As part of the not being able to travel anywhere vibe, we are doing puzzles of places we can't currently visit. We've done this before, but puzzles become a little bit trickier when one has cats in the house. It turns out that many paws do not make light work. Who knew?
Friday, 1 October 2021
Friday Five: ISO Puzzles
Tuesday, 28 September 2021
'God's Chosen People': Tanamera
It is unlikely that he appreciates a woman’s ability to enjoy herself sexually; he has sex with a friend, Vicki, when they are both married to other people and she tells him, “Every married woman secretly dreams of being raped – by a friend of course.” Later, Julie repeats this nonsense, with the exact same words. This dangerous fantasy of his displays a complete lack of respect and understanding. Dramatic scenes later in the novel linger on the prurience of a gang-rape of his wife and sister, Natasha.
| Action at Parit Sulong, January 1942 by Murray Griffin |
As a rambling novel of a family saga with Singapore as a backdrop, this is an ambitious work. One is reminded of James A Michener’s Tales of the South Pacific. He couldn’t write women either and approached the situation from a white male colonialist viewpoint, but it won him a Pulitzer Prize in 1948 when that was the only perspective that mattered. Hopefully times are changing.
Friday, 24 September 2021
COVID-19 Friday Five: More Podcasts
We're allowed two hours of exercise now. I walk. I listen. Sometimes I listen to the birds and sometimes I listen to podcasts. Here are some of the podcasts to which I listen.
- David Tennant Does a Podcast With... (Somethin' Else and No Mystery) - The former Doctor Who star chats with his showbiz friends. It's very star-studded and a bit lovely-dahling, but it makes one realise how many great actors he has worked with, from Judi Dench, Olivia Colman, Elisabeth Moss, Billie Piper and Cush Jumbo to Ian McKellan, Neil Gaiman, Michal Sheen, John Hamm and Brian Cox. At this stage there is no Season 3 planned, but there are still 21 episodes to get to grips with at this stage.
- Eyes on Gilead (SBS) - As a companion podcast to The Handmaid's Tale, a group of intelligent and interested viewers (Fiona Williams; Haidee Ireland; Sanar Qadar; Natalie Hambly) discuss and dissect each episode after it has finished. More than just examining the plot, they suggest possibilities and refer to design and direction elements that highlight the intricacies of the show. There are also bonus interviews with actors (special love for Yvonne Strahovski - well, it is Australian), composers, make-up artists, costume designers, directors and the series creator. It's one for the fans.
- Natalie Haynes Stands up for the Classics (BBC Radio 4) - a friend introduced me to this podcast after I read Natalie Haynes' A Thousand Ships, which re-tells the story of The Illiad from the perspective of the women involved (it's excellent - more on that later). In a sort-of spin-off from the original series, Natalie Haynes does a series within the podcast in which she 'sits down' for the myths. In a move that will surprise absolutley no one, the first one I listened to was on Penelope. There are also episodes on The Odyssey, Clytemnestra, Helen of Troy, Penthesilea and Medusa. Plus, there are the original episodes on Cicero, Plato, Sophocles, Virgil, Ovid, Aristotle, etc. It's told in a light, informative and entertaining manner. I remember most of it, and can happily go back a few weeks later to remind myself of the bits I missed first time around.
- The Poet Laureate Has Gone to His Shed (BBC Radio 4) - I've got a bit of a thing for Simon Armitage. No, not like that (although I do love his voice). I've met him (twice) and I'm in his book, Gig (although not by name). He taught at the polytechnic where I studied (although not at the same time) and we know some of the same people, and have a shared interest in myth (The Odyssey; The Green Knight; King Arthur). He is busy writing haiku in his shed at the bottom of his garden (or so he would have us believe) and he interviews some iconic figures from my growing-up days. So far I have listened to the episodes featuring Jo Whiley, JK Rowling and Johnny Marr. I look forward to listening to the back catalogue including interviews with Maxine Peake, Antony Gormley and HRH Prince Charles.
- The Skewer (BBC Radio 4) - Described as the news retwisted as a comedy treat, it is a biting satire on politics and current events using the very effective sampling techniques that put words into other people's mouths. It's irreverent and devastating in 15-min chunks with dazzling wit and British pop-culture references that might stump some living outside the UK.
Wednesday, 15 September 2021
Hiding Her Light Under a Bustle: Agent Sonya
Ursula had a relatively comfortable
and privileged background, and became a communist through ideology. She moved
to Shanghai, where she was appalled by the discrepancy in conditions caused by
wealth. Bored and sickened by her life in Shanghai, she was anxious to do
something more meaningful. She was clearly passionately idealistic, but with
sexism bordering on misogyny, MacIntyre is unable to believe that she supported
the Communist cause for reasons of ideology alone and frequently espouses the
theory that she was attracted to the glamour and the excitement of espionage.
“Ursula was committed to communism, but also increasingly addicted to danger,
the romance of risk, the addictive drug of secrecy.”
