they enjoy - travel, sex, beers for breakfast and cocktails for dinner - can't sustain the sweetness of the fantasy. Their mounting jealousies and insecurities metastasize, resulting in violence and addiction.<br /><br />In urgent prose, with layers of candid and vivid detail, Hjorth shows just how devastating love can be when it binds the wrong people.]]></book_description>
    <book id="217050743">
      <num_pages>353</num_pages>
    </book>
    <author_name>Vigdis Hjorth</author_name>
    <isbn>1839768894</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 5 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 18 Nov 2024 15:48:37 -0800]]></user_date_added>
    <user_date_created><![CDATA[Thu, 12 Sep 2024 22:42:13 -0700]]></user_date_created>
    <user_shelves>female-writers, psychology</user_shelves>
    <user_review><![CDATA[A throughly gripping and original novel which drags us through Ida's infatuation with, and subsequent relationship with, the pompous, mediocre, philandering, narcissistic Brecht professor Arnold. <br /><br />The first half of the book focuses on Ida's obsession, which reaches dizzying heights of delusional obsession for a person who seems clearly to be a very bad choice. Finally she wins her dubious prize and we ride a roller coaster with Ida as she navigates an insane relationship with Arnold, which includes idyllic vacations to numerous exotic locations on the globe as well frequent hedonistic indulgences in alcohol and sex, including a lurid tour through the world of underground sex clubs.<br /><br />This novel is fascinating as a blow-by-blow description of the experience of being entangled with a toxic narcissist. Both humor and brutality abound in <i>If Only,</i> especially in the descriptions of Arnold's bad behavior as he becomes increasingly controlling, difficult, and childish, and the incredulous responses of Ida's friends and colleagues. But as awful as Arnold is, the parts in which Ida and Arnold are symbiotically happy together seem so rare, so incredible, so over-the-top, that you can't blame Ida for sticking with him; it's not her fault that he ends up being as shallow and worthless as he is. <br /><br />Another thing that sets this novel apart is its psychological insight, provided in just the right amount and at the right times. The prose is deceptively simple, but lovely and well-constructed on a sentence and structural level. It gives you a feeling of being right there with Ida (or of actually <i>being</i> Ida), an emotionally devastating experience as you feel yourself unhinged, mad, obsessed, flinging yourself into an abyss, penetrated, destroyed, struck by violent and ecstatic blows. <br /><br />I know many readers will say Ida is weak, but personally she reminded me of Medea, a fierce woman in love with a man who is too weak, mediocre, and conventional to handle her. Highly recommended.]]></user_review>
    <average_rating>3.74</average_rating>
    <book_published>2001</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/217050743-if-only?utm_medium=api&amp;utm_source=rss"><img alt="If Only (Verso Fiction)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1722495389l/217050743._SY75_.jpg" /></a><br/>
                                      author: Vigdis Hjorth<br/>
                                      name: Anna<br/>
                                      average rating: 3.74<br/>
                                      book published: 2001<br/>
                                      rating: 5<br/>
                                      read at: 2024/11/05<br/>
                                      date added: 2024/11/18<br/>
                                      shelves: female-writers, psychology<br/>
                                      review: <br/>A throughly gripping and original novel which drags us through Ida's infatuation with, and subsequent relationship with, the pompous, mediocre, philandering, narcissistic Brecht professor Arnold. <br /><br />The first half of the book focuses on Ida's obsession, which reaches dizzying heights of delusional obsession for a person who seems clearly to be a very bad choice. Finally she wins her dubious prize and we ride a roller coaster with Ida as she navigates an insane relationship with Arnold, which includes idyllic vacations to numerous exotic locations on the globe as well frequent hedonistic indulgences in alcohol and sex, including a lurid tour through the world of underground sex clubs.<br /><br />This novel is fascinating as a blow-by-blow description of the experience of being entangled with a toxic narcissist. Both humor and brutality abound in <i>If Only,</i> especially in the descriptions of Arnold's bad behavior as he becomes increasingly controlling, difficult, and childish, and the incredulous responses of Ida's friends and colleagues. But as awful as Arnold is, the parts in which Ida and Arnold are symbiotically happy together seem so rare, so incredible, so over-the-top, that you can't blame Ida for sticking with him; it's not her fault that he ends up being as shallow and worthless as he is. <br /><br />Another thing that sets this novel apart is its psychological insight, provided in just the right amount and at the right times. The prose is deceptively simple, but lovely and well-constructed on a sentence and structural level. It gives you a feeling of being right there with Ida (or of actually <i>being</i> Ida), an emotionally devastating experience as you feel yourself unhinged, mad, obsessed, flinging yourself into an abyss, penetrated, destroyed, struck by violent and ecstatic blows. <br /><br />I know many readers will say Ida is weak, but personally she reminded me of Medea, a fierce woman in love with a man who is too weak, mediocre, and conventional to handle her. Highly recommended.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5102769632?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 18 Nov 2024 05:00:14 -0800]]></pubDate>
    <title><![CDATA[The Metamorphosis and Other Stories]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5102769632?utm_medium=api&utm_source=rss]]></link>
    <book_id>7723</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386925094l/7723._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386925094l/7723.jpg]]></book_large_image_url>
    <book_description><![CDATA[Virtually unknown during his lifetime, Franz Kafka is now one of the world’s most widely read and discussed authors. His nightmarish novels and short stories have come to symbolize modern man’s anxiety and alienation in a bizarre, hostile, and dehumanized world. This vision is most fully realized in Kafka’s masterpiece, “<i>The Metamorphosis</i>,” a story that is both harrowing and amusing, and a landmark of modern literature. <br /><br />Bringing together some of Kafka’s finest work, this collection demonstrates the richness and variety of the author’s artistry. “<i>The Judgment</i>,” which Kafka considered to be his decisive breakthrough, and “<i>The Stoker</i>,” which became the first chapter of his novel <i>Amerika</i>, are here included. These two, along with “<i>The Metamorphosis</i>,” form a suite of stories Kafka referred to as “The Sons,” and they collectively present a devastating portrait of the modern family.<br /><br />Also included are “<i>In the Penal Colony</i>,” a story of a torture machine and its operators and victims, and “<i>A Hunger Artist</i>,” about the absurdity of an artist trying to communicate with a misunderstanding public. Kafka’s lucid, succinct writing chronicles the labyrinthine complexities, the futility-laden horror, and the stifling oppressiveness that permeate his vision of modern life.]]></book_description>
    <book id="7723">
      <num_pages>224</num_pages>
    </book>
    <author_name>Franz Kafka</author_name>
    <isbn>1593080298</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 18 Nov 2024 05:00:14 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sun, 13 Nov 2022 18:25:51 -0800]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review></user_review>
    <average_rating>4.07</average_rating>
    <book_published>1915</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/7723.The_Metamorphosis_and_Other_Stories?utm_medium=api&amp;utm_source=rss"><img alt="The Metamorphosis and Other Stories" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1386925094l/7723._SY75_.jpg" /></a><br/>
                                      author: Franz Kafka<br/>
                                      name: Anna<br/>
                                      average rating: 4.07<br/>
                                      book published: 1915<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2024/11/18<br/>
                                      shelves: <br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/7010058877?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 16 Nov 2024 12:30:50 -0800]]></pubDate>
    <title>Set My Heart on Fire</title>
    <link><![CDATA[https://www.goodreads.com/review/show/7010058877?utm_medium=api&utm_source=rss]]></link>
    <book_id>208433116</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1710956123l/208433116._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<b>The first novel from Izumi Suzuki to be published in English: a candid, intimate exploration of passion, music and transgression.</b><br /><br /><i>Hope I'm in for a good time, I thought. Even if it's just for tonight.</i><br /><br />Set in the underground bar and club scene of 1970s Tokyo, <i>Set My Heart On Fire</i> tells the story of Izumi in her turbulent twenties. Through a series of disarmingly frank vignettes, author Izumi Suzuki presents an unforgettable portrait of a young woman encountering missteps and miscommunication, good music and unreliable men, powerful drugs and disorientating meds. Izumi usually keeps her relationships short but complicated, until she meets Jun.<br /><br /><i>Set My Heart on Fire</i> is a visceral novel about mistaken relationships and the convolutions of desire, about regret and acceptance. Pulsing through the narration is the protagonist's love of music, a vital soundtrack spanning the Zombies, T. Rex and the Rolling Stones as well as underground Japanese psychedelic-rock bands such as the Tigers and the Tempters.]]></book_description>
    <book id="208433116">
      <num_pages>192</num_pages>
    </book>
    <author_name>Izumi Suzuki</author_name>
    <isbn>180429330X</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sat, 16 Nov 2024 12:30:50 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sat, 16 Nov 2024 12:30:50 -0800]]></user_date_created>
    <user_shelves><![CDATA[to-read, female-writers, psychology]]></user_shelves>
    <user_review></user_review>
    <average_rating>3.36</average_rating>
    <book_published>1983</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/208433116-set-my-heart-on-fire?utm_medium=api&amp;utm_source=rss"><img alt="Set My Heart on Fire" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1710956123l/208433116._SY75_.jpg" /></a><br/>
                                      author: Izumi Suzuki<br/>
                                      name: Anna<br/>
                                      average rating: 3.36<br/>
                                      book published: 1983<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/16<br/>
                                      shelves: to-read, female-writers, psychology<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5876573083?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 14 Nov 2024 09:50:54 -0800]]></pubDate>
    <title>Pnin</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5876573083?utm_medium=api&utm_source=rss]]></link>
    <book_id>30593</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567547l/30593._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567547l/30593._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567547l/30593._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567547l/30593._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[One of the best-loved of Nabokov’s novels, <i>Pnin</i> features his funniest and most heart-rending character. Professor Timofey Pnin is a haplessly disoriented Russian émigré precariously employed on an American college campus in the 1950's. Pnin struggles to maintain his dignity through a series of comic and sad misunderstandings, all the while falling victim both to subtle academic conspiracies and to the manipulations of a deliberately unreliable narrator.<br /><br />Initially an almost grotesquely comic figure, Pnin gradually grows in stature by contrast with those who laugh at him. Whether taking the wrong train to deliver a lecture in a language he has not mastered or throwing a faculty party during which he learns he is losing his job, the gently preposterous hero of this enchanting novel evokes the reader’s deepest protective instinct.<br /><br />Serialized in <i>The New Yorker</i> and published in book form in 1957, <i>Pnin</i> brought Nabokov both his first National Book Award nomination and hitherto unprecedented popularity.]]></book_description>
    <book id="30593">
      <num_pages>184</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>1400041988</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 14 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 14 Nov 2024 09:50:54 -0800]]></user_date_added>
    <user_date_created><![CDATA[Fri, 29 Sep 2023 23:21:46 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[“No jewels, save my eyes, do I own, but I have a rose which is even softer than my rosy lips. And a quiet youth said: 'There is nothing softer than your heart.' And I lowered my gaze...”<br /><br />I wrote back telling Liza that her poems were bad and she ought to stop composing. Sometime later I saw her in another cafe, sitting at a long table, abloom and ablaze among a dozen young Russian poets. She kept her sapphire glance on me with a mocking and mysterious persistence.”<br /><br />Here Nabokov again (as in <i>Lolita</i> and <i>Pale Fire)</i> skewers America, Russia, academia, mediocre poetry (example above), human nature, and human cruelty. And he introduces to us Pnin, a most delightful, irritating, and endearing character. Fantastic prose as always, witty, thought-provoking, imaginative, sad, and funny. A simply wonderful book. Read it now!]]></user_review>
    <average_rating>3.89</average_rating>
    <book_published>1957</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/30593.Pnin?utm_medium=api&amp;utm_source=rss"><img alt="Pnin" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567547l/30593._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 3.89<br/>
                                      book published: 1957<br/>
                                      rating: 5<br/>
                                      read at: 2024/11/14<br/>
                                      date added: 2024/11/14<br/>
                                      shelves: <br/>
                                      review: <br/>“No jewels, save my eyes, do I own, but I have a rose which is even softer than my rosy lips. And a quiet youth said: 'There is nothing softer than your heart.' And I lowered my gaze...”<br /><br />I wrote back telling Liza that her poems were bad and she ought to stop composing. Sometime later I saw her in another cafe, sitting at a long table, abloom and ablaze among a dozen young Russian poets. She kept her sapphire glance on me with a mocking and mysterious persistence.”<br /><br />Here Nabokov again (as in <i>Lolita</i> and <i>Pale Fire)</i> skewers America, Russia, academia, mediocre poetry (example above), human nature, and human cruelty. And he introduces to us Pnin, a most delightful, irritating, and endearing character. Fantastic prose as always, witty, thought-provoking, imaginative, sad, and funny. A simply wonderful book. Read it now!<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5103662900?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 10 Nov 2024 20:16:43 -0800]]></pubDate>
    <title>The Thirteenth Tale</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5103662900?utm_medium=api&utm_source=rss]]></link>
    <book_id>40440</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1346267826l/40440._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[All children mythologize their birth...So begins the prologue of reclusive author Vida Winter's collection of stories, which are as famous for the mystery of the missing thirteenth tale as they are for the delight and enchantment of the twelve that do exist. <br /><br />The enigmatic Winter has spent six decades creating various outlandish life histories for herself -- all of them inventions that have brought her fame and fortune but have kept her violent and tragic past a secret. Now old and ailing, she at last wants to tell the truth about her extraordinary life. She summons biographer Margaret Lea, a young woman for whom the secret of her own birth, hidden by those who loved her most, remains an ever-present pain. Struck by a curious parallel between Miss Winter's story and her own, Margaret takes on the commission. <br /><br />As Vida disinters the life she meant to bury for good, Margaret is mesmerized. It is a tale of gothic strangeness featuring the Angelfield family, including the beautiful and willful Isabelle, the feral twins Adeline and Emmeline, a ghost, a governess, a topiary garden and a devastating fire. <br /><br />Margaret succumbs to the power of Vida's storytelling but remains suspicious of the author's sincerity. She demands the truth from Vida, and together they confront the ghosts that have haunted them while becoming, finally, transformed by the truth themselves. <br /><br />The Thirteenth Tale is a love letter to reading, a book for the feral reader in all of us, a return to that rich vein of storytelling that our parents loved and that we loved as children. Diane Setterfield will keep you guessing, make you wonder, move you to tears and laughter and, in the end, deposit you breathless yet satisfied back upon the shore of your everyday life.]]></book_description>
    <book id="40440">
      <num_pages>406</num_pages>
    </book>
    <author_name>Diane Setterfield</author_name>
    <isbn>0743298020</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 10 Nov 2024 20:16:43 -0800]]></user_date_added>
    <user_date_created><![CDATA[Mon, 14 Nov 2022 07:24:35 -0800]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, female-writers]]></user_shelves>
    <user_review><![CDATA[I was enthralled nearly all the way through this clever, beautifully-written book, and astonished that it could have been written in the modern day due to its delightful Victorian prose stylings. There are many interesting ideas within, and it's all very fun and Gothic, with some fascinating ideas about twins, mental illness, congenital cruelty, sexual perversion, incest, and a shared love of books and reading. <br /><br />I didn't care for the ending, which relies on a clever trick and many pages of sentimentality and neatly tied bows, but it didn't ruin the rest of the book for me. In fact, the ending made it seem even more properly Victorian than it would have otherwise, imitating the sometimes cloying endings of nineteenth-century novels which focus more than modern tastes normally allow on family reunions, surprise identities, and happy endings. This book apparently took years to write, and it's obvious. One of the best modern Gothic novels I've read.<br />]]></user_review>
    <average_rating>3.96</average_rating>
    <book_published>2006</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/40440.The_Thirteenth_Tale?utm_medium=api&amp;utm_source=rss"><img alt="The Thirteenth Tale" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1346267826l/40440._SX50_.jpg" /></a><br/>
                                      author: Diane Setterfield<br/>
                                      name: Anna<br/>
                                      average rating: 3.96<br/>
                                      book published: 2006<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2024/11/10<br/>
                                      shelves: gothic-fiction, female-writers<br/>
                                      review: <br/>I was enthralled nearly all the way through this clever, beautifully-written book, and astonished that it could have been written in the modern day due to its delightful Victorian prose stylings. There are many interesting ideas within, and it's all very fun and Gothic, with some fascinating ideas about twins, mental illness, congenital cruelty, sexual perversion, incest, and a shared love of books and reading. <br /><br />I didn't care for the ending, which relies on a clever trick and many pages of sentimentality and neatly tied bows, but it didn't ruin the rest of the book for me. In fact, the ending made it seem even more properly Victorian than it would have otherwise, imitating the sometimes cloying endings of nineteenth-century novels which focus more than modern tastes normally allow on family reunions, surprise identities, and happy endings. This book apparently took years to write, and it's obvious. One of the best modern Gothic novels I've read.<br /><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6994493219?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 10 Nov 2024 16:30:42 -0800]]></pubDate>
    <title><![CDATA[Libido Dominandi: Sexual Liberation and Political Control]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6994493219?utm_medium=api&utm_source=rss]]></link>
    <book_id>1449354</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348227143l/1449354._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA["Thus, a good man, though a slave, is free; but a wicked man, though a king, is a slave. For he serves, not one man alone, but, what is worse, as many masters as he has vices." - St. Augustine, City of God Writing at the time of the collapse of the Roman Empire, St. Augustine both revolutionized and brought to a close antiquity's idea of freedom. A man was not a slave by nature or by law, as Aristotle claimed. His freedom was a function of his moral state. A man had as many masters as he had vices. This insight would provide the basis for the most sophisticated form of social control known to man.<p>Fourteen hundred years later, a decadent French aristocrat turned that tradition on its head when he wrote that "the freest of people are they who are most friendly to murder." Like St. Augustine, the Marquis de Sade would agree that freedom was a function of morals. Unlike St. Augustine, Sade proposed a revolution in sexual morals to accompany the political revolution then taking place in France. Libido Dominandi - the term is taken from Book I of Augustine's City of God - is the definitive history of that sexual revolution, from 1773 to the present.</p><p>Unlike the standard version of the sexual revolution, Libido Dominandi shows how sexual liberation was from its inception a form of control. Those who wished to liberate man from the moral order needed to impose social controls as soon as they succeeded because liberated libido led inevitably to anarchy. Aldous Huxley wrote in his preface to the 1946 edition of Brave New World that "as political and economic freedom diminishes, sexual freedom tends compensatingly to increase." This book is about the converse of that statement. It explains how the rhetoric of sexual freedom was used to engineer a system of covert political and social control. Over the course of the two-hundred-year span covered by this book, the development of technologies of communication, reproduction, and psychic control - including psychotherapy, behaviorism, advertising, sensitivity training, pornography, and plain old blackmail - allowed the Enlightenment and its heirs to turn Augustine's insight on its head and create masters out of men's vices. Libido Dominandi is the story of how that happened.</p>]]></book_description>
    <book id="1449354">
      <num_pages>668</num_pages>
    </book>
    <author_name>E. Michael Jones</author_name>
    <isbn>1587314657</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 10 Nov 2024 16:30:42 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sun, 10 Nov 2024 16:30:42 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.29</average_rating>
    <book_published>1999</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/1449354.Libido_Dominandi?utm_medium=api&amp;utm_source=rss"><img alt="Libido Dominandi: Sexual Liberation and Political Control" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348227143l/1449354._SX50_.jpg" /></a><br/>
                                      author: E. Michael Jones<br/>
                                      name: Anna<br/>
                                      average rating: 4.29<br/>
                                      book published: 1999<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/10<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/6989649536?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 08 Nov 2024 18:43:26 -0800]]></pubDate>
    <title>The Luzhin Defense</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6989649536?utm_medium=api&utm_source=rss]]></link>
    <book_id>8153</book_id>
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    <book_description><![CDATA[A chilling story of obsession and madness. Luzhin, a distracted, withdrawn boy, takes up chess as a refuge from everyday life. As he rises to the heights of grandmaster, the game of chess gradually supplants the world of reality as he moves inexorably towards madness.]]></book_description>
