Beast, by Jade Linwood
I read this courtesy of the publisher and NetGalley. It’s out in June, in Australia.
This was a lot of fun.
I haven’t read the first book, Charming, which presumably introduces the titular prince and the variety of ladies he has rescued. Fortunately, there was enough backstory provided – and without it being super info-dump-y – that that wasn’t too much of a problem; I picked up fairly quickly that Charming is every Prince Charming, that he’s therefore regarded as a conman and a rogue by the rescuees who have now banded together, and that there’s also some sort of curse on Charming himself, organised by Mephistopheles, that the ladies need to work with Charming to break. Which is all well and good until Charming gets pulled into yet another curse – the focus of this novel, which is of course the Beauty and the Beast one. And it’s gender-swapped, with Charming as the Beauty and a woman as the Beast.
It’s interesting to read a flipped B&B, especially when it’s primarily from the man’s perspective (now I want to read a flipped version from the woman’s perspective). Because of the sort of story this is, Charming never finds Beast particularly offensive, and indeed appreciates many of her qualities from early on. The novel does acknowledge that other men have not been as generous, with some reduced to gibbering wrecks because they’re incapable of seeing past the idea of a very large furry bipedal ‘animal’ coming towards them while inside a house. There’s no great interrogation here or psychoanalytical discussion of what it means to have been transformed; that’s not what this novel wants to do. But there is commentary on Beast having to use a tankard rather than a wine glass, and not wanting to eat in front of potential suitors, and a few other notes that compare how a well-bred lady of the pseudo-medieval society would be expected to look and behave compared with how she looks now.
Other fairy tales also get a look-in here, in particular Red Riding Hood and Hansel & Gretel; they are likewise fractured in really fascinating ways. Linwood seems to have had a lot of fun playing with all of these stories and thinking about how to make recognisable and yet just a bit other. (Red’s hanging out with werewolves; Gretel is traumatised from her childhood – and not by a witch – and now protects herself with bears.)
Fast-paced in a good way, easy to read, some delightful characters: this book was great.
Bean there, done that: Patriot Games (1992)
I do adore a Jack Ryan movie (usually).
I love the way this film opens with talking about Russia (it’s 1992!!) – especially given The Hunt for the Red October – and then… BAIT AND SWITCH!
OK, this is going to focus on Sean Bean, I swear.
- I have no idea whether his Irish accent sounds real to the Irish ear, but it’s convincing enough to me.
- THE HAIR.
- Oops, Jack killed Sean’s younger brother. That’s not going to end well.
- How convenient that his character’s name is also Sean (Miller).
- He’s so young! (Huh; he’s 32 in this film, so… yeh ok, I’m old).
- Bean does angry very well.
- They didn’t make him cut his hair in jail? What sort of establishment is this??
- The blue and yellow jumpsuit does nothing good for Bean’s complexion.
- Although my, he is awfully skinny.
- He also does Terrifyingly Feral very well.
- [Eee, James Earl Jones!]
- He finally gets a haircut on the ship… I think it’s an improvement.
- It’s definitely an improvement. Little bit of a crewcut along the bottom of the head – not an undercut, far more military than that.
- [Eek, Samuel L Jackson! Had completely forgotten he was in this film. Also so young… about 43 years old…]
- Bean doesn’t really exhibit much range in this film: he’s angry, or upset, or frustrated, or… yeh that’s about all, actually.
- Movies just don’t do those fades between cut-scenes in the same way any more. More’s the shame.
- Yikes, disaffected IRA training in the desert… with vaguely Arabic types… oh, early 1990s, you were such a time.
- The conclusion feels rather cliched today – the royal at Jack’s house (as if), the navy buddy is there as well, the lights go out and the baddies make use of night vision (in the middle of a lightning storm, really?)… but I really like the speed boat chase: it may not look particularly realistic, but it is still pretty awesome. Also, over a lot faster than similar denouements in other, later, films.
- Bean’s death, impaled on a boat implement of some sort, is vicious.
Bean Verdict: Unquestionably A Bad Guy (slightly ameliorated by the dead brother aspect, but he was already involved in violence before that).
Movies: 1. Beans dead: 1.
Mary Darling, by Pat Murphy
Read courtesy of NetGalley and the publisher, it’s out in May.
The Peter Pan/Sherlock Holmes mash-up I didn’t know I needed.
I’m a big fan of taking old stories – especially well-loved ones – and either putting women in, or re-telling the women’s stories to give them more agency, or just flat-out actually making them a character rather than sexy (or maternal) lampshades. Here, Murphy gives life to Mary Darling: wife to George, mother to Wendy, John, and Michael – and previous inhabitant of Neverland, courtesy of Peter Pan. She grew up in Cooktown, Qld; is the niece of Dr John Watson; and is generally awesome.