Throughout the book he clearly
points us in a certain direction, editorialising in a blunt fashion as if he doesn’t
trust the reader to make up their own mind, or perhaps he mistakes condescension
for humour. He is also critical of other authors, which is spiteful and
unprofessional, merely heightening the sense of smugness. There is a lot of
repetition, suggesting the lack of a disciplined editor and, whereas this is a
great story and would make a great film or novel, this biography has got both a
muddled and didactic approach. He sets the scene very well, even if he does it
multiple times, and he clearly enjoys the complicated details of the meetings
between handlers and recruits in which two people walk towards each other
“holding a green book in one hand and a tennis ball in the other, exactly as
Sonya had instructed. At 4pm on the dot, a stocky man appeared, wearing a pair
of gloves and holding a second pair in his left hand.”
In 1932 when Japanese forces attacked Shanghai, Ursula was “dispatched” to the war zone to discover if Japanese incursions into China presented a potential threat to the Soviet Union. Later she was sent to Mukden, a city in Manchuria in Inner Mongolia (invaded by the Japanese in 1931) “to liaise with the communist partisans, provide them with material assistance, and transmit military and other intelligence to Moscow by radio.” She built her own radios (which she had to bury in the fields) and assembled aerials on the roof (which she had to dismantle each night). She moved to Switzerland, where she ran a spy network, using the “peaceful land of cowbells and cuckoo clocks” as a base to launch operations into enemy territory.
Threatened by possible exposure, she left Switzerland and
took her family to England where she settled in Oxfordshire. When Ursula moved
to Great Rollright, she cycled into the countryside to put messages in a hollow
tree and receive drops with her instructions, but there were no communications
and she began to worry. Basically, the GRU had got the wrong tree. After the
war, Ursula continued to spy for the Communist Party, and in 1949, she went to
Berlin where she continued her work in East Germany. She worked with many
‘famous’ spies, including Alexander Foote, a radio operator who spied for
Russia and Britain, and Klaus Fuchs, who supplied information from the
American, British and Canadian Manhattan Project to the Soviet Union during and
shortly after WWII.
It seems incredible that Ursula
was not caught. Her brother and father were already under surveillance by MI5
and the whole family were considered suspicious. She had been made a colonel in
the Red Army – the only woman to rise so high in Soviet military intelligence.
All of her previous husbands, lovers and many of her recruits were
interrogated, but none betrayed her. Many men couldn’t comprehend that a woman
could be a spy. MacIntyre writes, “Some in MI5 wondered how Ursula could
possibly have time to spy since ‘her hands are fairly full with domestic
duties.’”
Friday, 10 September 2021
Friday Five: Spring Garden Flowers
While we are in lockdown I am thankful every day for my garden. We live in a beautiful part of the world and we are currently permitted two hours of exercise per day (recently increased from one hour) as long as we do not leave our area, which I appreciate. Even on the days when I'm working from home and back-to-back meetings and emails mean I cannot leave the house for such periods of time, I can breathe in deeply as the onset of spring brings forth the blooms and blossom. I never thought I would be one of those people, but I truly love my garden space. Here are some reasons why.
Wednesday, 8 September 2021
Love's Labour's Knots: Ties That Tether
Azere is a young woman of Nigerian descent, living in Canada, who is
obsessed with her cultural identity and screen romance. The novel is written in
a light, fluffy style, combining the predictable plots of all her favourite
films, while hammering home some ethnic issues. Azere falls for a Canadian man
of Spanish descent after a one-night stand but tries to do the right thing by
her family, even after he shows up at her work (advertising) as the new
marketing director. Her mother has another man in mind for her – one with whom
she was in love as a young teen, who took her virginity on a camp and never
spoke to her again until now. This has all the makings of a modern sassy
rom-com with a younger sister and cultural sensitivity thrown in.
In the opening line Azere tells us, “Culture is important. Preserving
it, even more important. It’s the reason I’ve always abided by one simple
dating rule.” Due to a promise to her father on his death bed, Azere will only
date Nigerian men in an attempt to preserve her culture, even after immigrating
to Canada. Her mother and sister are aware of this promise, which rules her
life. Let’s start with the culture, because that is what the author keeps
banging on about with deafening repetition. She claims, “That’s what my mother
has been doing since we moved to Canada – shoving my culture down my throat, so
I don’t forget where I come from.” After the eighty-fifth reference, I know the
feeling.
She explains the richness of her culture and it is clear, and
understandable, that she doesn’t want to relinquish it. Her mother is clearly a
powerful influence, although not all her cultural strength is positive, as in
when she tells Azere, “If you want to be a feminist, fine. But please be a
married feminist with at least three children. In our country, a woman’s honour
is her husband and her children. A career means nothing.” Her father, before he
died, was a commanding force, and she also has a cultural issue of needing to
look after her younger sister. Occasionally in trying to explain how special her
culture is, she denigrates that of other people. Her mother sees no difference
between a white man and a Hispanic one; there are clearly shades of racism at
play here.