    <book id="8153">
      <num_pages>256</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0679727221</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Fri, 08 Nov 2024 18:43:26 -0800]]></user_date_added>
    <user_date_created><![CDATA[Fri, 08 Nov 2024 18:43:25 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>3.95</average_rating>
    <book_published>1929</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/8153.The_Luzhin_Defense?utm_medium=api&amp;utm_source=rss"><img alt="The Luzhin Defense" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567754l/8153._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 3.95<br/>
                                      book published: 1929<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/08<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/5717627007?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 04 Nov 2024 22:56:27 -0800]]></pubDate>
    <title>The Haunted Woman</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5717627007?utm_medium=api&utm_source=rss]]></link>
    <book_id>61392733</book_id>
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    <book_description><![CDATA[The Haunted Woman (1922) is a fantasy novel by David Lindsay. Following the commercial failure of his critically acclaimed novel A Voyage to Arcturus (1920), Lindsay hoped to achieve financial stability with a more conventional tale of suspense and the occult. Although he once more failed to reach a popular audience, Lindsay produced a powerful story of alternate worlds, the burden of convention, and the nature of human desire. “Never self-conscious, never embarrassed, always quiet and rather ennuyé, she fascinated by the very strength of her silence, which, it was abundantly clear, had nothing in common with stupidity. She had already declined three offers of marriage, before Marshall had appeared on her horizon.” Isbel Loment has always cherished her independence, never consenting to tie her fate to that of a man, especially not for love. Now engaged to successful underwriter Marshall Stokes, she finds herself nearing the end of the rootless lifestyle she has led since the age of sixteen, when the death of her father left her a ward of an eccentric aunt. While on vacation at an ancient estate in the hills of Sussex, Isbel discovers a mysterious staircase leading to three identical doors. Choosing one, she is transported to a mirror world where, though the details are lost upon leaving, she seems to be encountering her host Henry Judge. With a beautifully designed cover and professionally typeset manuscript, this edition of David Lindsay’s The Haunted Woman is a classic of British literature reimagined for modern readers.]]></book_description>
    <book id="61392733">
      <num_pages>170</num_pages>
    </book>
    <author_name>David  Lindsay</author_name>
    <isbn>1513223550</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Mon, 04 Nov 2024 22:56:27 -0800]]></user_date_added>
    <user_date_created><![CDATA[Mon, 24 Jul 2023 18:05:58 -0700]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>0.0</average_rating>
    <book_published>1922</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/61392733-the-haunted-woman?utm_medium=api&amp;utm_source=rss"><img alt="The Haunted Woman" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1656942777l/61392733._SY75_.jpg" /></a><br/>
                                      author: David  Lindsay<br/>
                                      name: Anna<br/>
                                      average rating: 0.0<br/>
                                      book published: 1922<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/04<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
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    <guid><![CDATA[https://www.goodreads.com/review/show/6974754487?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Mon, 04 Nov 2024 07:55:32 -0800]]></pubDate>
    <title>Strangers on a Train</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6974754487?utm_medium=api&utm_source=rss]]></link>
    <book_id>25622296</book_id>
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    <book_description><![CDATA["Strangers on a Train has lost none of its power to disturb…We will likely be reading Patricia Highsmith for the next one hundred years." ―Paula Hawkins <br /><br />Just in time for the centennial celebration of groundbreaking noir fiction writer Patricia Highsmith comes a reissue of her propulsive, engrossing debut, <i>Strangers on a Train,</i> with a new introduction by best-selling author Paula Hawkins. Guy Haines and Charles Anthony Bruno are passengers on the same train. Haines is a successful architect in the midst of a divorce, Bruno a mysterious smooth-talker with a sadistic proposal: he’ll murder Haines’s wife if Haines will murder Bruno’s father. As Bruno carries out his twisted plan, Guy finds himself trapped in Highsmith’s perilous world, where, under the right circumstances, ordinary people are capable of extraordinary crimes. The inspiration for Alfred Hitchcock’s classic 1951 film, <i>Strangers on a Train</i> launched Highsmith’s prolific career, proving her a master at depicting the unsettling forces that tremble beneath the surface of everyday life.]]></book_description>
    <book id="25622296">
      <num_pages>273</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>0393351939</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 4 Nov 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Mon, 04 Nov 2024 07:55:32 -0800]]></user_date_added>
    <user_date_created><![CDATA[Sat, 02 Nov 2024 19:48:57 -0700]]></user_date_created>
    <user_shelves>female-writers, psychology</user_shelves>
    <user_review><![CDATA[This was fascinating, and surprisingly different from Hitchcock's masterful film. The homoerotic theme was strong (Bruno worshipped Guy and was basically in love with him), and Guy was no clean-cut, upright tennis star, but a talented architect with unmet dark needs and longings that Bruno's madness and chaos brought to the surface. And interestingly, although the screenplay invented many of the most suspenseful scenes and set pieces, Hitchcock faithfully recreated the scariest scene from the novel (in which Bruno murders Miriam), even down to the song playing on the Merry-Go-Round (Casey Would Waltz with a Strawberry Blonde and the Band Played On).<br /><br />I see this novel partly as a story about two closeted gay men, and partly a novel about freedom and lawlessness as embodied in the person of the euphoric male criminal. At a time when women's freedom of movement was especially restricted, Highsmith's febrile brain created male characters who broke out of cages of dullness, mediocrity, and conformity by indulging their darkest and most dangerous desires. Suspenseful and exciting, even if you've seen the film (the differences are enough to keep you guessing), and full of psychological depth, this book will keep you at the edge of your seat.]]></user_review>
    <average_rating>3.67</average_rating>
    <book_published>1950</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/25622296-strangers-on-a-train?utm_medium=api&amp;utm_source=rss"><img alt="Strangers on a Train" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1604439866l/25622296._SY75_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.67<br/>
                                      book published: 1950<br/>
                                      rating: 5<br/>
                                      read at: 2024/11/04<br/>
                                      date added: 2024/11/04<br/>
                                      shelves: female-writers, psychology<br/>
                                      review: <br/>This was fascinating, and surprisingly different from Hitchcock's masterful film. The homoerotic theme was strong (Bruno worshipped Guy and was basically in love with him), and Guy was no clean-cut, upright tennis star, but a talented architect with unmet dark needs and longings that Bruno's madness and chaos brought to the surface. And interestingly, although the screenplay invented many of the most suspenseful scenes and set pieces, Hitchcock faithfully recreated the scariest scene from the novel (in which Bruno murders Miriam), even down to the song playing on the Merry-Go-Round (Casey Would Waltz with a Strawberry Blonde and the Band Played On).<br /><br />I see this novel partly as a story about two closeted gay men, and partly a novel about freedom and lawlessness as embodied in the person of the euphoric male criminal. At a time when women's freedom of movement was especially restricted, Highsmith's febrile brain created male characters who broke out of cages of dullness, mediocrity, and conformity by indulging their darkest and most dangerous desires. Suspenseful and exciting, even if you've seen the film (the differences are enough to keep you guessing), and full of psychological depth, this book will keep you at the edge of your seat.<br/>
                                      ]]>
    </description>
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    <guid><![CDATA[https://www.goodreads.com/review/show/6600989590?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 03 Nov 2024 07:07:27 -0800]]></pubDate>
    <title><![CDATA[The Stories of Vladimir Nabokov]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6600989590?utm_medium=api&utm_source=rss]]></link>
    <book_id>8146</book_id>
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    <book_description><![CDATA[From the writer who shocked and delighted the world with his novels <b>Lolita, Pale Fire,</b> and <b>Ada, or Ardor</b>, and so many others, comes a magnificent collection of stories. <br /><br />Written between the 1920s and 1950s, these sixty-five tales—eleven of which have been translated into English for the first time—display all the shades of Nabokov's imagination. They range from sprightly fables to bittersweet tales of loss, from claustrophobic exercises in horror to a connoisseur's samplings of the table of human folly. Read as a whole, <b>The Stories of Vladimir Nabokov</b> offers an intoxicating draft of the master's genius, his devious wit, and his ability to turn language into an instrument of ecstasy.<br /><br />The Wood-Sprite<br />Russian Spoken Here<br />Sounds<br />Wingstroke<br />Gods<br />A Matter of Chance<br />The Seaport<br />Revenge<br />Beneficence<br />Details of A Sunset<br />The Thunderstorm<br />La Veneziana<br />Bachmann<br />The Dragon<br />Christmas<br />A Letter That Never Reached Russia<br />The Fight<br />The Return of Chorb<br />A Guide to Berlin<br />A Nursery Tale<br />Terror<br />Razor<br />The Passenger<br />The Doorbell<br />An Affair of Honor<br />The Christmas Story<br />The Potato Elf<br />The Aurelian<br />A Dashing Fellow<br />A Bad Day<br />The Visit to the Museum<br />A Busy Man<br />Terra Incognita<br />The Reunion<br />Lips to Lips<br />Orache<br />Music<br />Perfection<br />The Admiralty Spire<br />The Leonardo<br />In Memory of L.I. Shigaev<br />The Circle<br />A Russian Beauty<br />Breaking the News<br />Torpid Smoke<br />Recruiting<br />A Slice of Life<br />Spring in Fialta<br />Cloud, Castle, Lake<br />Tyrants Destroyed<br />Lik<br />Mademoiselle O<br />Vasiliy Shishkov<br />Ultima Thule<br />Solus Rex<br />The Assistant Producer<br />That in Aleppo Once<br />A Forgotten Poet<br />Time and Ebb<br />Conversation Piece, 1945<br />Signs and Symbols<br />First Love<br />Scenes From the Life of A Double Monster<br />The Vane Sisters<br />Lance]]></book_description>
    <book id="8146">
      <num_pages>685</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 24 Oct 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sun, 03 Nov 2024 07:07:27 -0800]]></user_date_added>
    <user_date_created><![CDATA[Wed, 19 Jun 2024 20:17:26 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[These chronologically ordered stories are extraordinary—there is not a bad one in the lot. Vladimir gets off to a great start with "The Wood-Sprite," written when he was only twenty-two or so, and he continues to stun, impress, and entertain from there. The second story, "Russian Spoken Here," is so sophisticated, confident, poised, cruel, and above all so worldly, that it seems as if it was written by a much older writer, with shades of his mature novels. In fact, nearly every clever and ingenious idea in his novels is first sketched out here in these stories. His psychological portraits are precise and scientific, and he combines a wrenching understanding of human cruelty with satire, wit, a staggering command of language, an ability to paint a scene with vivid brushstrokes, a high-minded literariness that works like poetry, an intense personal element, and an impish sense of fun as he dips into popular genres such as crime and science fiction to remake them in his own style. There is even scathing literary criticism within, as several stories lampoon mediocre writers and tired genre cliches.<br /><br />I think if all the people who condemn <i>Lolita</i> would read these stories, they would understand much better where Nabokov was coming from when he penned that notorious masterpiece. In his early stories especially, he depicts every kind of scoundrel, gets into every type of deranged psychology. He was remarkably good at getting inside the minds of criminals; and not just criminals, but people with mental and physical defects, lonely people, people who can’t communicate, people experiencing deep grief, ordinary people in awful circumstances. <br /><br />There are stories you really can’t believe, such as "A Dashing Fellow," in which a dandy picks up a girl and goes to her flat. When she goes out for food, someone comes to convey the urgent message that her father is dying and won’t last the night, but he is so impatient to bed her that he basically rapes her when she returns, suddenly becomes disgusted with her slovenly person and surroundings, and leaves without giving her the message. In another story, "A Nursery Tale," a voyeur violates women and young girls in his head all day long, until the devil in the form of a German prostitute grants him a wish to have all the girls he wants, with macabre results.<br /><br />Many of the stories are about the cruel shock of sudden death, such as the excellent "The Return of Chorb," "Details of a Sunset," "A Matter of Chance," and "Spring in Fialta." Others are playful and charming puzzles, like "La Veneziana," in which a man disappears into a painting, and "That in Aleppo Once," a crime story in which the crime is absent from the page, except in italicized quotes from <i>Othello</i> which hint at the truth. One of the early stories, "The Potato Elf," reminded me of Todd Browning’s <i>Freaks</i> in its depiction of a carnival midget in love with a showgirl, who in turn loves a handsome and charismatic magician. But Nabokov’s story came first, and is startlingly original. The theme of cuckoldry makes its appearance several times, most stunningly in "An Affair of Honor," and there is a rare and splendid science fiction story called "Lance" which includes a diatribe against the mediocrity of ordinary science fiction novels; these he compares to Christmas cookies stamped in various shapes to fool the consumer into thinking they’re getting variety, when in fact they all taste the same.<br /><br />This snide commentary about lazy and uninspired writing is a clue to the construction of Nabokov’s entire oeuvre. Above all he strove for <i>originality.</i> He could write a better science fiction story (<i>Ada</i>), and a better crime novel <i>(Lolita, Pale Fire</i>), than other writers because he strove for truth above all, and because he styled his stories to fit the truth rather than molding the stories to fit genre expectations. This startling truth he combined with impeccable style, and a strict avoidance of the vulgar, the moralistic, and the commonplace. Some of his stories—"Terror," "Signs and Symbols"—depict schizophrenia so accurately that one pauses to wonder if Nabokov himself suffered from such an ailment. But no, it’s just that he was so good at depicting mental states that he could get into any sort of mind in the most terrifying detail, including, as he later did so brilliantly, the mind of a sociopathic pedophile.<br /><br />His particular gifts and circumstances—he was a chess strategist, a scientist, trilingual, and was raised in a noble Russian family where he was pampered, well-educated, and staggeringly well-read in several languages at a young age—plus his shocking displacement into exile, near poverty, and dramatic family tragedy, including the assassination of his father, combined with his synesthesia, which made him experience life in a particularly vivid way—are what give his writing such a clear edge over the competition. (He himself acknowledged that if he hadn't been exiled, he never would have become a writer, but would have remained instead a dandy nobleman puttering around his estate and collecting butterflies.) Many others can paint deep psychological portraits, but few have his scientific eye; and many have a gift for vivid detail, but rarely do they combine it with his chess-like precision in storytelling. It goes without saying that his sense of humor is peerless. And of course, none of it would work without his humanism and the deep personal element present in every story, which bursts forth no matter how carefully hidden. It’s never merely “clever” writing; it always offers the reader a complete emotional experience, even when presented as aesthetics or as a game.<br /><br />If he was dismissive of other writers, it was because critics often failed to acknowledge his unique and matchless gifts (as exampled by awarding more mainstream authors such as Pasternak instead of him with the Nobel Prize in Literature). That his writing was better than many more lauded writers of his time is a fact; and I would argue that Nabokov was a good literary critic rather than an egotist for knowing it. <br /><br />Edit: I forgot to mention one of the best stories, "In Memory of I. L. Shigaev." Like <i>Pale Fire</i> it's presented as a tribute to another man, but is in actuality all about the narrator himself, who is totally insane. I am including an excerpt for your delectation:<br /><br /><blockquote>By dint of prolonged, persistent, solitary drinking I drove myself to the most vulgar of visions, the most Russian of all hallucinations: I began seeing devils. I saw them in the evening as soon as I emerged from my diurnal dreamery to dispel with my wretched lamp the twilight that was already engulfing us. Yes, even more clearly than I now see the perpetual tremor of my hand, I saw the precious intruders and after some time I even became accustomed to their presence, as they kept pretty much to themselves. They were smallish but rather plump, the size of an overweight toad—peaceful, limp, black-skinned, more or less warty little monsters. They crawled rather than walked, but, with all their feigned clumsiness, they proved uncapturable. I remember buying a dog whip and, as soon as enough of them had gathered on my desk, I tried to give them a good lashing, but they miraculously avoided the blow; I struck again, and one of them, the nearest, only blinked, screwing up his eyes crookedly, like a tense dog that someone wishes to threaten away from some tempting bit of ordure. The others dispersed, dragging their hind legs. But they all stealthily clustered together again while I wiped up the ink spilled on the desk and picked up a prostrate portrait. Generally speaking, their densest habitat was the vicinity of my writing table; they materialized from somewhere underneath and, in leisurely fashion, their sticky bellies crepitating and smacking against the wood, made their way up the desk legs, in a parody of climbing sailors. I tried smearing their route with Vaseline but this did not help, and only when I happened to select some particularly appetizing little rotter, intently clambering upward, and swatted him with the whip or with my shoe, only then did he fall on the floor with a fat-toad thud; but a minute later there he was again, on his way up from a different corner, his violet tongue hanging out from the strain, and once over the top he would join his comrades. They were numerous, and at first they all seemed alike to me: dark little creatures with puffy, basically rather good-natured faces; they sat in groups of five or six on the desk, on various papers, on a volume of Pushkin, glancing at me with indifference. One of them might scratch behind his ear with his foot, the long claw making a coarse scraping sound, and then freeze motionless, forgetting his leg in midair. Another would doze, uncomfortably crowding his neighbor, who, for that matter, was not blameless either: the reciprocal inconsiderateness of amphibians, capable of growing torpid in intricate attitudes. Gradually I began distinguishing them, and I think I even gave them names depending on their resemblance to acquaintances of mine or to various animals. One could make out larger and smaller specimens (although they were all of quite portable size), some were repulsive, others more acceptable in aspect, some had lumps or tumors, others were perfectly smooth. A few had a habit of spitting at each other. Once they brought a new boy, an albino, of a cinereous tint, with eyes like beads of red caviar; he was very sleepy and glum, and gradually crawled away.</blockquote>]]></user_review>
    <average_rating>4.31</average_rating>
    <book_published>1995</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/8146.The_Stories_of_Vladimir_Nabokov?utm_medium=api&amp;utm_source=rss"><img alt="The Stories of Vladimir Nabokov" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567853l/8146._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 4.31<br/>
                                      book published: 1995<br/>
                                      rating: 5<br/>
                                      read at: 2024/10/24<br/>
                                      date added: 2024/11/03<br/>
                                      shelves: <br/>
                                      review: <br/>These chronologically ordered stories are extraordinary—there is not a bad one in the lot. Vladimir gets off to a great start with "The Wood-Sprite," written when he was only twenty-two or so, and he continues to stun, impress, and entertain from there. The second story, "Russian Spoken Here," is so sophisticated, confident, poised, cruel, and above all so worldly, that it seems as if it was written by a much older writer, with shades of his mature novels. In fact, nearly every clever and ingenious idea in his novels is first sketched out here in these stories. His psychological portraits are precise and scientific, and he combines a wrenching understanding of human cruelty with satire, wit, a staggering command of language, an ability to paint a scene with vivid brushstrokes, a high-minded literariness that works like poetry, an intense personal element, and an impish sense of fun as he dips into popular genres such as crime and science fiction to remake them in his own style. There is even scathing literary criticism within, as several stories lampoon mediocre writers and tired genre cliches.<br /><br />I think if all the people who condemn <i>Lolita</i> would read these stories, they would understand much better where Nabokov was coming from when he penned that notorious masterpiece. In his early stories especially, he depicts every kind of scoundrel, gets into every type of deranged psychology. He was remarkably good at getting inside the minds of criminals; and not just criminals, but people with mental and physical defects, lonely people, people who can’t communicate, people experiencing deep grief, ordinary people in awful circumstances. <br /><br />There are stories you really can’t believe, such as "A Dashing Fellow," in which a dandy picks up a girl and goes to her flat. When she goes out for food, someone comes to convey the urgent message that her father is dying and won’t last the night, but he is so impatient to bed her that he basically rapes her when she returns, suddenly becomes disgusted with her slovenly person and surroundings, and leaves without giving her the message. In another story, "A Nursery Tale," a voyeur violates women and young girls in his head all day long, until the devil in the form of a German prostitute grants him a wish to have all the girls he wants, with macabre results.<br /><br />Many of the stories are about the cruel shock of sudden death, such as the excellent "The Return of Chorb," "Details of a Sunset," "A Matter of Chance," and "Spring in Fialta." Others are playful and charming puzzles, like "La Veneziana," in which a man disappears into a painting, and "That in Aleppo Once," a crime story in which the crime is absent from the page, except in italicized quotes from <i>Othello</i> which hint at the truth. One of the early stories, "The Potato Elf," reminded me of Todd Browning’s <i>Freaks</i> in its depiction of a carnival midget in love with a showgirl, who in turn loves a handsome and charismatic magician. But Nabokov’s story came first, and is startlingly original. The theme of cuckoldry makes its appearance several times, most stunningly in "An Affair of Honor," and there is a rare and splendid science fiction story called "Lance" which includes a diatribe against the mediocrity of ordinary science fiction novels; these he compares to Christmas cookies stamped in various shapes to fool the consumer into thinking they’re getting variety, when in fact they all taste the same.<br /><br />This snide commentary about lazy and uninspired writing is a clue to the construction of Nabokov’s entire oeuvre. Above all he strove for <i>originality.</i> He could write a better science fiction story (<i>Ada</i>), and a better crime novel <i>(Lolita, Pale Fire</i>), than other writers because he strove for truth above all, and because he styled his stories to fit the truth rather than molding the stories to fit genre expectations. This startling truth he combined with impeccable style, and a strict avoidance of the vulgar, the moralistic, and the commonplace. Some of his stories—"Terror," "Signs and Symbols"—depict schizophrenia so accurately that one pauses to wonder if Nabokov himself suffered from such an ailment. But no, it’s just that he was so good at depicting mental states that he could get into any sort of mind in the most terrifying detail, including, as he later did so brilliantly, the mind of a sociopathic pedophile.<br /><br />His particular gifts and circumstances—he was a chess strategist, a scientist, trilingual, and was raised in a noble Russian family where he was pampered, well-educated, and staggeringly well-read in several languages at a young age—plus his shocking displacement into exile, near poverty, and dramatic family tragedy, including the assassination of his father, combined with his synesthesia, which made him experience life in a particularly vivid way—are what give his writing such a clear edge over the competition. (He himself acknowledged that if he hadn't been exiled, he never would have become a writer, but would have remained instead a dandy nobleman puttering around his estate and collecting butterflies.) Many others can paint deep psychological portraits, but few have his scientific eye; and many have a gift for vivid detail, but rarely do they combine it with his chess-like precision in storytelling. It goes without saying that his sense of humor is peerless. And of course, none of it would work without his humanism and the deep personal element present in every story, which bursts forth no matter how carefully hidden. It’s never merely “clever” writing; it always offers the reader a complete emotional experience, even when presented as aesthetics or as a game.<br /><br />If he was dismissive of other writers, it was because critics often failed to acknowledge his unique and matchless gifts (as exampled by awarding more mainstream authors such as Pasternak instead of him with the Nobel Prize in Literature). That his writing was better than many more lauded writers of his time is a fact; and I would argue that Nabokov was a good literary critic rather than an egotist for knowing it. <br /><br />Edit: I forgot to mention one of the best stories, "In Memory of I. L. Shigaev." Like <i>Pale Fire</i> it's presented as a tribute to another man, but is in actuality all about the narrator himself, who is totally insane. I am including an excerpt for your delectation:<br /><br /><blockquote>By dint of prolonged, persistent, solitary drinking I drove myself to the most vulgar of visions, the most Russian of all hallucinations: I began seeing devils. I saw them in the evening as soon as I emerged from my diurnal dreamery to dispel with my wretched lamp the twilight that was already engulfing us. Yes, even more clearly than I now see the perpetual tremor of my hand, I saw the precious intruders and after some time I even became accustomed to their presence, as they kept pretty much to themselves. They were smallish but rather plump, the size of an overweight toad—peaceful, limp, black-skinned, more or less warty little monsters. They crawled rather than walked, but, with all their feigned clumsiness, they proved uncapturable. I remember buying a dog whip and, as soon as enough of them had gathered on my desk, I tried to give them a good lashing, but they miraculously avoided the blow; I struck again, and one of them, the nearest, only blinked, screwing up his eyes crookedly, like a tense dog that someone wishes to threaten away from some tempting bit of ordure. The others dispersed, dragging their hind legs. But they all stealthily clustered together again while I wiped up the ink spilled on the desk and picked up a prostrate portrait. Generally speaking, their densest habitat was the vicinity of my writing table; they materialized from somewhere underneath and, in leisurely fashion, their sticky bellies crepitating and smacking against the wood, made their way up the desk legs, in a parody of climbing sailors. I tried smearing their route with Vaseline but this did not help, and only when I happened to select some particularly appetizing little rotter, intently clambering upward, and swatted him with the whip or with my shoe, only then did he fall on the floor with a fat-toad thud; but a minute later there he was again, on his way up from a different corner, his violet tongue hanging out from the strain, and once over the top he would join his comrades. They were numerous, and at first they all seemed alike to me: dark little creatures with puffy, basically rather good-natured faces; they sat in groups of five or six on the desk, on various papers, on a volume of Pushkin, glancing at me with indifference. One of them might scratch behind his ear with his foot, the long claw making a coarse scraping sound, and then freeze motionless, forgetting his leg in midair. Another would doze, uncomfortably crowding his neighbor, who, for that matter, was not blameless either: the reciprocal inconsiderateness of amphibians, capable of growing torpid in intricate attitudes. Gradually I began distinguishing them, and I think I even gave them names depending on their resemblance to acquaintances of mine or to various animals. One could make out larger and smaller specimens (although they were all of quite portable size), some were repulsive, others more acceptable in aspect, some had lumps or tumors, others were perfectly smooth. A few had a habit of spitting at each other. Once they brought a new boy, an albino, of a cinereous tint, with eyes like beads of red caviar; he was very sleepy and glum, and gradually crawled away.</blockquote><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6974760164?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 02 Nov 2024 19:51:41 -0700]]></pubDate>
    <title>The Unsuspected</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6974760164?utm_medium=api&utm_source=rss]]></link>
    <book_id>2760573</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1202320444l/2760573._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[<b>THE SUSPECT</b><br />Luther Grandison was a name that meant many different things to many different people.<br /><br />To movie- and theater-goers, it signified the Mr. Grandison, director of award-winning spine chillers.<br /><br />To Mathilda Franzier, it meant "Grandy," the man who had sheltered her since childhood and personally saw to it that nobody would rob her of her fortune.<br /><br />To Althea Conover, it meant rescue from the fate of all penniless waifs - the orphanage.<br /><br />But to Francis Howard, the name had the strongest meaning of all...murder!]]></book_description>
    <book id="2760573">
      <num_pages>0</num_pages>
    </book>
    <author_name>Charlotte Armstrong</author_name>
    <isbn>0425030709</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sat, 02 Nov 2024 19:51:41 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 02 Nov 2024 19:51:41 -0700]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.64</average_rating>
    <book_published>1945</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2760573-the-unsuspected?utm_medium=api&amp;utm_source=rss"><img alt="The Unsuspected" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1202320444l/2760573._SX50_.jpg" /></a><br/>
                                      author: Charlotte Armstrong<br/>
                                      name: Anna<br/>
                                      average rating: 3.64<br/>
                                      book published: 1945<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/02<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6974758441?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 02 Nov 2024 19:50:54 -0700]]></pubDate>
    <title>Mischief</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6974758441?utm_medium=api&utm_source=rss]]></link>
    <book_id>1824048</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345371946l/1824048._SY75_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345371946l/1824048._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345371946l/1824048.jpg]]></book_large_image_url>
    <book_description><![CDATA[At the last minute Peter and Ruth Jones are forced to hire a babysitter, unaware that Nell Munro, the young woman they hire, is a psychopath]]></book_description>
    <book id="1824048">
      <num_pages>148</num_pages>
    </book>
    <author_name>Charlotte Armstrong</author_name>
    <isbn>0930330722</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sat, 02 Nov 2024 19:50:54 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 02 Nov 2024 19:50:50 -0700]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.65</average_rating>
    <book_published>1950</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/1824048.Mischief?utm_medium=api&amp;utm_source=rss"><img alt="Mischief" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1345371946l/1824048._SY75_.jpg" /></a><br/>
                                      author: Charlotte Armstrong<br/>
                                      name: Anna<br/>
                                      average rating: 3.65<br/>
                                      book published: 1950<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/11/02<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6922995954?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 13 Oct 2024 08:22:44 -0700]]></pubDate>
    <title>Cecilia de Noël</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6922995954?utm_medium=api&utm_source=rss]]></link>
    <book_id>23622386</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1420952803l/23622386._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1420952803l/23622386.jpg]]></book_large_image_url>
    <book_description><![CDATA[This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.]]></book_description>
    <book id="23622386">
      <num_pages>106</num_pages>
    </book>
    <author_name>Lanoe Falconer</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 13 Oct 2024 08:22:44 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 13 Oct 2024 08:22:44 -0700]]></user_date_created>
    <user_shelves><![CDATA[to-read, gothic-fiction, female-writers]]></user_shelves>
    <user_review></user_review>
    <average_rating>3.67</average_rating>
    <book_published>1891</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/23622386-cecilia-de-no-l?utm_medium=api&amp;utm_source=rss"><img alt="Cecilia de Noël" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1420952803l/23622386._SY75_.jpg" /></a><br/>
                                      author: Lanoe Falconer<br/>
                                      name: Anna<br/>
                                      average rating: 3.67<br/>
                                      book published: 1891<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/10/13<br/>
                                      shelves: to-read, gothic-fiction, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557487864?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 29 Sep 2024 22:11:04 -0700]]></pubDate>
    <title>Romeo and Juliet</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557487864?utm_medium=api&utm_source=rss]]></link>
    <book_id>18135</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1629680008l/18135._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[In <em>Romeo and Juliet</em>, Shakespeare creates a violent world, in which two young people fall in love. It is not simply that their families disapprove; the Montagues and the Capulets are engaged in a blood feud.<br /><br />In this death-filled setting, the movement from love at first sight to the lovers’ final union in death seems almost inevitable. And yet, this play set in an extraordinary world has become the quintessential story of young love. In part because of its exquisite language, it is easy to respond as if it were about all young lovers.]]></book_description>
    <book id="18135">
      <num_pages>281</num_pages>
    </book>
    <author_name>William Shakespeare</author_name>
    <isbn>0743477111</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 29 Sep 2024 22:11:04 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 17:56:07 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[We live in a wretched, anti-romantic, Philistine era in which people's idea of being clever is pointing out the flaws in <i>Romeo and Juliet</i> like the humorless literal-minded prudes that they are. It's like ancient Sparta, but worse.]]></user_review>
    <average_rating>3.74</average_rating>
    <book_published>1590</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/18135.Romeo_and_Juliet?utm_medium=api&amp;utm_source=rss"><img alt="Romeo and Juliet" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1629680008l/18135._SY75_.jpg" /></a><br/>
                                      author: William Shakespeare<br/>
                                      name: Anna<br/>
                                      average rating: 3.74<br/>
                                      book published: 1590<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2024/09/29<br/>
                                      shelves: <br/>
                                      review: <br/>We live in a wretched, anti-romantic, Philistine era in which people's idea of being clever is pointing out the flaws in <i>Romeo and Juliet</i> like the humorless literal-minded prudes that they are. It's like ancient Sparta, but worse.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6807091042?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 21 Sep 2024 08:25:10 -0700]]></pubDate>
    <title><![CDATA[Rosemary’s Baby (Rosemary's Baby, #1)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6807091042?utm_medium=api&utm_source=rss]]></link>
    <book_id>228296</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1711563977l/228296._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Rosemary Woodhouse and her struggling actor husband Guy move into the Bramford, an old New York City apartment building with an ominous reputation and mostly elderly residents. Neighbors Roman and Minnie Castavet soon come nosing around to welcome the Woodhouses to the building, and despite Rosemary's reservations about their eccentricity and the weird noises that she keeps hearing, her husband takes a special shine to them. Shortly after Guy lands a plum Broadway role, Rosemary becomes pregnant, and the Castavets start taking a special interest in her welfare. As the sickened Rosemary becomes increasingly isolated, she begins to suspect that the Castavets' circle is not what it seems...]]></book_description>
    <book id="228296">
      <num_pages>308</num_pages>
    </book>
    <author_name>Ira Levin</author_name>
    <isbn>0451194004</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 2 Sep 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 21 Sep 2024 08:25:10 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 31 Aug 2024 13:03:16 -0700]]></user_date_created>
    <user_shelves>gothic-fiction, bluebeard</user_shelves>
    <user_review><![CDATA[Masterfully plotted, scary, suspenseful. I've long been astonished at Ira Levin's knack for crafting novels that make perfect movies, especially about issues surrounding being a woman. <i>Rosemary's Baby</i> and <i>The Stepford Wives</i> are novels which perfectly encapsulate the fear and paranoia of being a woman in a man's world during the rise of the women's movement, providing the material for the two best defining paranoid women's films of the era.<br /><br />I've seen the movie many times, and I read the screenplay years ago, but the book still frightened me, filling in some chilling and nightmarish details I may have missed or that were absent in the film. As you read, all the puzzle pieces are eventually filled in, and you realize with a growing sense of dread that everything was planned from the start, and there was never any way out. It's constructed like a delicate piece of machinery; everything in its place, with no spare parts to jam up the works. <br /><br />Because of all this, it's easy to see why a skilled director could turn it into a fantastic film. Polanski followed the novel to the letter, down to each detail of Rosemary's terrifying dream, the pacing, the decor, the dialogue. Add to that brilliant casting, acting, and directing, and you have a perfect film. Oddly enough, the films made from Levin's novels are better than his books; yet this is not because of any deficiency in the writing, but because the books are crafted like screenplays.<br /><br />It's also quite funny; the descriptions of 1960s food and drink (chicken Marengo, Gibsons, Mexican seafood casserole), haircuts (Vidal Sassoon), live shows (Marcel Marceau), commercials Guy is hired for (Texaco, Pall Mall), decor (yellow and white wallpaper, window seat cushions, women knitting, sewing, and crocheting), and many snippets of satirical and witty dialogue. And hilariously, the whole disaster happens seemingly because of Guy's desire to get a movie contract, and Rosemary's desire to snag a great apartment in New York City. Highly recommended.<br /><br />Note: I noticed that some of the Goodreads reviews for this book say that Rosemary is too stupid to live, and I got flashbacks to reading similar reviews of my own novel. Have these readers ever been in a relationship? Like a real relationship, where sometimes your partner does things you don't like, and you have to compromise or lower your expectations? Or is it just that some readers now blame women for anything bad that happens to them? It's a disturbing trend among readers, and it shows why clear-eyed representations of normal women undergoing ordeals which are not their fault are still important, not just for entertainment but for instruction.]]></user_review>
    <average_rating>4.06</average_rating>
    <book_published>1967</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/228296.Rosemary_s_Baby?utm_medium=api&amp;utm_source=rss"><img alt="Rosemary’s Baby (Rosemary&#39;s Baby, #1)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1711563977l/228296._SY75_.jpg" /></a><br/>
                                      author: Ira Levin<br/>
                                      name: Anna<br/>
                                      average rating: 4.06<br/>
                                      book published: 1967<br/>
                                      rating: 5<br/>
                                      read at: 2024/09/02<br/>
                                      date added: 2024/09/21<br/>
                                      shelves: gothic-fiction, bluebeard<br/>
                                      review: <br/>Masterfully plotted, scary, suspenseful. I've long been astonished at Ira Levin's knack for crafting novels that make perfect movies, especially about issues surrounding being a woman. <i>Rosemary's Baby</i> and <i>The Stepford Wives</i> are novels which perfectly encapsulate the fear and paranoia of being a woman in a man's world during the rise of the women's movement, providing the material for the two best defining paranoid women's films of the era.<br /><br />I've seen the movie many times, and I read the screenplay years ago, but the book still frightened me, filling in some chilling and nightmarish details I may have missed or that were absent in the film. As you read, all the puzzle pieces are eventually filled in, and you realize with a growing sense of dread that everything was planned from the start, and there was never any way out. It's constructed like a delicate piece of machinery; everything in its place, with no spare parts to jam up the works. <br /><br />Because of all this, it's easy to see why a skilled director could turn it into a fantastic film. Polanski followed the novel to the letter, down to each detail of Rosemary's terrifying dream, the pacing, the decor, the dialogue. Add to that brilliant casting, acting, and directing, and you have a perfect film. Oddly enough, the films made from Levin's novels are better than his books; yet this is not because of any deficiency in the writing, but because the books are crafted like screenplays.<br /><br />It's also quite funny; the descriptions of 1960s food and drink (chicken Marengo, Gibsons, Mexican seafood casserole), haircuts (Vidal Sassoon), live shows (Marcel Marceau), commercials Guy is hired for (Texaco, Pall Mall), decor (yellow and white wallpaper, window seat cushions, women knitting, sewing, and crocheting), and many snippets of satirical and witty dialogue. And hilariously, the whole disaster happens seemingly because of Guy's desire to get a movie contract, and Rosemary's desire to snag a great apartment in New York City. Highly recommended.<br /><br />Note: I noticed that some of the Goodreads reviews for this book say that Rosemary is too stupid to live, and I got flashbacks to reading similar reviews of my own novel. Have these readers ever been in a relationship? Like a real relationship, where sometimes your partner does things you don't like, and you have to compromise or lower your expectations? Or is it just that some readers now blame women for anything bad that happens to them? It's a disturbing trend among readers, and it shows why clear-eyed representations of normal women undergoing ordeals which are not their fault are still important, not just for entertainment but for instruction.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557333191?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 15 Sep 2024 06:15:30 -0700]]></pubDate>
    <title>The Nose</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557333191?utm_medium=api&utm_source=rss]]></link>
    <book_id>18811400</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1403204736l/18811400._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[A masterpiece of satire and a key work of the Russian "fantastic" movement. One of the most celebrated tales in Russian literature.<br /><br />Collegiate Assessor Kovalyov awakens to discover that his nose is missing, leaving a smooth, flat patch of skin in its place. He finds and confronts his nose in the Kazan Cathedral, but from its clothing it is apparent that the nose has acquired a higher rank in the civil service than he and refuses to return to his face.<br /><br />THE ART OF THE NOVELLA<br />Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers but beloved and practiced by literature's greatest writers. The Art of the Novella Series celebrates this renegade art form and its practitioners. The series has been recognized for its "excellence in design" by AIGA.]]></book_description>
    <book id="18811400">
      <num_pages>50</num_pages>
    </book>
    <author_name>Nikolai Gogol</author_name>
    <isbn>1612193188</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 15 Sep 2024 06:15:30 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 16:16:42 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review></user_review>
    <average_rating>3.91</average_rating>
    <book_published>1836</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/18811400-the-nose?utm_medium=api&amp;utm_source=rss"><img alt="The Nose" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1403204736l/18811400._SX50_.jpg" /></a><br/>
                                      author: Nikolai Gogol<br/>
                                      name: Anna<br/>
                                      average rating: 3.91<br/>
                                      book published: 1836<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2024/09/15<br/>
                                      shelves: <br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6831087160?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sun, 08 Sep 2024 16:52:37 -0700]]></pubDate>
    <title>Berlin Alexanderplatz</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6831087160?utm_medium=api&utm_source=rss]]></link>