Azere is motivated by romances and romantic comedies, and all the
references are upbeat and contemporary, from Beyoncé to Sex in the City: it’s pure trash but it makes a change from the
tired old Jane Austen template. She is self-aware about the narrative
structure, pointing out the mechanics of the story including the lead character’s
sidekick – “someone bold, witty, and capable of providing comedic relief and
harsh truths the lead isn’t willing to face” – or the grand gesture, “one of
the most pivotal scenes in romantic movies”, which is meant to prove one’s
love, earn a lover’s forgiveness, or win back a lover’s affection. All of these
tropes are deployed. Part of the romantic genre is to place an obstacle in the
way of the couple; miscommunication of which threatens their relationship and
only love can overcome. In this there is an ‘intrigue’ that goes on far too
long about Rafael’s ex-partner, but it provides the definitive hurdle: it is
forced, but it fits the romantic mould.
The chapters are told from alternating viewpoints – Azere’s and Rafael’s
– although the voice is the same. Everyone cares about their wardrobe, hair and
make-up and has “perfectly groomed eyebrows”. Rafael describes Azere’s “spaghetti-strap
knee-length dress”; it seems incongruous that the male perspective would notice
this detail. Of course the woman is petite and the man big and strong: Rafael epitomises
the unsavoury aspects of the masculine hero, and when he tells Azere, “You’re
mine now, and there’s no way in hell I’m ever giving you up” we are meant to
view it as charmingly romantic rather than disturbingly possessive.
Friday, 3 September 2021
COVID-19 Friday Five: ISO TV We've Been Watching
We're in lockdown - sorry, maybe you weren't aware? Well, we are. And everyone is watching TV. I've scrolled through my notes to see what's been keeping me entertained on the small screen.
- Fisk (ABC) - Written and starring Kitty Flanagan, this show is light-hearted and fun, even though it is set in a law firm specialising in wills and probate, and the main character is Helen Tudor-Fisk, a woman whose career and marriage has fallen apart. The writing is smart and there are featured roles for a number of favourite Aussie comedians (Marty Sheargold; Julia Zemiro; Aaron Chen), with cameo appearances by many others (Ed Kavalee; Sam Pang; Dave O'Neil). It's a total contrast to the dark, gritty drama I tend towards, and I enjoy it greatly for the light relief. So far there is only one season of six episodes, but I hope there will be more.
- Handmaid's Tale, Season 4 (Hulu/ SBS On Demand) - The story continues to be as gripping and the production values as scrupulous as ever. June Osborne (Elisabeth Moss) makes it out of Gilead, but how does she cope in Canada? Can she reconnect with her past life? How does she make sense of the fact that people are literally dying to help her? Gilead still exists, and her daughter is still there, so what can she do about that? And will she ever forgive the Waterfords (Joseph Fiennes and Yvonne Strahovski) for what they did to her? So many questions - some of them are answered. It looks beautiful when it's at its most grim.
- Lucifer, Seasons 1 & 2 (Netflix) - Described as an American urban fantasy television series, it revolves around the story of Lucifer Morningstar (Tom Ellis), aka the Devil, who abandons Hell for a stint in Los Angeles where he runs a nightclub called Lux and becomes a consultant to the LADP. Yes, that's ridiculous and it is glib and flashy - apparently based on a character in the comic book series The Sandman. It has elements of comic book conversions about it - lots of sidekicks and pointless characters, most of whom are one-dimensional, with the possible exception of Lesley-Anne Brandt who plays Lucifer's ass-kicking demon ally, Mazikeen. It's worth watching for the way Tom Ellis delivers his narcissistic dialogue with such delight - he is one sexy little devil.
- National Treasure (Channel 4/ ABC iview) - The four-part 2016 British drama written by BAFTA-award-winning writer, Jack Thorne, is inspired by Operation Yewtree, a police operation begun in 2012 that resulted in the prosecution of a number of veteran TV performers. One such veteran TV performer is Paul Finchley, played by Robbie Coltrane, a once-successful comedian of the 1980s and early 1990s, now hosting a TV quiz show. When he is accused of raping several young women in the early 1990s, he fights to clear his name with the help of his former comedy partner and current star, Sir Karl Jenkins (Tim McInnery), while trying to explain his actions to his wife (Julie Walters) and daughter (Andrea Riseborough). It's unpleasant at times but very well written and acted.
- Tin Star, Season Three (Sky Atlantic/ SBS On Demand) - The wildly dysfunctional Worth family are back in Liverpool, making a list and checking it twice. I have really come to care for these characters over the past few series. Even if their actions are morally questionable (i.e. killing people is never a good thing), they are disarmingly charming, and no one does cheeky criminal banter quite like Tim Roth. But three season are enough, and judging from the unequivocal ending, I think we all know that.

















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