    <book_id>35886439</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657548449l/35886439._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<b>The inspiration for Rainer Werner Fassbinder's epic film and that <i>The Guardian</i> named one of the "Top 100 Books of All Time," <i>Berlin Alexanderplatz </i>is considered one of the most important works of the Weimar Republic and twentieth century literature.</b><br /><br />Franz Biberkopf, pimp and petty thief, has just finished serving a term in prison for murdering his girlfriend. He's on his own in Weimar Berlin with its lousy economy and frontier morality, but Franz is determined to turn over new leaf, get ahead, make an honest man of himself, and so on and so forth. He hawks papers, chases girls, needs and bleeds money, and gets mixed up in spite of himself in various criminal and political schemes. This is only the beginning of our modern everyman's multiplying misfortunes.<br /><br /><i>Berlin, Alexanderplatz</i> is one of great twentieth-century novels. Taking off from the work of Dos Passos and Joyce, Doblin depicts modern life in all its shocking violence, corruption, splendor, and horror. Michael Hofmann, celebrated for his translations of Joseph Roth and Franz Kafka, has prepared a new version, the first in over 75 years, in which Doblin's sublime and scurrilous masterpiece comes alive in English as never before.]]></book_description>
    <book id="35886439">
      <num_pages>458</num_pages>
    </book>
    <author_name>Alfred Döblin</author_name>
    <isbn>1681371995</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 08 Sep 2024 16:52:37 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 08 Sep 2024 16:52:37 -0700]]></user_date_created>
    <user_shelves>to-read, bluebeard</user_shelves>
    <user_review></user_review>
    <average_rating>4.06</average_rating>
    <book_published>1929</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/35886439-berlin-alexanderplatz?utm_medium=api&amp;utm_source=rss"><img alt="Berlin Alexanderplatz" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657548449l/35886439._SY75_.jpg" /></a><br/>
                                      author: Alfred Döblin<br/>
                                      name: Anna<br/>
                                      average rating: 4.06<br/>
                                      book published: 1929<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/09/08<br/>
                                      shelves: to-read, bluebeard<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557442391?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 06 Sep 2024 10:01:39 -0700]]></pubDate>
    <title><![CDATA[The Yellow Wallpaper and Other Stories]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557442391?utm_medium=api&utm_source=rss]]></link>
    <book_id>99300</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327909237l/99300._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Best known for the 1892 title story of this collection, a harrowing tale of a woman's descent into madness, Charlotte Perkins Gilman wrote more than 200 other short stories. Seven of her finest are reprinted here.<br /><br />Written from a feminist perspective, often focusing on the inferior status accorded to women by society, the tales include "turned," an ironic story with a startling twist, in which a husband seduces and impregnates a naïve servant; "Cottagette," concerning the romance of a young artist and a man who's apparently too good to be true; "Mr. Peebles' Heart," a liberating tale of a fiftyish shopkeeper whose sister-in-law, a doctor, persuades him to take a solo trip to Europe, with revivifying results; "The Yellow Wallpaper"; and three other outstanding stories.<br /><br />These charming tales are not only highly readable and full of humor and invention, but also offer ample food for thought about the social, economic, and personal relationship of men and women — and how they might be improved.<br /><br />Collects:<br />—The Yellow Wallpaper <br />—Three Thanksgivings <br />—The Cottagette <br />—Turned <br />—Making a Change <br />—If I Were a Man <br />—Mr. Peebles' Heart]]></book_description>
    <book id="99300">
      <num_pages>129</num_pages>
    </book>
    <author_name>Charlotte Perkins Gilman</author_name>
    <isbn>0486298574</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Fri, 06 Sep 2024 10:01:39 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 17:28:36 -0700]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, female-writers]]></user_shelves>
    <user_review></user_review>
    <average_rating>4.05</average_rating>
    <book_published>1892</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/99300.The_Yellow_Wallpaper_and_Other_Stories?utm_medium=api&amp;utm_source=rss"><img alt="The Yellow Wallpaper and Other Stories" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327909237l/99300._SY75_.jpg" /></a><br/>
                                      author: Charlotte Perkins Gilman<br/>
                                      name: Anna<br/>
                                      average rating: 4.05<br/>
                                      book published: 1892<br/>
                                      rating: 5<br/>
                                      read at: <br/>
                                      date added: 2024/09/06<br/>
                                      shelves: gothic-fiction, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6824466297?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 06 Sep 2024 08:21:45 -0700]]></pubDate>
    <title>Modern Art (L&apos;Art moderne)</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6824466297?utm_medium=api&utm_source=rss]]></link>
    <book_id>43891658</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1566877299l/43891658._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[First published in 1883, but never before translated into English, this collection of J.-K. Huysmans’ art criticism reveals the author of Against Nature to be as combative in his aesthetic opinions as he was in his literary ones. At a time when the Impressionists were still being ridiculed, or worse still ignored, Huysmans defiantly proclaimed Degas to be the best painter in France. He filled his pages with analyses of the works of artists whose genius and popularity have been confirmed by time: Gustave Caillebotte, Paul Gauguin, Mary Cassatt, Edouard Manet, Berthe Morisot, Odilon Redon and Gustave Moreau.<br />Huysmans intersperses his reviews of these independent artists with those of the annual Official Salon, whose conventional and dryly academic works he lambasts with his customary gusto and invective.<br />This is the first complete translation of L’Art moderne, and includes 200 black and white illustrations, notes and a glossary of artists.]]></book_description>
    <book id="43891658">
      <num_pages>313</num_pages>
    </book>
    <author_name>Joris-Karl Huysmans</author_name>
    <isbn>1910213993</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Fri, 06 Sep 2024 08:21:45 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 06 Sep 2024 08:21:45 -0700]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.31</average_rating>
    <book_published>1976</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/43891658-modern-art?utm_medium=api&amp;utm_source=rss"><img alt="Modern Art (L&#39;Art moderne)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1566877299l/43891658._SY75_.jpg" /></a><br/>
                                      author: Joris-Karl Huysmans<br/>
                                      name: Anna<br/>
                                      average rating: 4.31<br/>
                                      book published: 1976<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/09/06<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5102773422?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 05 Sep 2024 11:02:51 -0700]]></pubDate>
    <title><![CDATA[Ada, or Ardor: A Family Chronicle]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5102773422?utm_medium=api&utm_source=rss]]></link>
    <book_id>12187</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567796l/12187._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Published two weeks after his seventieth birthday, <b>Ada, or Ardor</b> is one of Nabokov's greatest masterpieces, the glorious culmination of his career as a novelist. It tells a love story troubled by incest. But more: it is also at once a fairy tale, epic, philosophical treatise on the nature of time, parody of the history of the novel, and erotic catalogue. <b>Ada, or Ardor</b> is no less than the superb work of an imagination at white heat.<br /><br />This is the first American edition to include the extensive and ingeniously sardonic appendix by the author, written under the anagrammatic pseudonym Vivian Darkbloom.]]></book_description>
    <book id="12187">
      <num_pages>606</num_pages>
    </book>
    <author_name>Vladimir Nabokov</author_name>
    <isbn>0679725229</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 25 Apr 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 05 Sep 2024 11:02:51 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 13 Nov 2022 18:28:04 -0800]]></user_date_created>
    <user_shelves>bluebeard</user_shelves>
    <user_review><![CDATA[<i>Ada</i> is Nabokov's <i>In Search of Lost Time, Ulysses, Anna Karenina</i>—in other words, his magnum opus—according to numerous hints in the text. It's also a parody of those texts, or at least of the Great Russian Novel or "family chronicle." It takes place on a planet called Antiterra or Demonia, a distorted mirror of our own world, in which Russia is in our Canada, America is trilingual (its inhabitants are fluent in English, French, and Russian), cities in Russia are located in the midwest (Moscow, Idaho), America contains noble families, and people in the 1880s ride on magic carpets, airplanes, and motorcars, wear shorts, star in Technicolor sound motion pictures, and discuss Proust and Joyce. (We are also told that time in Terra—our planet Earth, but also heaven, a hypothetical planet whose existence is much disputed by scientists—slips back and forth with Antiterra by a hundred years in one direction or another.)<br /><br />What all this allows is for the world of the novel to be a direct impression of Nabokov's own reality as a trilingual Russian man living in America, and of the layers of his consciousness, reality, imagination, dreams, the time he lived in, and the time inhabited by the novels he read. The result is a novel that is extraordinarily rich and dense, hyper-literary but never pretentious, lyrical and romantic, sidesplittingly funny, and full of puns and puzzles and purple prose and parodies. But it's never clever for the sake of being clever, and everything, no matter how absurd of frivolous, points to a lived truth. So many skilled literary writers perform circus tricks, but their work leaves you empty.* Not so <i>Ada,</i>, which contains a wildly entertaining linear story once you sort the lines out, ties up all of its characters and themes, and is deeply moving and poetical. And, like the Proust novels his characters discuss, it's a profound treatise on memory and time.<br /><br />It's also a novel about incest (insect, nicest, incest) between children, and yet somehow it's never sensationalistic or tawdry. Indeed some parts of the novel, in terms of subject matter, are so seedy that it almost seems like an exercise in how to make a literary masterwork out of the most appalling characteristics of character and situation, another sense in which it's a parody of the Russian family saga. Oho, VN seems to say, you think <i>Anna Karenina</i> was scandalous. I present to you...Van and Ada! (Vaniada). Some of the language games are: Ada means "of hell" in Russian, and Demonia may be a version of hell...Ada's lesbian lover was called Vanda, which contains Van and Ada...lots of mentions of the veranda...Ada is Adam without the m...Veen is an anagram of Eve with an extra e...Van Veen was also the last name of a Dutch neighbor of VN's who had "Van Veen" painted on his mailbox, and of an early Netherlandish Baroque painter who created a book with quotes about the love's supremacy, illustrated with etchings of cupids in love. Van and Ada are also cupids/children in love, as well as Adam and Eve. In case this isn't clear, there are porcelain snakes coiling around the children's washbasins, Van gets bitten by a snake, and Ada is always peeling and eating apples. There's also an astonishing amount of Eros in the novel, referred to as "Eros, the rose and the sore." In addition, Nabokov had synesthesia, and assigned colors to letters. "A" was black, and "D" was yellow. Therefore Ada, who is often represented as a butterfly, can be pictured as a yellow-bodied butterfly with black wings.<br /><br />What Nabokov most abhorred in literature was <i>poshlost</i>, a Russian word that means something like self-satisfied, vulgar banality. In Nabokov's own words, poshlost was:<br /><br /><blockquote>Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know.</blockquote><br /><br />Once we understand VN's distaste for poshlost, the literary goals of <i>Ada</i> become abundantly clear. The dissolute and lovelorn rake Van Veen, the protagonist of <i>Ada,</i> and his father Demon, are at times so preposterous in a Humbert Humbert/Charles Kinbote sort of way that I found myself screaming and gasping, and the underage romance between the siblings is unsettling and startling. But the writing is never vulgar, banal, or pretentious (the three deadly attributes of poshlost), and it never descends into melodrama or cliché. You can open any page in <i>Ada</i> and find the most beautiful passage, and the most quotable quote, in the most seemingly unimportant part of the narrative. For instance, this passage about his father, who is often casually described as having wings (like a butterfly, another major theme of the book—both Ada and Nabokov himself were lepidopterists):<br /><br /><blockquote>His father saw him off. Demon had dyed his hair a blacker black. He wore a diamond ring blazing like a Caucasian ridge. His long, black, blue-ocellated wings trailed and quivered in the ocean breeze. Lyudi oglyadivalis' (people turned to look). A temporary Tamara, all kohl, kabesk rouge, and flamingo-boa, could not decide what would please her demon lover more—just moaning and ignoring his handsome son or acknowledging Bluebeard's virility in morose Van, who could not stand her Caucasian perfume, Granial Maza, seven dollars a bottle.</blockquote><br /><br />In another passage, Nabokov describes his own literary goals through Van Veen:<br /><br /><blockquote>He turned off the canoreo and helped himself to the brandy stored behind a sliding panel, drinking from the bottle, because all three glasses were filthy. He felt surrounded by crashing great trees, and the monstrous beasts of unachieved, perhaps unachievable tasks. One such task was Ada whom he knew he would never give up; to her he would surrender the remnants of his self at the first trumpet blast of destiny. Another was his philosophic work, so oddly impeded by his own virtue—by that originality of literary style which constitutes the only real honesty of a writer. He had to do it his own way, but the cognac was frightful, and the history of thought bristled with clichés, and it was that history he had to surmount.</blockquote><br /><br />This is a very subversive novel, arguably more so today than when it was published in 1969. Almost any chapter or page in it could get a writer canceled today, with the exacting, judging, prudish, Philistine, literal-minded, banal, hypocritical, envious attitudes of people today, and their dreary poshlost platitudes: "Show, don't tell! An author shouldn't tell us what to think! The sex scenes are disgusting! I can't identify with a character who would say or think that! Too many descriptions! A hundred pages could have been cut! The author must be a pedophile to write that! I wanted to throw the book against the wall" blah blah blah. I laughed out loud, for instance, at an anecdote about a painter in the academy that paints naked girls' backsides, at which Van yells at Ada that the old man has the damn right to paint girls from whatever angle he likes. Later, an elaborate network of brothels for noblemen crumbles apart when its standards fall and it becomes riddled with sordidness and crime. There are no sexual politics—neither a glorifying of the brothels, nor a condemnation of the system when it falls apart. It's all very absurd and funny, and breathtakingly deep and dark and beautiful at the same time: It’s A Family Chronicle! I read this book three times in a row and I want to keep on reading it. It's a stone-cold masterpiece and I loved it.<br /><br />*Nabokov spoke of Borges (who is parodied as “Osberg” in <i>Ada</i>) in this way, saying that reading Borges was like standing at the portico of a magnificent house, but that in the end you realize there is no house.]]></user_review>
    <average_rating>4.13</average_rating>
    <book_published>1969</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/12187.Ada_or_Ardor?utm_medium=api&amp;utm_source=rss"><img alt="Ada, or Ardor: A Family Chronicle" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657567796l/12187._SY75_.jpg" /></a><br/>
                                      author: Vladimir Nabokov<br/>
                                      name: Anna<br/>
                                      average rating: 4.13<br/>
                                      book published: 1969<br/>
                                      rating: 5<br/>
                                      read at: 2024/04/25<br/>
                                      date added: 2024/09/05<br/>
                                      shelves: bluebeard<br/>
                                      review: <br/><i>Ada</i> is Nabokov's <i>In Search of Lost Time, Ulysses, Anna Karenina</i>—in other words, his magnum opus—according to numerous hints in the text. It's also a parody of those texts, or at least of the Great Russian Novel or "family chronicle." It takes place on a planet called Antiterra or Demonia, a distorted mirror of our own world, in which Russia is in our Canada, America is trilingual (its inhabitants are fluent in English, French, and Russian), cities in Russia are located in the midwest (Moscow, Idaho), America contains noble families, and people in the 1880s ride on magic carpets, airplanes, and motorcars, wear shorts, star in Technicolor sound motion pictures, and discuss Proust and Joyce. (We are also told that time in Terra—our planet Earth, but also heaven, a hypothetical planet whose existence is much disputed by scientists—slips back and forth with Antiterra by a hundred years in one direction or another.)<br /><br />What all this allows is for the world of the novel to be a direct impression of Nabokov's own reality as a trilingual Russian man living in America, and of the layers of his consciousness, reality, imagination, dreams, the time he lived in, and the time inhabited by the novels he read. The result is a novel that is extraordinarily rich and dense, hyper-literary but never pretentious, lyrical and romantic, sidesplittingly funny, and full of puns and puzzles and purple prose and parodies. But it's never clever for the sake of being clever, and everything, no matter how absurd of frivolous, points to a lived truth. So many skilled literary writers perform circus tricks, but their work leaves you empty.* Not so <i>Ada,</i>, which contains a wildly entertaining linear story once you sort the lines out, ties up all of its characters and themes, and is deeply moving and poetical. And, like the Proust novels his characters discuss, it's a profound treatise on memory and time.<br /><br />It's also a novel about incest (insect, nicest, incest) between children, and yet somehow it's never sensationalistic or tawdry. Indeed some parts of the novel, in terms of subject matter, are so seedy that it almost seems like an exercise in how to make a literary masterwork out of the most appalling characteristics of character and situation, another sense in which it's a parody of the Russian family saga. Oho, VN seems to say, you think <i>Anna Karenina</i> was scandalous. I present to you...Van and Ada! (Vaniada). Some of the language games are: Ada means "of hell" in Russian, and Demonia may be a version of hell...Ada's lesbian lover was called Vanda, which contains Van and Ada...lots of mentions of the veranda...Ada is Adam without the m...Veen is an anagram of Eve with an extra e...Van Veen was also the last name of a Dutch neighbor of VN's who had "Van Veen" painted on his mailbox, and of an early Netherlandish Baroque painter who created a book with quotes about the love's supremacy, illustrated with etchings of cupids in love. Van and Ada are also cupids/children in love, as well as Adam and Eve. In case this isn't clear, there are porcelain snakes coiling around the children's washbasins, Van gets bitten by a snake, and Ada is always peeling and eating apples. There's also an astonishing amount of Eros in the novel, referred to as "Eros, the rose and the sore." In addition, Nabokov had synesthesia, and assigned colors to letters. "A" was black, and "D" was yellow. Therefore Ada, who is often represented as a butterfly, can be pictured as a yellow-bodied butterfly with black wings.<br /><br />What Nabokov most abhorred in literature was <i>poshlost</i>, a Russian word that means something like self-satisfied, vulgar banality. In Nabokov's own words, poshlost was:<br /><br /><blockquote>Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know.</blockquote><br /><br />Once we understand VN's distaste for poshlost, the literary goals of <i>Ada</i> become abundantly clear. The dissolute and lovelorn rake Van Veen, the protagonist of <i>Ada,</i> and his father Demon, are at times so preposterous in a Humbert Humbert/Charles Kinbote sort of way that I found myself screaming and gasping, and the underage romance between the siblings is unsettling and startling. But the writing is never vulgar, banal, or pretentious (the three deadly attributes of poshlost), and it never descends into melodrama or cliché. You can open any page in <i>Ada</i> and find the most beautiful passage, and the most quotable quote, in the most seemingly unimportant part of the narrative. For instance, this passage about his father, who is often casually described as having wings (like a butterfly, another major theme of the book—both Ada and Nabokov himself were lepidopterists):<br /><br /><blockquote>His father saw him off. Demon had dyed his hair a blacker black. He wore a diamond ring blazing like a Caucasian ridge. His long, black, blue-ocellated wings trailed and quivered in the ocean breeze. Lyudi oglyadivalis' (people turned to look). A temporary Tamara, all kohl, kabesk rouge, and flamingo-boa, could not decide what would please her demon lover more—just moaning and ignoring his handsome son or acknowledging Bluebeard's virility in morose Van, who could not stand her Caucasian perfume, Granial Maza, seven dollars a bottle.</blockquote><br /><br />In another passage, Nabokov describes his own literary goals through Van Veen:<br /><br /><blockquote>He turned off the canoreo and helped himself to the brandy stored behind a sliding panel, drinking from the bottle, because all three glasses were filthy. He felt surrounded by crashing great trees, and the monstrous beasts of unachieved, perhaps unachievable tasks. One such task was Ada whom he knew he would never give up; to her he would surrender the remnants of his self at the first trumpet blast of destiny. Another was his philosophic work, so oddly impeded by his own virtue—by that originality of literary style which constitutes the only real honesty of a writer. He had to do it his own way, but the cognac was frightful, and the history of thought bristled with clichés, and it was that history he had to surmount.</blockquote><br /><br />This is a very subversive novel, arguably more so today than when it was published in 1969. Almost any chapter or page in it could get a writer canceled today, with the exacting, judging, prudish, Philistine, literal-minded, banal, hypocritical, envious attitudes of people today, and their dreary poshlost platitudes: "Show, don't tell! An author shouldn't tell us what to think! The sex scenes are disgusting! I can't identify with a character who would say or think that! Too many descriptions! A hundred pages could have been cut! The author must be a pedophile to write that! I wanted to throw the book against the wall" blah blah blah. I laughed out loud, for instance, at an anecdote about a painter in the academy that paints naked girls' backsides, at which Van yells at Ada that the old man has the damn right to paint girls from whatever angle he likes. Later, an elaborate network of brothels for noblemen crumbles apart when its standards fall and it becomes riddled with sordidness and crime. There are no sexual politics—neither a glorifying of the brothels, nor a condemnation of the system when it falls apart. It's all very absurd and funny, and breathtakingly deep and dark and beautiful at the same time: It’s A Family Chronicle! I read this book three times in a row and I want to keep on reading it. It's a stone-cold masterpiece and I loved it.<br /><br />*Nabokov spoke of Borges (who is parodied as “Osberg” in <i>Ada</i>) in this way, saying that reading Borges was like standing at the portico of a magnificent house, but that in the end you realize there is no house.<br/>
                                      ]]>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5595571115?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 05 Sep 2024 09:22:07 -0700]]></pubDate>
    <title>The Secret History</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5595571115?utm_medium=api&utm_source=rss]]></link>
    <book_id>29044</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1751820530l/29044._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[<b>Truly deserving of the accolade modern classic, Donna Tartt's novel is a remarkable achievement—both compelling and elegant, dramatic and playful.</b><br /><br />Under the influence of their charismatic classics professor, a group of clever, eccentric misfits at an elite New England college discover a way of thinking and living that is a world away from the humdrum existence of their contemporaries. But when they go beyond the boundaries of normal morality they slip gradually from obsession to corruption and betrayal, and at last—inexorably—into evil.]]></book_description>
    <book id="29044">
      <num_pages>559</num_pages>
    </book>
    <author_name>Donna Tartt</author_name>
    <isbn>1400031702</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 24 Aug 2023 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 05 Sep 2024 09:22:07 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 04 Jun 2023 10:03:18 -0700]]></user_date_created>
    <user_shelves><![CDATA[female-writers, gothic-fiction]]></user_shelves>
    <user_review><![CDATA[I enjoyed this book immensely. The prose was exceedingly entertaining, and the characters and plot engaging. The first paragraph tells you that the first-person narrator, along with a group of classics students at a posh Vermont university, is going to murder a member of their group. So the first half of the book creates an incredible amount of suspense, not least because their oddball Greek professor, who makes them part of an exclusive club (his six students study only with him, and have little or nothing to do with the rest of the college), gives them a scintillating lecture about the universal human desire to lose and transcend the self through the sublime. He explains that the Romans fell because they were too tightly controlled, so that their violent impulses were unleashed in destructive ways (Tiberius, Nero, Caligula), and then he states that the Greeks were healthier because they had outlets: their tragedies, their bacchanals, their Dionysian orgies and rituals.<br /><br />All of this leaves an enormous impression on the students, who pride themselves on being special and rare. Their professor, Julian Morrow, cultivates in each of them an elitist sense of superiority. They are not "learning" but "playing," and the lessons take place in his enormous office which he calls the Lyceum, amongst banks of exotic hothouse flowers. But after this lecture, which sets the stage for the evil that is to come, Julian Morrow mostly drops out of the picture, and the students are left to interpret his ideas in their own way. Each of them is an insufferable snob (there are five boys and one girl), but they are also uncomfortably relatable, and endlessly fascinating and alluring. Inspired by Julian, they end up trying desperately to replicate the sublime rituals of the Greeks, leading to tragedy, and ultimately, murder. <br /><br />The thing that is so intoxicating about the book is how accurately it depicts the angst, ennui, solipsism, self-superiority, alienation, romanticism, insecurity, cliquishness, groupthink, dissolution, dangerousness, and utter foolishness of youth, to the extent that it's a miracle that any of us made it out alive. The narrator, Richard Papen, is a working-class boy from a small, bland town in California, a transfer student who stumbled into studying Greek in his first two years, who lies about his background in order to become part of the exclusive group of elite rich classics students. He is mostly a fly on the wall, and he is not part of the bacchanal that leads to the tragedy that necessitates the murder. We feel excruciatingly for Richard and his sense of loneliness and alienation—he nearly freezes to death in the winter because he is too proud to ask for help—so when he is allowed deeper into the group, and is told their shocking secret, we understand why he doesn't go to the police and expose them, and why, later, he participates in their murderous scheme. His companions are his lifeblood, his soul, his raison d'être, as our companions at that age often are, especially when one has no family to turn to.<br /><br />It's an odd thriller, because there is no mystery (we are told in the first sentence that these companions will murder their friend), and after the first half, there is no suspense. Instead, there is a creeping sense of dread, but more so of ennui. When the book ended, at first I felt a bit deflated. What, in the end, was the book about? It seemed to be several books in one: a thriller in the tradition of the movie <i>Rope</i> or the novel <i>Crime and Punishment</i>, a character study about rarefied neurotic weirdos, a satire about the soulless world we live in, a realistic portrait of a time and place.<br /><br />But then after thinking about it, I realized that the book isn't about a murder, or a scandal at a university, or dangerous ideas, or friendship, or even about the banality of evil. It's about the horrors of empty American consumerism and greed, class elitism, and groupthink. Bunny was sacrificed because he was going to betray them. But more than that, he was sacrificed because he stood for all of the bad American tastes and values that these elite students were trying to escape from. Purely and simply, they hated him. And we grow to hate him too, so much that we are relieved when he is killed. But of course murder never solves anything, so the students never realize any of their grand ideas, and it all ends up as a meaningless morass, a zero. In that sense it reminded me of <i>Rebecca</i> or <i>Bonjour Tristesse</i>, where the narrator informs you that they are forever haunted and hag-ridden by the events they are about to tell.<br /><br />Several reviews have remarked on how many times the word "hippie" is mentioned in the book, as if the author disliked hippies. No—it's the <i>students</i> who disliked hippies, because hippies don't believe in status, the one thing that props up these elitists with their fragile egos. These pretentious, self-dramatizing protagonists, to whom bad taste warrants murder, are always drunk and on drugs, and they along with their classmates squander the precious years of youth being stupid, dangerous assholes (although, arguably, the adults are even worse; the students are not yet frozen into the soulless mummies their parents are—they're trying to escape through drink and drugs, but eventually one day they'll become their parents anyway. In one case, suicide is seen as preferable to this fate). As for the horror of their elitism and status-consciousness, this one incident says it all: when one of the students gets shot in the stomach, all he can think about is how the bullet ruined his new Paul Smith shirt.<br /><br />This book made me wonder: how far would I have gone to escape banality and boredom at that age? Would I have been another Richard Papen, given the same circumstances? I shudder to think of it.]]></user_review>
    <average_rating>4.15</average_rating>
    <book_published>1992</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/29044.The_Secret_History?utm_medium=api&amp;utm_source=rss"><img alt="The Secret History" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1751820530l/29044._SY75_.jpg" /></a><br/>
                                      author: Donna Tartt<br/>
                                      name: Anna<br/>
                                      average rating: 4.15<br/>
                                      book published: 1992<br/>
                                      rating: 5<br/>
                                      read at: 2023/08/24<br/>
                                      date added: 2024/09/05<br/>
                                      shelves: female-writers, gothic-fiction<br/>
                                      review: <br/>I enjoyed this book immensely. The prose was exceedingly entertaining, and the characters and plot engaging. The first paragraph tells you that the first-person narrator, along with a group of classics students at a posh Vermont university, is going to murder a member of their group. So the first half of the book creates an incredible amount of suspense, not least because their oddball Greek professor, who makes them part of an exclusive club (his six students study only with him, and have little or nothing to do with the rest of the college), gives them a scintillating lecture about the universal human desire to lose and transcend the self through the sublime. He explains that the Romans fell because they were too tightly controlled, so that their violent impulses were unleashed in destructive ways (Tiberius, Nero, Caligula), and then he states that the Greeks were healthier because they had outlets: their tragedies, their bacchanals, their Dionysian orgies and rituals.<br /><br />All of this leaves an enormous impression on the students, who pride themselves on being special and rare. Their professor, Julian Morrow, cultivates in each of them an elitist sense of superiority. They are not "learning" but "playing," and the lessons take place in his enormous office which he calls the Lyceum, amongst banks of exotic hothouse flowers. But after this lecture, which sets the stage for the evil that is to come, Julian Morrow mostly drops out of the picture, and the students are left to interpret his ideas in their own way. Each of them is an insufferable snob (there are five boys and one girl), but they are also uncomfortably relatable, and endlessly fascinating and alluring. Inspired by Julian, they end up trying desperately to replicate the sublime rituals of the Greeks, leading to tragedy, and ultimately, murder. <br /><br />The thing that is so intoxicating about the book is how accurately it depicts the angst, ennui, solipsism, self-superiority, alienation, romanticism, insecurity, cliquishness, groupthink, dissolution, dangerousness, and utter foolishness of youth, to the extent that it's a miracle that any of us made it out alive. The narrator, Richard Papen, is a working-class boy from a small, bland town in California, a transfer student who stumbled into studying Greek in his first two years, who lies about his background in order to become part of the exclusive group of elite rich classics students. He is mostly a fly on the wall, and he is not part of the bacchanal that leads to the tragedy that necessitates the murder. We feel excruciatingly for Richard and his sense of loneliness and alienation—he nearly freezes to death in the winter because he is too proud to ask for help—so when he is allowed deeper into the group, and is told their shocking secret, we understand why he doesn't go to the police and expose them, and why, later, he participates in their murderous scheme. His companions are his lifeblood, his soul, his raison d'être, as our companions at that age often are, especially when one has no family to turn to.<br /><br />It's an odd thriller, because there is no mystery (we are told in the first sentence that these companions will murder their friend), and after the first half, there is no suspense. Instead, there is a creeping sense of dread, but more so of ennui. When the book ended, at first I felt a bit deflated. What, in the end, was the book about? It seemed to be several books in one: a thriller in the tradition of the movie <i>Rope</i> or the novel <i>Crime and Punishment</i>, a character study about rarefied neurotic weirdos, a satire about the soulless world we live in, a realistic portrait of a time and place.<br /><br />But then after thinking about it, I realized that the book isn't about a murder, or a scandal at a university, or dangerous ideas, or friendship, or even about the banality of evil. It's about the horrors of empty American consumerism and greed, class elitism, and groupthink. Bunny was sacrificed because he was going to betray them. But more than that, he was sacrificed because he stood for all of the bad American tastes and values that these elite students were trying to escape from. Purely and simply, they hated him. And we grow to hate him too, so much that we are relieved when he is killed. But of course murder never solves anything, so the students never realize any of their grand ideas, and it all ends up as a meaningless morass, a zero. In that sense it reminded me of <i>Rebecca</i> or <i>Bonjour Tristesse</i>, where the narrator informs you that they are forever haunted and hag-ridden by the events they are about to tell.<br /><br />Several reviews have remarked on how many times the word "hippie" is mentioned in the book, as if the author disliked hippies. No—it's the <i>students</i> who disliked hippies, because hippies don't believe in status, the one thing that props up these elitists with their fragile egos. These pretentious, self-dramatizing protagonists, to whom bad taste warrants murder, are always drunk and on drugs, and they along with their classmates squander the precious years of youth being stupid, dangerous assholes (although, arguably, the adults are even worse; the students are not yet frozen into the soulless mummies their parents are—they're trying to escape through drink and drugs, but eventually one day they'll become their parents anyway. In one case, suicide is seen as preferable to this fate). As for the horror of their elitism and status-consciousness, this one incident says it all: when one of the students gets shot in the stomach, all he can think about is how the bullet ruined his new Paul Smith shirt.<br /><br />This book made me wonder: how far would I have gone to escape banality and boredom at that age? Would I have been another Richard Papen, given the same circumstances? I shudder to think of it.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6821558080?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 05 Sep 2024 07:14:55 -0700]]></pubDate>
    <title>Lady Susan</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6821558080?utm_medium=api&utm_source=rss]]></link>
    <book_id>91582</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328864949l/91582._SY75_.jpg]]></book_image_url>
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    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328864949l/91582.jpg]]></book_large_image_url>
    <book_description><![CDATA[Beautiful, flirtatious, and recently widowed, Lady Susan Vernon seeks an advantageous second marriage for herself, while attempting to push her daughter into a dismal match. A magnificently crafted novel of Regency manners and mores that will delight Austen enthusiasts with its wit and elegant expression.]]></book_description>
    <book id="91582">
      <num_pages>180</num_pages>
    </book>
    <author_name>Jane Austen</author_name>
    <isbn>0486444074</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 05 Sep 2024 07:14:55 -0700]]></user_date_added>
    <user_date_created><![CDATA[Thu, 05 Sep 2024 07:14:55 -0700]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.65</average_rating>
    <book_published>1871</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/91582.Lady_Susan?utm_medium=api&amp;utm_source=rss"><img alt="Lady Susan" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328864949l/91582._SY75_.jpg" /></a><br/>
                                      author: Jane Austen<br/>
                                      name: Anna<br/>
                                      average rating: 3.65<br/>
                                      book published: 1871<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/09/05<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5557307297?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 05 Sep 2024 07:11:04 -0700]]></pubDate>
    <title>Northanger Abbey</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5557307297?utm_medium=api&utm_source=rss]]></link>
    <book_id>50398</book_id>
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    <book_description><![CDATA[A wonderfully entertaining coming-of-age story, <i>Northanger Abbey</i> is often referred to as Jane Austen's "Gothic parody." Decrepit castles, locked rooms, mysterious chests, cryptic notes, and tyrannical fathers give the story an uncanny air, but one with a decidedly satirical twist.<br /><br />The story's unlikely heroine is Catherine Morland, a remarkably innocent seventeen-year-old woman from a country parsonage. While spending a few weeks in Bath with a family friend, Catherine meets and falls in love with Henry Tilney, who invites her to visit his family estate, Northanger Abbey. Once there, Catherine, a great reader of Gothic thrillers, lets the shadowy atmosphere of the old mansion fill her mind with terrible suspicions. What is the mystery surrounding the death of Henry's mother? Is the family concealing a terrible secret within the elegant rooms of the Abbey? Can she trust Henry, or is he part of an evil conspiracy? Catherine finds dreadful portents in the most prosaic events, until Henry persuades her to see the peril in confusing life with art.<br /><br />Executed with high-spirited gusto, <i>Northanger Abbey</i> is a lighthearted, yet unsentimental commentary on love and marriage.]]></book_description>
    <book id="50398">
      <num_pages>260</num_pages>
    </book>
    <author_name>Jane Austen</author_name>
    <isbn>1593082649</isbn>
    <user_name>Anna</user_name>
    <user_rating>4</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Thu, 05 Sep 2024 07:11:04 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 17 May 2023 15:59:14 -0700]]></user_date_created>
    <user_shelves><![CDATA[female-writers, gothic-fiction]]></user_shelves>
    <user_review></user_review>
    <average_rating>3.86</average_rating>
    <book_published>1817</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/50398.Northanger_Abbey?utm_medium=api&amp;utm_source=rss"><img alt="Northanger Abbey" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388201718l/50398._SY75_.jpg" /></a><br/>
                                      author: Jane Austen<br/>
                                      name: Anna<br/>
                                      average rating: 3.86<br/>
                                      book published: 1817<br/>
                                      rating: 4<br/>
                                      read at: <br/>
                                      date added: 2024/09/05<br/>
                                      shelves: female-writers, gothic-fiction<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5878063211?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Thu, 05 Sep 2024 07:05:18 -0700]]></pubDate>
    <title>The Canterbury Tales</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5878063211?utm_medium=api&utm_source=rss]]></link>
    <book_id>2696</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1261208589l/2696._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Book by Chaucer, Geoffrey;Bragg, Melvyn;Coghill, Nevill;Wain, John]]></book_description>
    <book id="2696">
      <num_pages>504</num_pages>
    </book>
    <author_name>Geoffrey Chaucer</author_name>
    <isbn>0140424385</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 16 Dec 2023 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Thu, 05 Sep 2024 07:05:18 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 30 Sep 2023 16:42:25 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[I don't know what to add to the mountain of criticism about this book other than a few scattered impressions. First, Chaucer really knew how to tell a good yarn! And the poetry and prose are of course unparalleled, even in a modern English translation. This compendium of stories has everything you could want: adventure, drama, sex, gender politics, humor. It shows women lustily enjoying sex outside of marriage without guilt or punishment, and it's very even-handed as to giving both men and women a say in the war of the sexes, something Chaucer may have picked up from Boccaccio (about a quarter of his tales are lifted directly from <i>The Decameron</i>). The Wife of Bath's Tale in particular stands out as a strong female voice at a time when women were rarely given the chance to express themselves in writing, and were widely condemned as stupid, morally incontinent, and evil in the writings of men (something Christine de Pizan lamented about bitterly a few decades later in <i>The Book of the City of Ladies</i>). <br /><br />I really loved The Knight's Tale too—such a satisfying drama of two friends fighting for the same woman—and the various bawdy stories, so beautifully depicted by Pasolini in his titular film. Even in the Parson's Tale at the end, which is just one long sermon, Chaucer takes an opportunity to hilariously paint amusing and colorful pictures such as this for the reader: <br /><br /><blockquote>As to the first sin, that is in superfluity of clothing, which makes it so dear, to the harm of the people; not only the cost of embroidering, the ostentatious notching or ornamenting with bars, undulating stripes, vertical stripes, folding or decorative borders, and similar waste of cloth in vanity, but there is also costly fur trimming in their gowns, so much punching with chisels to make holes, so much slitting with shears; immediately the superfluity in length of the aforesaid gowns, trailing in the dung and in the mire, on horse and also on foot, as well of man as of woman, that all this trailing cloth is truly in effect wasted, consumed, threadbare, and rotten with dung, rather than it is given to the poor, to great damage of the aforesaid poor folk. And that in various ways; this is to say that the more that cloth is wasted, the more must it cost to the people for the scarceness. And furthermore, if it so be that they would give such ornamentally punched and artfully slitted clothing to the poor folk, it is not convenient to wear for their estate, nor sufficient to allay their necessity, to keep them from the bad weather of the heavens. Upon that other side, to speak of the horrible excessive scantiness of clothing, as are these coats cut short, or short jackets, that through their shortness do not cover the shameful members of man, to wicked intent. Alas, some of them show the bulge of their shape, and the horrible swollen members, that it seems like the malady of hernia, in the wrapping of their leggings; and also the buttocks of them fare as it were the back part of a she-ape in the full of the moon. And moreover, the wretched swollen members that they show through their style of clothing, in parting of their hoses into white and red, seems that half their shameful private members were flayed. And if so be that they divide their hoses in other colors, as is white and black, or white and blue, or black and red, and so forth, then seems it, as by variance of color, that half the part of their private members were corrupt by the fire of Saint Anthony (inflammation of the skin), or by cancer, or by other such mischance. Of the back part of their buttocks, it is very horrible to see. For certainly, in that part of their body where they purge their stinking excrement, that foul part show they to the people proudly in scorn of decency, which decency that Jesus Christ and his friends observed to show in their lives.</blockquote> <br /><br />But I have to admit, the part of this excellent poem that amazed me the most was The Summoner's Prologue and Tale. I knew the scene and visuals from the spectacular Pasolini movie, where red and purple devils are farting friars into the air, but it's even better when you read about how the devil literally farts <i>20,000 friars</i> out of his asshole, and they scurry about for a while and then all crawl back up in there! That's a dream sequence from the prologue, but the story part is even better. Now, I don't consider myself a connoisseur, an expert, or even an especial fan of fart humor; but the story of how a man farted on a friar's hand when asked for a donation, and how the friar ran up to the castle to complain, and how to take the piss out of him the lords deliberated about how to divide the fart into twelve parts because the friar had insisted that any donation made to him must be shared among his colleagues, had me laughing so hard I nearly fell over! Highly recommended.]]></user_review>
    <average_rating>3.52</average_rating>
    <book_published>1400</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2696.The_Canterbury_Tales?utm_medium=api&amp;utm_source=rss"><img alt="The Canterbury Tales" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1261208589l/2696._SY75_.jpg" /></a><br/>
                                      author: Geoffrey Chaucer<br/>
                                      name: Anna<br/>
                                      average rating: 3.52<br/>
                                      book published: 1400<br/>
                                      rating: 5<br/>
                                      read at: 2023/12/16<br/>
                                      date added: 2024/09/05<br/>
                                      shelves: <br/>
                                      review: <br/>I don't know what to add to the mountain of criticism about this book other than a few scattered impressions. First, Chaucer really knew how to tell a good yarn! And the poetry and prose are of course unparalleled, even in a modern English translation. This compendium of stories has everything you could want: adventure, drama, sex, gender politics, humor. It shows women lustily enjoying sex outside of marriage without guilt or punishment, and it's very even-handed as to giving both men and women a say in the war of the sexes, something Chaucer may have picked up from Boccaccio (about a quarter of his tales are lifted directly from <i>The Decameron</i>). The Wife of Bath's Tale in particular stands out as a strong female voice at a time when women were rarely given the chance to express themselves in writing, and were widely condemned as stupid, morally incontinent, and evil in the writings of men (something Christine de Pizan lamented about bitterly a few decades later in <i>The Book of the City of Ladies</i>). <br /><br />I really loved The Knight's Tale too—such a satisfying drama of two friends fighting for the same woman—and the various bawdy stories, so beautifully depicted by Pasolini in his titular film. Even in the Parson's Tale at the end, which is just one long sermon, Chaucer takes an opportunity to hilariously paint amusing and colorful pictures such as this for the reader: <br /><br /><blockquote>As to the first sin, that is in superfluity of clothing, which makes it so dear, to the harm of the people; not only the cost of embroidering, the ostentatious notching or ornamenting with bars, undulating stripes, vertical stripes, folding or decorative borders, and similar waste of cloth in vanity, but there is also costly fur trimming in their gowns, so much punching with chisels to make holes, so much slitting with shears; immediately the superfluity in length of the aforesaid gowns, trailing in the dung and in the mire, on horse and also on foot, as well of man as of woman, that all this trailing cloth is truly in effect wasted, consumed, threadbare, and rotten with dung, rather than it is given to the poor, to great damage of the aforesaid poor folk. And that in various ways; this is to say that the more that cloth is wasted, the more must it cost to the people for the scarceness. And furthermore, if it so be that they would give such ornamentally punched and artfully slitted clothing to the poor folk, it is not convenient to wear for their estate, nor sufficient to allay their necessity, to keep them from the bad weather of the heavens. Upon that other side, to speak of the horrible excessive scantiness of clothing, as are these coats cut short, or short jackets, that through their shortness do not cover the shameful members of man, to wicked intent. Alas, some of them show the bulge of their shape, and the horrible swollen members, that it seems like the malady of hernia, in the wrapping of their leggings; and also the buttocks of them fare as it were the back part of a she-ape in the full of the moon. And moreover, the wretched swollen members that they show through their style of clothing, in parting of their hoses into white and red, seems that half their shameful private members were flayed. And if so be that they divide their hoses in other colors, as is white and black, or white and blue, or black and red, and so forth, then seems it, as by variance of color, that half the part of their private members were corrupt by the fire of Saint Anthony (inflammation of the skin), or by cancer, or by other such mischance. Of the back part of their buttocks, it is very horrible to see. For certainly, in that part of their body where they purge their stinking excrement, that foul part show they to the people proudly in scorn of decency, which decency that Jesus Christ and his friends observed to show in their lives.</blockquote> <br /><br />But I have to admit, the part of this excellent poem that amazed me the most was The Summoner's Prologue and Tale. I knew the scene and visuals from the spectacular Pasolini movie, where red and purple devils are farting friars into the air, but it's even better when you read about how the devil literally farts <i>20,000 friars</i> out of his asshole, and they scurry about for a while and then all crawl back up in there! That's a dream sequence from the prologue, but the story part is even better. Now, I don't consider myself a connoisseur, an expert, or even an especial fan of fart humor; but the story of how a man farted on a friar's hand when asked for a donation, and how the friar ran up to the castle to complain, and how to take the piss out of him the lords deliberated about how to divide the fart into twelve parts because the friar had insisted that any donation made to him must be shared among his colleagues, had me laughing so hard I nearly fell over! Highly recommended.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6820137044?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 04 Sep 2024 17:20:13 -0700]]></pubDate>
    <title>The Stepdaughter</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6820137044?utm_medium=api&utm_source=rss]]></link>
    <book_id>638193</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1383101301l/638193._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Caroline Blackwood tells us the tale of a very unhappy housewife. She writes letters in her head to imaginary friends lamenting her many woes and frailties. What has brought on this depression? Arnold left her and moved to Paris. Oh, yes, something else. He has left her with his fat, unhappy, emotionally disturbed daughter!]]></book_description>
    <book id="638193">
      <num_pages>112</num_pages>
    </book>
    <author_name>Caroline Blackwood</author_name>
    <isbn>0140069232</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 04 Sep 2024 17:20:13 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 04 Sep 2024 17:20:13 -0700]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.81</average_rating>
    <book_published>1976</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/638193.The_Stepdaughter?utm_medium=api&amp;utm_source=rss"><img alt="The Stepdaughter" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1383101301l/638193._SY75_.jpg" /></a><br/>
                                      author: Caroline Blackwood<br/>
                                      name: Anna<br/>
                                      average rating: 3.81<br/>
                                      book published: 1976<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/09/04<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5878064188?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 31 Aug 2024 10:42:50 -0700]]></pubDate>
    <title>The Decameron</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5878064188?utm_medium=api&utm_source=rss]]></link>
    <book_id>51799</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1472027832l/51799._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[The Decameron (c.1351) is an entertaining series of one hundred stories written in the wake of the Black Death. The stories are told in a country villa outside the city of Florence by ten young noble men and women who are seeking to escape the ravages of the plague. Boccaccio's skill as a dramatist is masterfully displayed in these vivid portraits of people from all stations in life, with plots that revel in a bewildering variety of human reactions.<br /><br />Translated with an Introduction and Notes by G. H. McWilliam]]></book_description>
    <book id="51799">
      <num_pages>909</num_pages>
    </book>
    <author_name>Giovanni Boccaccio</author_name>
    <isbn>0140449302</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Fri, 5 Jan 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 31 Aug 2024 10:42:50 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 30 Sep 2023 16:43:01 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[<i>The Decameron</i> is a great read if you’re in the mood to hear a hundred stories in a row, told by ten genteel noblewomen and noblemen in 14th century Italy to one another for amusement when quarantined during the plague. For ten days, each narrator is king or queen for a day and picks that day’s theme, after which each of them tells a story on that theme.<br /><br />It has everything: happy love stories, tragic love stories, sex, cuckoldry, adventure, trickery, the vicissitudes of fate, murder, humor, cruelty, intrigue, practical jokes, tyrannical fathers, lusty wives, strange changes of fortune, allegories, etc. It’s also interesting to note that the stories were compiled from many countries, cultures, and languages (some of them even from the Arabian Nights), and that some are the origin of some of our best-known fairy tales. <br /><br />When I first read this in my teens I was most struck by the bawdy stories which seemed incredibly rude and crude at the time, but which now seem quite tame and amusing. They’re also surprisingly progressive in terms of female sexuality, for women in this collection (including randy nuns) have healthy sexual appetites that they indulge with pleasure and abandon. <br /><br />On the other hand, all throughout the book women are being abducted from their homes, smuggled onto ships, etc. As long as a girl is unprotected men just go in seize her and it’s generally all good fun. There are all these elaborate plots where a man bribes her maid or servant, or sends her husband away on a wild goose chase, so he and his band of men can seize her and take her on a galley ship to some island. <br /><br />In fact, everyone is constantly buying giant galley ships with full crews, and buying castles or raising armies on a dime. They also dress very extravagantly, eat expensive and rare food, and keep falcons. And everyone is very emotional and prone to satisfying their appetites for murder, revenge, sex, rape, violence, acquisition of property, and exquisite dining.<br /><br />In one story, some rich guys want to bed some girls so they buy a galley ship and take the girls to Crete and buy castles for them and wow them with endless parties. But then one of the guys falls for a local woman and his girlfriend poisons him and it all falls apart. <br /><br />In another story, a pregnant woman has a stroke while her husband is away and the servants bury her. Then a man who is in love with her goes to her tomb to molest her dead body and finds she's actually alive. Then he assembles a group of friends (including the husband, who doesn’t recognize her), and asks them whether a man who lets his slave be tossed out of the house has more rights over him than the man who saves his life. They all say no, so he concludes that he's right to keep the lady and her newborn baby. But then he gives her and her baby back to her husband, and everyone marvels at how noble and generous he is to have done so, overlooking his attempted necrophilia. <br /><br />There are many jaw-dropping stories like this, some of them lovingly depicted in Pasolini’s hilarious and bawdy adaptation. All in all, a remarkable compilation of surprising and entertaining stories.]]></user_review>
    <average_rating>3.89</average_rating>
    <book_published>1349</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/51799.The_Decameron?utm_medium=api&amp;utm_source=rss"><img alt="The Decameron" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1472027832l/51799._SY75_.jpg" /></a><br/>
                                      author: Giovanni Boccaccio<br/>
                                      name: Anna<br/>
                                      average rating: 3.89<br/>
                                      book published: 1349<br/>
                                      rating: 5<br/>
                                      read at: 2024/01/05<br/>
                                      date added: 2024/08/31<br/>
                                      shelves: <br/>
                                      review: <br/><i>The Decameron</i> is a great read if you’re in the mood to hear a hundred stories in a row, told by ten genteel noblewomen and noblemen in 14th century Italy to one another for amusement when quarantined during the plague. For ten days, each narrator is king or queen for a day and picks that day’s theme, after which each of them tells a story on that theme.<br /><br />It has everything: happy love stories, tragic love stories, sex, cuckoldry, adventure, trickery, the vicissitudes of fate, murder, humor, cruelty, intrigue, practical jokes, tyrannical fathers, lusty wives, strange changes of fortune, allegories, etc. It’s also interesting to note that the stories were compiled from many countries, cultures, and languages (some of them even from the Arabian Nights), and that some are the origin of some of our best-known fairy tales. <br /><br />When I first read this in my teens I was most struck by the bawdy stories which seemed incredibly rude and crude at the time, but which now seem quite tame and amusing. They’re also surprisingly progressive in terms of female sexuality, for women in this collection (including randy nuns) have healthy sexual appetites that they indulge with pleasure and abandon. <br /><br />On the other hand, all throughout the book women are being abducted from their homes, smuggled onto ships, etc. As long as a girl is unprotected men just go in seize her and it’s generally all good fun. There are all these elaborate plots where a man bribes her maid or servant, or sends her husband away on a wild goose chase, so he and his band of men can seize her and take her on a galley ship to some island. <br /><br />In fact, everyone is constantly buying giant galley ships with full crews, and buying castles or raising armies on a dime. They also dress very extravagantly, eat expensive and rare food, and keep falcons. And everyone is very emotional and prone to satisfying their appetites for murder, revenge, sex, rape, violence, acquisition of property, and exquisite dining.<br /><br />In one story, some rich guys want to bed some girls so they buy a galley ship and take the girls to Crete and buy castles for them and wow them with endless parties. But then one of the guys falls for a local woman and his girlfriend poisons him and it all falls apart. <br /><br />In another story, a pregnant woman has a stroke while her husband is away and the servants bury her. Then a man who is in love with her goes to her tomb to molest her dead body and finds she's actually alive. Then he assembles a group of friends (including the husband, who doesn’t recognize her), and asks them whether a man who lets his slave be tossed out of the house has more rights over him than the man who saves his life. They all say no, so he concludes that he's right to keep the lady and her newborn baby. But then he gives her and her baby back to her husband, and everyone marvels at how noble and generous he is to have done so, overlooking his attempted necrophilia. <br /><br />There are many jaw-dropping stories like this, some of them lovingly depicted in Pasolini’s hilarious and bawdy adaptation. All in all, a remarkable compilation of surprising and entertaining stories.<br/>
                                      ]]>
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  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5862125080?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 27 Aug 2024 07:29:37 -0700]]></pubDate>
    <title>Is Mother Dead</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5862125080?utm_medium=api&utm_source=rss]]></link>
    <book_id>60059857</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1660057454l/60059857._SY75_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1660057454l/60059857._SY75_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1660057454l/60059857._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1660057454l/60059857.jpg]]></book_large_image_url>
    <book_description><![CDATA[A cat and mouse game of surveillance and psychological torment develops between a middle-aged artist and her aging mother, as Vigdis Hjorth returns to the themes of her controversial modern classic, <em>Will and Testament</em><br /><br />'To mother is to murder, or close enough', thinks Johanna, as she looks at the spelling of the two words in Norwegian. She's recently widowed and back in Oslo after a long absence as she prepares for a retrospective of her art. The subject of her work is motherhood and some of her more controversial paintings have brought about a dramatic rift between parent and child. This new proximity, after decades of acrimonious absence, set both women on edge, and before too long Johanna finds her mother stalking her thoughts, and Johanna starts stalking her mother's house.]]></book_description>
    <book id="60059857">
      <num_pages>330</num_pages>
    </book>
    <author_name>Vigdis Hjorth</author_name>
    <isbn>1839764317</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 27 Aug 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 27 Aug 2024 07:29:37 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sat, 23 Sep 2023 11:32:22 -0700]]></user_date_created>
    <user_shelves>female-writers, psychology</user_shelves>
    <user_review><![CDATA[This is a shocking book. Vigdis Hjorth is a very unusual writer. I don't know if I've ever read anything besides this and her other novel <i>Will and Testament</i> where every sentence is a knife that cuts. Finally, in this extraordinary novel, there was a scene of actual cutting with razor blades, and it was such a relief. A physical cut, instead of all the emotional stabs to the heart with each thought of the wounded daughter that unfolds in an increasingly harrowing stream of consciousness.<br /><br />The writing is very disciplined. It seems loose, but it's tight and well-structured. The metaphors don't come until late in the book, when the mind of the narrator has loosened up. As such, they provide another release, a feeling of relief from the claustrophobic pain. I was gasping and crying by the end. I almost couldn't believe it. But this is real life. <br /><br />Hjorth knows how to put pain on the page, but the writing is never emotional, manipulative, or maudlin. It never asks you to feel sorry for anyone. In the end, you end up feeling sorry for <i>yourself</i>. That's how real writing works.<br /><br />This book shook me to my core. I'll be thinking about it for the rest of my life.]]></user_review>
    <average_rating>3.96</average_rating>
    <book_published>2020</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/60059857-is-mother-dead?utm_medium=api&amp;utm_source=rss"><img alt="Is Mother Dead" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1660057454l/60059857._SY75_.jpg" /></a><br/>
                                      author: Vigdis Hjorth<br/>
                                      name: Anna<br/>
                                      average rating: 3.96<br/>
                                      book published: 2020<br/>
                                      rating: 5<br/>
                                      read at: 2024/08/27<br/>
                                      date added: 2024/08/27<br/>
                                      shelves: female-writers, psychology<br/>
                                      review: <br/>This is a shocking book. Vigdis Hjorth is a very unusual writer. I don't know if I've ever read anything besides this and her other novel <i>Will and Testament</i> where every sentence is a knife that cuts. Finally, in this extraordinary novel, there was a scene of actual cutting with razor blades, and it was such a relief. A physical cut, instead of all the emotional stabs to the heart with each thought of the wounded daughter that unfolds in an increasingly harrowing stream of consciousness.<br /><br />The writing is very disciplined. It seems loose, but it's tight and well-structured. The metaphors don't come until late in the book, when the mind of the narrator has loosened up. As such, they provide another release, a feeling of relief from the claustrophobic pain. I was gasping and crying by the end. I almost couldn't believe it. But this is real life. <br /><br />Hjorth knows how to put pain on the page, but the writing is never emotional, manipulative, or maudlin. It never asks you to feel sorry for anyone. In the end, you end up feeling sorry for <i>yourself</i>. That's how real writing works.<br /><br />This book shook me to my core. I'll be thinking about it for the rest of my life.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5597748339?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 27 Aug 2024 07:09:25 -0700]]></pubDate>
    <title>I, Claudius (Claudius, #1)</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5597748339?utm_medium=api&utm_source=rss]]></link>
    <book_id>18765</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657550972l/18765._SY75_.jpg]]></book_image_url>
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    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657550972l/18765._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657550972l/18765._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[<b>A modern classic of historical fiction written in the form of Claudius's autobiography.</b><br /><br />Tiberius Claudius Drusus Nero Germanicus lived from 10 B.C. to 54 A.D. Despised as a weakling and dismissed as an idiot because of his physical infirmities, Claudius survived the intrigues and poisonings that marked the reigns of Augustus, Tiberius, and the mad Caligula to become emperor of Rome in 41 A.D. The first part of Robert Graves’s two-part account of the life of Tiberius Claudius, <i>I, Claudius</i> stands as a landmark historical novel of the 20th century from one of its great writers.]]></book_description>
    <book id="18765">
      <num_pages>469</num_pages>
    </book>
    <author_name>Robert Graves</author_name>
    <isbn>067972477X</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 20 Aug 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 27 Aug 2024 07:09:25 -0700]]></user_date_added>
    <user_date_created><![CDATA[Mon, 05 Jun 2023 07:39:48 -0700]]></user_date_created>
    <user_shelves></user_shelves>
    <user_review><![CDATA[This book is my idea of a good time. The BBC series did such a great job with adapting it that I still remembered many of the harrowing scenes from years ago (and also from reading Suetonius), but of course the book contains more detail than the TV series, and we get all the witticisms and dry irony of the text. Robert Graves spins a fantastic tale out of the lives of the caesars from the point of view of this player from the sidelines who would one day become emperor. <br /><br />The story becomes more intense with each poisoning and bit of outlandish cruelty, each dastardly plot of Livia's to rid herself of political rivals, each debauched wife or son, each banishment to a desolate island, each tossing of a boorish guest over the cliff into the sea, each imprisonment in a living tomb. By the time we were getting to the end of Tiberius's reign I almost couldn't take it anymore, and I still had Caligula to go! <br /><br />When I thought it was impossible to be further shocked, the witchcraft story surrounding Germanicus's death escalated the macabre depravity to a fever pitch, and it kept rising from there with the antics of the mad and capricious self-proclaimed god and unspeakable tyrant, Caligula. Bravo to Graves for a masterful bit of storytelling, narrated with maximum entertainment value, wit, and skill.]]></user_review>
    <average_rating>4.24</average_rating>
    <book_published>1934</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/18765.I_Claudius?utm_medium=api&amp;utm_source=rss"><img alt="I, Claudius (Claudius, #1)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1657550972l/18765._SY75_.jpg" /></a><br/>
                                      author: Robert Graves<br/>
                                      name: Anna<br/>
                                      average rating: 4.24<br/>
                                      book published: 1934<br/>
                                      rating: 5<br/>
                                      read at: 2024/08/20<br/>
                                      date added: 2024/08/27<br/>
                                      shelves: <br/>
                                      review: <br/>This book is my idea of a good time. The BBC series did such a great job with adapting it that I still remembered many of the harrowing scenes from years ago (and also from reading Suetonius), but of course the book contains more detail than the TV series, and we get all the witticisms and dry irony of the text. Robert Graves spins a fantastic tale out of the lives of the caesars from the point of view of this player from the sidelines who would one day become emperor. <br /><br />The story becomes more intense with each poisoning and bit of outlandish cruelty, each dastardly plot of Livia's to rid herself of political rivals, each debauched wife or son, each banishment to a desolate island, each tossing of a boorish guest over the cliff into the sea, each imprisonment in a living tomb. By the time we were getting to the end of Tiberius's reign I almost couldn't take it anymore, and I still had Caligula to go! <br /><br />When I thought it was impossible to be further shocked, the witchcraft story surrounding Germanicus's death escalated the macabre depravity to a fever pitch, and it kept rising from there with the antics of the mad and capricious self-proclaimed god and unspeakable tyrant, Caligula. Bravo to Graves for a masterful bit of storytelling, narrated with maximum entertainment value, wit, and skill.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5543602285?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 23 Aug 2024 11:53:39 -0700]]></pubDate>
    <title>Native Son</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5543602285?utm_medium=api&utm_source=rss]]></link>
    <book_id>15622</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1627788308l/15622._SX50_.jpg]]></book_image_url>
    <book_small_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1627788308l/15622._SX50_.jpg]]></book_small_image_url>
    <book_medium_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1627788308l/15622._SX98_.jpg]]></book_medium_image_url>
    <book_large_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1627788308l/15622._SY475_.jpg]]></book_large_image_url>
    <book_description><![CDATA[Right from the start, Bigger Thomas had been headed for jail. It could have been for assault or petty larceny; by chance, it was for murder and rape. Native Son tells the story of this young black man caught in a downward spiral after he kills a young white woman in a brief moment of panic. Set in Chicago in the 1930s, Wright's powerful novel is an unsparing reflection on the poverty and feelings of hopelessness experienced by people in inner cities across the country and of what it means to be black in America..]]></book_description>
    <book id="15622">
      <num_pages>504</num_pages>
    </book>
    <author_name>Richard Wright</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>3</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Fri, 23 Aug 2024 11:53:39 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 10 May 2023 22:47:11 -0700]]></user_date_created>
    <user_shelves>bluebeard</user_shelves>
    <user_review><![CDATA[At first I thought that this was one of the most incredible things I'd ever read, a non-stop nightmare of youthful hopes shattered by ugly racism, and edge-of-your-seat entertainment told with deftness and skill. And of course, it is that. But it's also something else. <br /><br />I couldn't quite put my finger on it until I read that Richard Wright was galvanized by the Bluebeard tale in his youth. Then I thought: aha, Bigger Thomas is a modern-day Bluebeard! <br /><br />"In this coming-of-age portion of [Richard] Wright's autobiography, we learn how the folktale about Bluebeard introduces the boy growing up in the Jim Crow South to the world of adult secrets and intrigue. The European folktale about Bluebeard elicits what is described as a "total emotional response." When Wright's grandmother cuts the narrative short, denouncing the tale as "Devil's work," the boy is distraught. "I hungered for the sharp, frightening, breath-taking, almost painful excitement that the story had given me." The "whispered story of deception and murder" feeds a "thirst for violence" and "for intrigue, for plotting, for secrecy, for bloody murders."" -Maria Tatar, <i>Secrets Beyond the Door: The Story of Bluebeard and His Wives</i><br /><br />Like Wright himself, Bigger gets more and more excited and high by his accidental killing of the white woman. It gives him a surge of euphoria and power. At his trial, the prosecution calls him an ape and a monster in a disgusting and unbearable tirade. Then the defense lawyer makes an interminable speech about why we need to take pity on him. Yes, we should take pity on him for his plight as a black man in America. And yes, his killing of the white woman Mary was an accident. But then the prosecutor glosses over the fact that he brutally killed his black girlfriend Bessie, as if that doesn't count. So, Bigger panicked and smothered a woman to death. It was an accident. But then he rapes Bessie, smashes her head in with a brick, and throws her down a chute, and this is shrugged off as a reaction to stress.<br /><br />It's not just that the attorney minimizes Bessie's murder; Bigger himself minimizes it. He never even thinks about her. Only the white woman's death arouses emotions in him, because then he's sticking it to the white man, stealing and despoiling his property. It was an accident, but he considers it his greatest accomplishment. And Bessie? I hardly knew ye.<br /><br />So, it's a Bluebeard tale from Bluebeard's point of view. An interesting idea for a thriller, and riveting to read. But then in the third section it all falls apart, because the emotional center of the narrative, which is a criminal's rage and increasing madness, disappears, and suddenly Bluebeard is a martyr, a plaything of the white people. I agree with James Baldwin that its function as a protest novel compromises both its artistic value and its understanding of human character. Because suddenly, in act three, no one behaves realistically. The white parents in the book are so hip to race relations that they're not that upset with him for the murder and incineration of their daughter! The murdered girl's boyfriend, a commie sympathetic to the black question, tries to help him! <br /><br />It's a sick irony; Wright obviously despises these spineless, pandering white liberals, who feel so bad about the state of race relations that they condescendingly coddle a black man who commits atrocities against their very loved ones. Wright shows how the white people continue to emasculate him, refusing to give him credit for his disgusting crimes and to elevate him to the status of a real man who murders real women. No matter how atrocious his crimes, the white liberal will see him as a child, and the white racist as an animal. So, yes, the white people are playing ping pong with his life, and of the definition of a black man in a racist society. But he's still Bluebeard! The femicide he commits is minimized, because the only people who care about it are the villains in the book—the racists. Raskolnikov, a starving schizophrenic, was torn with guilt for his senseless crime. But Bigger? He only ever felt good about killing that white woman.<br /> <br />Another thing I hate about the book is how it can be weaponized against black men by racists, proving through Bigger's actions that black men are beasts, dangerous to society, lack morals, and can't be trusted. He put these words into the mouth of the repulsive racist lawyer, but the defense lawyer cements these ideas by arguing that Bigger was not responsible for his actions. What does that make him—a child? Less than human? Not fully formed, with a lesser moral compass than the white man, and therefore given a pass for woman-killing? Obviously, this <i>does</i> make him dangerous to society. And although this argument is presented as irony, Bigger's own thoughts and behavior justify it.<br /><br />Despite these flaws, it's still an important book about race relations in America. And the first two thirds of it presents a good character study, a morally compelling argument, and a thrilling read.<br /><br />But as Maria Tatar says in <i> Secrets Beyond the Door: The Story of Bluebeard and His Wives:</i><br /><br />“Bluebeard … becomes something of a cultural hero in his effort to combat social evils (as in Chaplin’s <i>Monsieur Verdoux</i>), to thwart the boredom of everyday life (as in Hitchcock’s <i>Shadow of a Doubt</i>), and to struggle against existential isolation (as in Bela Bartók’s <i>Bluebeard’s Castle</i>.)” <br /><br />Or he becomes something of a cultural hero in his effort to stick it to the white man, as in Wright's <i>Native Son.</i>]]></user_review>
    <average_rating>4.04</average_rating>
    <book_published>1940</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/15622.Native_Son?utm_medium=api&amp;utm_source=rss"><img alt="Native Son" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1627788308l/15622._SX50_.jpg" /></a><br/>
                                      author: Richard Wright<br/>
                                      name: Anna<br/>
                                      average rating: 4.04<br/>
                                      book published: 1940<br/>
                                      rating: 3<br/>
                                      read at: <br/>
                                      date added: 2024/08/23<br/>
                                      shelves: bluebeard<br/>
                                      review: <br/>At first I thought that this was one of the most incredible things I'd ever read, a non-stop nightmare of youthful hopes shattered by ugly racism, and edge-of-your-seat entertainment told with deftness and skill. And of course, it is that. But it's also something else. <br /><br />I couldn't quite put my finger on it until I read that Richard Wright was galvanized by the Bluebeard tale in his youth. Then I thought: aha, Bigger Thomas is a modern-day Bluebeard! <br /><br />"In this coming-of-age portion of [Richard] Wright's autobiography, we learn how the folktale about Bluebeard introduces the boy growing up in the Jim Crow South to the world of adult secrets and intrigue. The European folktale about Bluebeard elicits what is described as a "total emotional response." When Wright's grandmother cuts the narrative short, denouncing the tale as "Devil's work," the boy is distraught. "I hungered for the sharp, frightening, breath-taking, almost painful excitement that the story had given me." The "whispered story of deception and murder" feeds a "thirst for violence" and "for intrigue, for plotting, for secrecy, for bloody murders."" -Maria Tatar, <i>Secrets Beyond the Door: The Story of Bluebeard and His Wives</i><br /><br />Like Wright himself, Bigger gets more and more excited and high by his accidental killing of the white woman. It gives him a surge of euphoria and power. At his trial, the prosecution calls him an ape and a monster in a disgusting and unbearable tirade. Then the defense lawyer makes an interminable speech about why we need to take pity on him. Yes, we should take pity on him for his plight as a black man in America. And yes, his killing of the white woman Mary was an accident. But then the prosecutor glosses over the fact that he brutally killed his black girlfriend Bessie, as if that doesn't count. So, Bigger panicked and smothered a woman to death. It was an accident. But then he rapes Bessie, smashes her head in with a brick, and throws her down a chute, and this is shrugged off as a reaction to stress.<br /><br />It's not just that the attorney minimizes Bessie's murder; Bigger himself minimizes it. He never even thinks about her. Only the white woman's death arouses emotions in him, because then he's sticking it to the white man, stealing and despoiling his property. It was an accident, but he considers it his greatest accomplishment. And Bessie? I hardly knew ye.<br /><br />So, it's a Bluebeard tale from Bluebeard's point of view. An interesting idea for a thriller, and riveting to read. But then in the third section it all falls apart, because the emotional center of the narrative, which is a criminal's rage and increasing madness, disappears, and suddenly Bluebeard is a martyr, a plaything of the white people. I agree with James Baldwin that its function as a protest novel compromises both its artistic value and its understanding of human character. Because suddenly, in act three, no one behaves realistically. The white parents in the book are so hip to race relations that they're not that upset with him for the murder and incineration of their daughter! The murdered girl's boyfriend, a commie sympathetic to the black question, tries to help him! <br /><br />It's a sick irony; Wright obviously despises these spineless, pandering white liberals, who feel so bad about the state of race relations that they condescendingly coddle a black man who commits atrocities against their very loved ones. Wright shows how the white people continue to emasculate him, refusing to give him credit for his disgusting crimes and to elevate him to the status of a real man who murders real women. No matter how atrocious his crimes, the white liberal will see him as a child, and the white racist as an animal. So, yes, the white people are playing ping pong with his life, and of the definition of a black man in a racist society. But he's still Bluebeard! The femicide he commits is minimized, because the only people who care about it are the villains in the book—the racists. Raskolnikov, a starving schizophrenic, was torn with guilt for his senseless crime. But Bigger? He only ever felt good about killing that white woman.<br /> <br />Another thing I hate about the book is how it can be weaponized against black men by racists, proving through Bigger's actions that black men are beasts, dangerous to society, lack morals, and can't be trusted. He put these words into the mouth of the repulsive racist lawyer, but the defense lawyer cements these ideas by arguing that Bigger was not responsible for his actions. What does that make him—a child? Less than human? Not fully formed, with a lesser moral compass than the white man, and therefore given a pass for woman-killing? Obviously, this <i>does</i> make him dangerous to society. And although this argument is presented as irony, Bigger's own thoughts and behavior justify it.<br /><br />Despite these flaws, it's still an important book about race relations in America. And the first two thirds of it presents a good character study, a morally compelling argument, and a thrilling read.<br /><br />But as Maria Tatar says in <i> Secrets Beyond the Door: The Story of Bluebeard and His Wives:</i><br /><br />“Bluebeard … becomes something of a cultural hero in his effort to combat social evils (as in Chaplin’s <i>Monsieur Verdoux</i>), to thwart the boredom of everyday life (as in Hitchcock’s <i>Shadow of a Doubt</i>), and to struggle against existential isolation (as in Bela Bartók’s <i>Bluebeard’s Castle</i>.)” <br /><br />Or he becomes something of a cultural hero in his effort to stick it to the white man, as in Wright's <i>Native Son.</i><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5470285915?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 20 Aug 2024 07:19:12 -0700]]></pubDate>
    <title><![CDATA[My Sweet Audrina (Audrina, #1)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5470285915?utm_medium=api&utm_source=rss]]></link>
    <book_id>805023</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1178550284l/805023._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[V.C. Andrews, author of the phenomenally successful Dollanganger series, has created a fascinating new cast of characters in this haunting story of love and deceit, innocence and betrayal, and the suffocating power of parental love.<br />Audrina Adare wanted so to be as good as her sister. She knew her father could not love her as he loved her sister. Her sister was so special, so perfect -- and dead.<br />Now she will come face to face with the dangerous, terrifying secret that everyone knows. Everyone except...<br /><i>My Sweet Audrina</i><br />--back cover]]></book_description>
    <book id="805023">
      <num_pages>403</num_pages>
    </book>
    <author_name>V.C. Andrews</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Tue, 24 Oct 2023 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 20 Aug 2024 07:19:12 -0700]]></user_date_added>
    <user_date_created><![CDATA[Fri, 07 Apr 2023 17:19:53 -0700]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, female-writers, bluebeard]]></user_shelves>
    <user_review><![CDATA[This book is extremely Gothic and macabre, told through the point of view of a traumatized little girl who grows into a woman through the course of the novel. Unable to live up to the legacy of her dead sister of the same name, who was raped by wicked boys in the woods at the age of nine on her birthday and died, little Audrina, who can't remember the past or keep track of time, is forced to visit her sister's grave, and to rock in her dead sister's chair to "fill up" with her memories so she can be as good and as perfect as the first, better Audrina. She loves her huge, handsome stockbroker father, who nonetheless terrorizes her and the other women in her household with his constant needs, demands, and moods. He indeed makes her almost into a surrogate wife, demanding that she watch him shave, listen to his exploits in the office, and learn stockbroking so that one day she can be his partner in the business; of course, all of this is to enslave Audrina so she'll never leave him: "Papa was clever, so clever. I should have expected he'd find a way to defeat me."<br /><br />This is a Southern Gothic drama, in which the father, a Yankee, nonetheless is obsessed with the civil war and sympathetic with it, as are all of the family. In some ways the revelation of this secret at the beginning of the book signals it as an almost Faulknerian tragedy of epic proportions, as every evil rains down upon the household that can possibly be imagined, possibly because of their Southern guilt and the legacy of slavery that hovers over them, although this is never directly mentioned the story. The characters are incredibly complex, and we love and hate them alternately as we follow Audrina's emotions about them. Her mother is beautiful and charming, but can be indolent and cruel; her aunt is a bitter, thin-lipped spinster who reveals a sexy, passionate, and tender side; her fiancé is a noble boy who grows into a weak, flawed man and sides with people who want to destroy her; her father is her only savior, and yet is the worst, most cruel, lying, gaslighting, soul-killing patriarch; her cousin Vera is the only character who is out-and-out evil—she's amazingly awful, and fun to hate—but still we are led to have compassion for her, as her father drove her to her hate and bitterness. <br /><br />All of the imagery is demonic, with thunder and lightning storms, dead trees, characters with chronic broken bones, uneven leg length, no legs, mental deficiency, multiple accidental death (or is it murder)? There is also gang-rape, marital frigidity, adultery, suicide, miscarriage, brainwashing, unrequited love, serial philandering, deceit, embezzlement, uncertain paternity, quasi-incestuous father-love, plots to kill for inheritance money, domestic slavery. <br /><br />But aside from all of the jaw-dropping melodrama, the thing that sets this book apart is how realistically it deals with women's lives. Unlike novels of today which feature female superheroes who are stronger than men and live their lives with no real social pressures or domestic duties, the women in this story are constantly put upon to cook, clean, care for children, and deal with the mercurial moods and sexual demands of men. Indeed, pleasing difficult men seems to be their greatest cross to bear—and if they are good at it, their greatest achievement in life. In that sense it's actually quite political, as I've never quite read a book that condemns patriarchy so vehemently, which it gets away with by hiding its radical nature behind genre conventions. And in the end, for all of its Gothic trappings, that's what this book is really about—that horrible balancing act that women are forced to perform in order to survive in the world. Now, <i>that's</i> a horror story!]]></user_review>
    <average_rating>3.89</average_rating>
    <book_published>1982</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/805023.My_Sweet_Audrina?utm_medium=api&amp;utm_source=rss"><img alt="My Sweet Audrina (Audrina, #1)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1178550284l/805023._SY75_.jpg" /></a><br/>
                                      author: V.C. Andrews<br/>
                                      name: Anna<br/>
                                      average rating: 3.89<br/>
                                      book published: 1982<br/>
                                      rating: 5<br/>
                                      read at: 2023/10/24<br/>
                                      date added: 2024/08/20<br/>
                                      shelves: gothic-fiction, female-writers, bluebeard<br/>
                                      review: <br/>This book is extremely Gothic and macabre, told through the point of view of a traumatized little girl who grows into a woman through the course of the novel. Unable to live up to the legacy of her dead sister of the same name, who was raped by wicked boys in the woods at the age of nine on her birthday and died, little Audrina, who can't remember the past or keep track of time, is forced to visit her sister's grave, and to rock in her dead sister's chair to "fill up" with her memories so she can be as good and as perfect as the first, better Audrina. She loves her huge, handsome stockbroker father, who nonetheless terrorizes her and the other women in her household with his constant needs, demands, and moods. He indeed makes her almost into a surrogate wife, demanding that she watch him shave, listen to his exploits in the office, and learn stockbroking so that one day she can be his partner in the business; of course, all of this is to enslave Audrina so she'll never leave him: "Papa was clever, so clever. I should have expected he'd find a way to defeat me."<br /><br />This is a Southern Gothic drama, in which the father, a Yankee, nonetheless is obsessed with the civil war and sympathetic with it, as are all of the family. In some ways the revelation of this secret at the beginning of the book signals it as an almost Faulknerian tragedy of epic proportions, as every evil rains down upon the household that can possibly be imagined, possibly because of their Southern guilt and the legacy of slavery that hovers over them, although this is never directly mentioned the story. The characters are incredibly complex, and we love and hate them alternately as we follow Audrina's emotions about them. Her mother is beautiful and charming, but can be indolent and cruel; her aunt is a bitter, thin-lipped spinster who reveals a sexy, passionate, and tender side; her fiancé is a noble boy who grows into a weak, flawed man and sides with people who want to destroy her; her father is her only savior, and yet is the worst, most cruel, lying, gaslighting, soul-killing patriarch; her cousin Vera is the only character who is out-and-out evil—she's amazingly awful, and fun to hate—but still we are led to have compassion for her, as her father drove her to her hate and bitterness. <br /><br />All of the imagery is demonic, with thunder and lightning storms, dead trees, characters with chronic broken bones, uneven leg length, no legs, mental deficiency, multiple accidental death (or is it murder)? There is also gang-rape, marital frigidity, adultery, suicide, miscarriage, brainwashing, unrequited love, serial philandering, deceit, embezzlement, uncertain paternity, quasi-incestuous father-love, plots to kill for inheritance money, domestic slavery. <br /><br />But aside from all of the jaw-dropping melodrama, the thing that sets this book apart is how realistically it deals with women's lives. Unlike novels of today which feature female superheroes who are stronger than men and live their lives with no real social pressures or domestic duties, the women in this story are constantly put upon to cook, clean, care for children, and deal with the mercurial moods and sexual demands of men. Indeed, pleasing difficult men seems to be their greatest cross to bear—and if they are good at it, their greatest achievement in life. In that sense it's actually quite political, as I've never quite read a book that condemns patriarchy so vehemently, which it gets away with by hiding its radical nature behind genre conventions. And in the end, for all of its Gothic trappings, that's what this book is really about—that horrible balancing act that women are forced to perform in order to survive in the world. Now, <i>that's</i> a horror story!<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5579857742?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Sat, 17 Aug 2024 16:39:38 -0700]]></pubDate>
    <title>The Stepford Wives</title>
    <link><![CDATA[https://www.goodreads.com/review/show/5579857742?utm_medium=api&utm_source=rss]]></link>
    <book_id>52350</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1554371721l/52350._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[For Joanna, her husband, Walter, and their children, the move to beautiful Stepford seems almost too good to be true. It is. For behind the town's idyllic facade lies a terrible secret—a secret so shattering that no one who encounters it will ever be the same.<br /><br />At once a masterpiece of psychological suspense and a savage commentary on a media-driven society that values the pursuit of youth and beauty at all costs, <i>The Stepford Wives</i> is a novel so frightening in its final implications that the title itself has earned a place in the American lexicon.]]></book_description>
    <book id="52350">
      <num_pages>123</num_pages>
    </book>
    <author_name>Ira Levin</author_name>
    <isbn>0060080841</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Sat, 17 Aug 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Sat, 17 Aug 2024 16:39:38 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 28 May 2023 11:58:52 -0700]]></user_date_created>
    <user_shelves>feminism, bluebeard</user_shelves>
    <user_review><![CDATA[I've seen the 1975 movie a number of times so I'm very familiar with the material, but reading the book was still a lot of fun. It's astonishing how attuned to his moment Ira Levin was; this book is an uncannily accurate and chilling science fiction fantasy about the clash between the women's liberation movement and the sexual revolution. And although it would be great to be able to laugh at this story as a time capsule of a bizarre era in which men were so threatened by the women's movement that they wished to replace real women with compliant sex dolls, we're still unfortunately living in that era. Misogyny keeps taking on new twisted forms, ever adapting to the current environment, like a clever virus that remains undetected until it's too late. So yes we can laugh, but it's not all that funny. The book, however, is masterfully constructed and very funny, as long as we don't see it as reality. It's a powerful, terse, socially relevant, entertaining book that one can rip through in an afternoon, and the ultimate novel about women's paranoia regarding men.]]></user_review>
    <average_rating>3.88</average_rating>
    <book_published>1972</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/52350.The_Stepford_Wives?utm_medium=api&amp;utm_source=rss"><img alt="The Stepford Wives" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1554371721l/52350._SY75_.jpg" /></a><br/>
                                      author: Ira Levin<br/>
                                      name: Anna<br/>
                                      average rating: 3.88<br/>
                                      book published: 1972<br/>
                                      rating: 5<br/>
                                      read at: 2024/08/17<br/>
                                      date added: 2024/08/17<br/>
                                      shelves: feminism, bluebeard<br/>
                                      review: <br/>I've seen the 1975 movie a number of times so I'm very familiar with the material, but reading the book was still a lot of fun. It's astonishing how attuned to his moment Ira Levin was; this book is an uncannily accurate and chilling science fiction fantasy about the clash between the women's liberation movement and the sexual revolution. And although it would be great to be able to laugh at this story as a time capsule of a bizarre era in which men were so threatened by the women's movement that they wished to replace real women with compliant sex dolls, we're still unfortunately living in that era. Misogyny keeps taking on new twisted forms, ever adapting to the current environment, like a clever virus that remains undetected until it's too late. So yes we can laugh, but it's not all that funny. The book, however, is masterfully constructed and very funny, as long as we don't see it as reality. It's a powerful, terse, socially relevant, entertaining book that one can rip through in an afternoon, and the ultimate novel about women's paranoia regarding men.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6730076859?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Fri, 09 Aug 2024 19:50:42 -0700]]></pubDate>
    <title>Eleven</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6730076859?utm_medium=api&utm_source=rss]]></link>
    <book_id>385077</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1336450695l/385077._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[From the eerily outlandish to the dark and brutal, Eleven presents a gallery of bizarre characters, each driven by strange unspoken urges, whose cumulative effect is at least as unsettling as any of Highsmith's previous novels.<br />Contains:<br />-The Snail-Watcher<br />-The Birds Poised to Fly<br />-The Terrapin<br />-When the Fleet was in at Mobile<br />-The Quest for "Blank Claveringi"<br />-The Cries of Love<br />-Mrs. Afton, Among Thy Green Braes<br />-The Heroine<br />-Another Bridge to Cross<br />-The Barbarians<br />-The Empty Birdcage]]></book_description>
    <book id="385077">
      <num_pages>169</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn>087113327X</isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Mon, 5 Aug 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Fri, 09 Aug 2024 19:50:42 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 04 Aug 2024 17:54:16 -0700]]></user_date_created>
    <user_shelves><![CDATA[gothic-fiction, female-writers, psychology]]></user_shelves>
    <user_review><![CDATA[This is a great collection of stories, each of which showcases Highsmith's signature blend of precisely drawn sad and creepy protagonists, and growing apprehension and fear about what they are either capable of doing or of submitting to. There are <i>two</i> stories about snails, both of them good. My favorite of the two is "The Quest for Blank Claveringi," which is one of those satisfying stories, like <i>Frankenstein</i> or <i>King Kong</i>, about man's hubris in the face of nature (in this case, giant man-eating snails). It's really fun to see such realistic writing combined with this type of paranoid science fiction. The other snail story, "The Snail Watcher," is scary in the manner of all insect-invasion stories, and seems to have been a partial inspiration for the protagonist in Highsmith's excellent novel <i>Deep Water</i>, who was also (like Highsmith herself) a snail collector.<br /><br />"The Birds Poised to Fly" seems as if it might have been an early sketch for the character of Tom Ripley, featuring as it does a lonely young man playing mean pranks with the mail, and with a young woman's heart. In just a few strokes, his sadistic personality is fascinatingly revealed.<br /><br />Another highlight is "The Terrapin," about an angry little boy whose mother brings home a terrapin (a kind of turtle), providing the single ray of hope in his life, until he learns that she plans to make turtle soup with it. A true horror tale. "The Empty Birdhouse" is another visceral horror story, treating as it does a horrible and indistinct furry brown creature that stalks a young couple and is killed by a cat, but depressingly comes back.<br /><br />"When the Fleet Was in at Mobile" is a sad story about a young woman who is forced into prostitution, and then into an abusive and loveless marriage, and how she tries to free herself. "Another Bridge to Cross" is another sad story about a man who has lost his wife and children in a car accident and is trying to have some fun on an Italian vacation (to little avail, of course). "Mrs. Afton, Among Thy Green Braes" is about a lonely middle-aged woman who sets a bizarre man-trap for her therapist. "The Barbarians" and "The Cries of Love" are about people unable to surmount their everyday nightmares, which come in the form of other people. <br /><br />My favorite story in the collection is "The Heroine," about a young woman who has recently lost her mentally ill mother, and has been assured by the asylum doctor that she has not inherited her mother's insanity. As she gets a job as a governess and tries to impress her new employers with extra devotion to to the children, her psychic monstrosity is revealed in more and more detail, to the point where the whole thing culminates in a terrifying and spectacular disaster. I wish Highsmith had developed this story into a novel; the pretty young conscientious girl she created, with cobwebs of madness growing in in her mind, is a really fantastic character. A strong, entertaining, and satisfyingly cruel collection.]]></user_review>
    <average_rating>3.89</average_rating>
    <book_published>1970</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/385077.Eleven?utm_medium=api&amp;utm_source=rss"><img alt="Eleven" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1336450695l/385077._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.89<br/>
                                      book published: 1970<br/>
                                      rating: 5<br/>
                                      read at: 2024/08/05<br/>
                                      date added: 2024/08/09<br/>
                                      shelves: gothic-fiction, female-writers, psychology<br/>
                                      review: <br/>This is a great collection of stories, each of which showcases Highsmith's signature blend of precisely drawn sad and creepy protagonists, and growing apprehension and fear about what they are either capable of doing or of submitting to. There are <i>two</i> stories about snails, both of them good. My favorite of the two is "The Quest for Blank Claveringi," which is one of those satisfying stories, like <i>Frankenstein</i> or <i>King Kong</i>, about man's hubris in the face of nature (in this case, giant man-eating snails). It's really fun to see such realistic writing combined with this type of paranoid science fiction. The other snail story, "The Snail Watcher," is scary in the manner of all insect-invasion stories, and seems to have been a partial inspiration for the protagonist in Highsmith's excellent novel <i>Deep Water</i>, who was also (like Highsmith herself) a snail collector.<br /><br />"The Birds Poised to Fly" seems as if it might have been an early sketch for the character of Tom Ripley, featuring as it does a lonely young man playing mean pranks with the mail, and with a young woman's heart. In just a few strokes, his sadistic personality is fascinatingly revealed.<br /><br />Another highlight is "The Terrapin," about an angry little boy whose mother brings home a terrapin (a kind of turtle), providing the single ray of hope in his life, until he learns that she plans to make turtle soup with it. A true horror tale. "The Empty Birdhouse" is another visceral horror story, treating as it does a horrible and indistinct furry brown creature that stalks a young couple and is killed by a cat, but depressingly comes back.<br /><br />"When the Fleet Was in at Mobile" is a sad story about a young woman who is forced into prostitution, and then into an abusive and loveless marriage, and how she tries to free herself. "Another Bridge to Cross" is another sad story about a man who has lost his wife and children in a car accident and is trying to have some fun on an Italian vacation (to little avail, of course). "Mrs. Afton, Among Thy Green Braes" is about a lonely middle-aged woman who sets a bizarre man-trap for her therapist. "The Barbarians" and "The Cries of Love" are about people unable to surmount their everyday nightmares, which come in the form of other people. <br /><br />My favorite story in the collection is "The Heroine," about a young woman who has recently lost her mentally ill mother, and has been assured by the asylum doctor that she has not inherited her mother's insanity. As she gets a job as a governess and tries to impress her new employers with extra devotion to to the children, her psychic monstrosity is revealed in more and more detail, to the point where the whole thing culminates in a terrifying and spectacular disaster. I wish Highsmith had developed this story into a novel; the pretty young conscientious girl she created, with cobwebs of madness growing in in her mind, is a really fantastic character. A strong, entertaining, and satisfyingly cruel collection.<br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/6202619657?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Wed, 07 Aug 2024 19:42:30 -0700]]></pubDate>
    <title><![CDATA[The Queen of Spades and Other Stories]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/6202619657?utm_medium=api&utm_source=rss]]></link>
    <book_id>97381</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1298439696l/97381._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[This volume contains new translations of four of Pushkin's best works of fiction. <em>The Queen of Spades</em> has long been acknowledged as one of the world's greatest short stories, in which Pushkin explores the nature of obsession. <em>The Tales of Belkin</em> are witty parodies of sentimentalism, while <em>Peter the Great's Blackamoor</em> is an early experiment with recreating the past. <em>The Captain's Daughter</em> is a novel-length masterpiece which combines historical fiction in the manner of Sir Walter Scott with the devices of the Russian fairy-tale. The Introduction provides close readings of the stories and places them in their European literary context.]]></book_description>
    <book id="97381">
      <num_pages>336</num_pages>
    </book>
    <author_name>Alexander Pushkin</author_name>
    <isbn>0192839543</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 07 Aug 2024 19:42:30 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 24 Jan 2024 19:23:52 -0800]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.15</average_rating>
    <book_published>1841</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/97381.The_Queen_of_Spades_and_Other_Stories?utm_medium=api&amp;utm_source=rss"><img alt="The Queen of Spades and Other Stories" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1298439696l/97381._SY75_.jpg" /></a><br/>
                                      author: Alexander Pushkin<br/>
                                      name: Anna<br/>
                                      average rating: 4.15<br/>
                                      book published: 1841<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/08/07<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
    </description>
  </item>
  <item>
    <guid><![CDATA[https://www.goodreads.com/review/show/5595576420?utm_medium=api&utm_source=rss]]></guid>
    <pubDate><![CDATA[Tue, 06 Aug 2024 16:13:46 -0700]]></pubDate>
    <title><![CDATA[The Talented Mr. Ripley (Ripley, #1)]]></title>
    <link><![CDATA[https://www.goodreads.com/review/show/5595576420?utm_medium=api&utm_source=rss]]></link>
    <book_id>2247142</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1746213953l/2247142._SX50_.jpg]]></book_image_url>
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    <book_description><![CDATA[Now a Netflix Series<br /><br />It’s here, in the first volume of Patricia Highsmith’s five-book Ripley series, that we are introduced to the suave Tom Ripley, a young striver seeking to leave behind his past as an orphan bullied for being a “sissy.” Newly arrived in the heady world of Manhattan, Ripley meets a wealthy industrialist who hires him to bring his playboy son, Dickie Greenleaf, back from gallivanting in Italy. Soon Ripley’s fascination with Dickie’s debonair lifestyle turns obsessive as he finds himself enraged by Dickie’s ambivalent affections for Marge, a charming American dilettante, and Ripley begins a deadly game.<br /><br />“Sinister and strangely alluring,” (Mark Harris, <em>Entertainment Weekly</em>) <em>The Talented Mr. Ripley</em> serves as an unforgettable introduction to this smooth confidence man, whose talent for self-invention is as unnerving—and unnervingly revealing of the American psyche—as ever.]]></book_description>
    <book id="2247142">
      <num_pages>271</num_pages>
    </book>
    <author_name>Patricia Highsmith</author_name>
    <isbn></isbn>
    <user_name>Anna</user_name>
    <user_rating>5</user_rating>
    <user_read_at><![CDATA[Thu, 1 Aug 2024 00:00:00 +0000]]></user_read_at>
    <user_date_added><![CDATA[Tue, 06 Aug 2024 16:13:46 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 04 Jun 2023 10:05:53 -0700]]></user_date_created>
    <user_shelves>female-writers</user_shelves>
    <user_review><![CDATA[Patricia Highsmith's work is very original; I can honestly say I've never read anything like it. This is my second novel of hers (the first was <i>Deep Water</i>), and both novels are similar in the way they build apprehension, terror, and suspense as they put you in the mind of a deeply antisocial person. She achieves this with very few details, finding just the right action or train of thought to instill both fear of, and identification with, a sociopath. So, as soon as her unstable protagonist interacts with others alarm bells are already going off, and we are screaming, "No, don't hire him!" Or, "no, don't let him stay at your house!" <br /><br />The story is told so completely from Tom Ripley's point of view that we not only fear him, but we fear <i>for</i> him, which only ratchets up the tension. And because we all have anger, aggression, envy, and grandiose thoughts, we also experience a strange sense of complicity as we watch the train wreck he creates wherever he goes.<br /><br />Highsmith's artistry can be illustrated with a passage near the beginning of the novel where Tom Ripley remembers fantasizing, as a child of eight, about strangling his aunt, ripping her brooch off her dress, and stabbing her in the neck with it over and over again. He seethes with rage, but then he remarks to himself that it's <i>elegant</i> rage. We're back in the present, and he is admiring his perfectly creased trousers. In just those few words, we understand his entire character: a dandy sociopath with shallow emotions, given to violent fantasies that threaten to spill over into real life at any moment. <br /><br />The construction of the novel is brilliant as Ripley continues to get away with crime after crime. Each lie necessitates a new web of lies, and one of the pleasures of the novel is watching how he manages, by way of a good memory, good looks, a talent for mimicry, a cool head under pressure, the ability to ferret out other people's weaknesses, and sheer dumb luck, to slip each noose that begins to tighten around his neck. Highly recommended.]]></user_review>
    <average_rating>3.97</average_rating>
    <book_published>1955</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/2247142.The_Talented_Mr_Ripley?utm_medium=api&amp;utm_source=rss"><img alt="The Talented Mr. Ripley (Ripley, #1)" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1746213953l/2247142._SX50_.jpg" /></a><br/>
                                      author: Patricia Highsmith<br/>
                                      name: Anna<br/>
                                      average rating: 3.97<br/>
                                      book published: 1955<br/>
                                      rating: 5<br/>
                                      read at: 2024/08/01<br/>
                                      date added: 2024/08/06<br/>
                                      shelves: female-writers<br/>
                                      review: <br/>Patricia Highsmith's work is very original; I can honestly say I've never read anything like it. This is my second novel of hers (the first was <i>Deep Water</i>), and both novels are similar in the way they build apprehension, terror, and suspense as they put you in the mind of a deeply antisocial person. She achieves this with very few details, finding just the right action or train of thought to instill both fear of, and identification with, a sociopath. So, as soon as her unstable protagonist interacts with others alarm bells are already going off, and we are screaming, "No, don't hire him!" Or, "no, don't let him stay at your house!" <br /><br />The story is told so completely from Tom Ripley's point of view that we not only fear him, but we fear <i>for</i> him, which only ratchets up the tension. And because we all have anger, aggression, envy, and grandiose thoughts, we also experience a strange sense of complicity as we watch the train wreck he creates wherever he goes.<br /><br />Highsmith's artistry can be illustrated with a passage near the beginning of the novel where Tom Ripley remembers fantasizing, as a child of eight, about strangling his aunt, ripping her brooch off her dress, and stabbing her in the neck with it over and over again. He seethes with rage, but then he remarks to himself that it's <i>elegant</i> rage. We're back in the present, and he is admiring his perfectly creased trousers. In just those few words, we understand his entire character: a dandy sociopath with shallow emotions, given to violent fantasies that threaten to spill over into real life at any moment. <br /><br />The construction of the novel is brilliant as Ripley continues to get away with crime after crime. Each lie necessitates a new web of lies, and one of the pleasures of the novel is watching how he manages, by way of a good memory, good looks, a talent for mimicry, a cool head under pressure, the ability to ferret out other people's weaknesses, and sheer dumb luck, to slip each noose that begins to tighten around his neck. Highly recommended.<br/>
                                      ]]>
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    <pubDate><![CDATA[Sun, 04 Aug 2024 18:31:12 -0700]]></pubDate>
    <title>Pick-Up</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6730172054?utm_medium=api&utm_source=rss]]></link>
    <book_id>20353</book_id>
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    <book_description><![CDATA[<b>He Holed Up With a Helpless Lush</b><br /><br />Prowling the grimy streets of San Francisco low-life, Helen is a beautiful, sensuous drunk - and a pathetically easy pick-up. Harry just wants to help, but before long he and Helen are both adrift in a sea of alcohol - until Harry conceives the ultimate crime...]]></book_description>
    <book id="20353">
      <num_pages>191</num_pages>
    </book>
    <author_name>Charles Willeford</author_name>
    <isbn>1596542241</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Sun, 04 Aug 2024 18:31:12 -0700]]></user_date_added>
    <user_date_created><![CDATA[Sun, 04 Aug 2024 18:31:11 -0700]]></user_date_created>
    <user_shelves>to-read</user_shelves>
    <user_review></user_review>
    <average_rating>4.00</average_rating>
    <book_published>1955</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/20353.Pick_Up?utm_medium=api&amp;utm_source=rss"><img alt="Pick-Up" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1668450431l/20353._SY75_.jpg" /></a><br/>
                                      author: Charles Willeford<br/>
                                      name: Anna<br/>
                                      average rating: 4.00<br/>
                                      book published: 1955<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/08/04<br/>
                                      shelves: to-read<br/>
                                      review: <br/><br/>
                                      ]]>
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    <pubDate><![CDATA[Wed, 31 Jul 2024 18:08:06 -0700]]></pubDate>
    <title>Terminal Boredom: Stories</title>
    <link><![CDATA[https://www.goodreads.com/review/show/6718708613?utm_medium=api&utm_source=rss]]></link>
    <book_id>55251789</book_id>
    <book_image_url><![CDATA[https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1603206101l/55251789._SY75_.jpg]]></book_image_url>
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    <book_description><![CDATA[Seven punky and pitch-black stories offer English-language readers an overdue introduction to Izumi Suzuki, a cult figure in Japanese literature.<br /><br /><b>Women and Women:</b> The fissures in a queer matriarchal utopia are exposed when a boy, a creature usually contained in ghettoised isolation - appears beneath young Yūko's window<br /><b>You May Dream:</b> An extreme government initiative curbing overpopulation prompts a woman to re-evaluate her friendships<br /><b>Night Picnic:</b> The last family in a desolate city learns to be human through the awkward appropriation of popular culture<br /><b>That Old Seaside Club:</b> Passive-aggressive furniture provides unwelcome romantic advice<br /><b>Smoke Gets in Your Eyes:</b> Tense interplanetary politics distort Emma's love life<br /><b>Forgotten:</b> Jane's ex-girlfriend reppears, radically altered and insistent on a catch-up<br /><b>Terminal Boredom:</b> Tokyo's teenagers, disaffected and numb from excessive screentime, find distraction in violence.<br /><br />Suzuki's singular slant on science fiction remains fresh and essential. Concerns about society, gender and imperialism dovetail irresistibly with flights of speculative wonder. And with a kitchen sink in the corner of even her wildest stories, Suzuki reminds us that while society may be limitless, relationships remain impossible]]></book_description>
    <book id="55251789">
      <num_pages>218</num_pages>
    </book>
    <author_name>Izumi Suzuki</author_name>
    <isbn>1788739884</isbn>
    <user_name>Anna</user_name>
    <user_rating>0</user_rating>
    <user_read_at></user_read_at>
    <user_date_added><![CDATA[Wed, 31 Jul 2024 18:08:06 -0700]]></user_date_added>
    <user_date_created><![CDATA[Wed, 31 Jul 2024 18:08:05 -0700]]></user_date_created>
    <user_shelves>to-read, female-writers</user_shelves>
    <user_review></user_review>
    <average_rating>3.57</average_rating>
    <book_published>2021</book_published>
    <description>
      <![CDATA[
      <a href="https://www.goodreads.com/book/show/55251789-terminal-boredom?utm_medium=api&amp;utm_source=rss"><img alt="Terminal Boredom: Stories" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1603206101l/55251789._SY75_.jpg" /></a><br/>
                                      author: Izumi Suzuki<br/>
                                      name: Anna<br/>
                                      average rating: 3.57<br/>
                                      book published: 2021<br/>
                                      rating: 0<br/>
                                      read at: <br/>
                                      date added: 2024/07/31<br/>
                                      shelves: to-read, female-writers<br/>
                                      review: <br/><br/>
                                      ]]>
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