The story is partly Mary’s story, as she goes off to find her own children – recognising all the signs, as she does, of a Peter Pan abduction – and partly Watson’s story, as he (along with Holmes) follow in Mary’s wake to try and find Neverland. Along the way there are adventures, including other Victorian lady adventurers, and brothel-keepers, and several pirates. There’s also flashbacks to Mary’s childhood, as well as to the experiences of various members of the party: Sam, a South-Sea Islander friend from Mary’s childhood; some of the pirates; the people who become known as Princess Tiger-Lily and her family; and George Darling himself.
Murphy has made Barrie’s (and Conan Doyle’s) much richer by restoring the women and people of colour who would really have existed in London, let alone the rest of the world, to the story. She’s also written a zippy tale of adventure and family and identity that kept me completely enthralled.
Holmes does not come out of this story very well. Nor does Peter Pan. I was naturally reminded of AC Wise’s Wendy, Darling, which is a very different book but likewise asks questions about exactly who, or what, Peter Pan could possibly be.
This was brilliant. Loved all of it.
Middle Eastern Feasts
This book was sent by the publisher, Murdoch, at no cost. It’s available now (RRP $39.99).
I can imagine someone telling me that I have enough Middle Eastern cookbooks in my life. They would be wrong.
I have never heard of Kepos Street Kitchen, presumably because I am not a Sydney-sider, so I have no connection with the recipes in this book that are apparently iconic at that restaurant. But that makes no difference in actually browsing and enjoying these recipes, so don’t let that put you off. There is a delicious range of recipes to try, and pretty much all of them are approachable.
Chapters in the book include Brunch, Mezzo, Salads, Feasting, and Dessert. So that was already a good start.
Recipes I have tried:
- Zucchini, sujuk and labneh omelette: I subbed in locally made chorizo for the sujuk. I think this is more like a frittata than an omelette (it’s finished in the oven) and it was fantastic.
- Bourekas (Middle Eastern sausage rolls): I was intrigued by this idea. Uncooked mince with some flavourings, rolled in strips of puff pastry and then curled into snails: magnificent.
- White bean dip: very easy, very tasty.
- Green beans with goat’s cheese, almonds, and lemon: the perfect way to serve beans. No notes.
- Za’atar pita bread: I love making bread, and I love za’atar, so this was always going to be a good choice. The pita recipe is very easy.
- Yemenite pan roti: my one failure. I’m not sure whether it was my fault – maybe the weather was too humid? – but I did also find the instructions a bit hard to follow. Stretching the dough was not as straightforward as it sounded from the instructions, and it wasn’t clear how the folding was actually meant to work. The roti tasted fine but they didn’t have the layers that they should have. I may try this again at some point when I have the nerve.
- White bean and sumac salad: delicious. Any opportunity to use sumac is a good thing.
- Broad bean, tomato, and cumin seed salad: without doubt the greatest discovery from this entire book. I grow broad beans every year and am always looking for new ways to use them. Why the title doesn’t also include the preserved lemon which I think is the star is beyond me. I will be making this salad a lot.
- Hot-smoked salmon and potato salad: another salad I have already made several times. Also includes boiled eggs, olives, sukkah and parsley. The perfect summer salad.
- Chicken chermoula: it’s just a recipe for chermoula, which is then used as a marinade but it was still pretty good. I also used the chermoula for prawns which was delicious too.
- Persian meringue cake: I had no idea how this would turn out, and the answer was “unbelievably delicious.” I made halvah to go in it (because I had been wanting to try making it for ages); it ended up too crumbly and so you couldn’t taste it. The recipe calls for a white chocolate glaze and even I, with my insatiable sweet tooth, think that would be a gigantic step too far. When the cake already includes halvah, dates, rosewater and nuts – in a meringue cake – adding white chocolate seems… irresponsible. But I will be making this cake again, oh yes.
This is a delightful cookbook. It’s not particularly breaking new ground, but it does have some delightful flavour combinations, and I am not sad to have it in my library.
The Return
I am a complete sucker for Greek myth films. And even more, I am an utter sucker for films that take bits that have been done less often, and which do so with nuance and a modern sensibility while still keeping true to the original. Nearly impossible? For sure.
The Return manages this with aplomb.
(Spoilers, I guess? If you can spoil a 3000 year old story? Although there are some changes to the ‘original’, which I will discuss.)
The film doesn’t try to cover all of Odysseus’ wanderings – and Troy is covered in a single sentence in the brief introduction. Instead, it opens with Odysseus washed ashore on Ithaka, and Penelope besieged by the suitors. It really only covers a few days – exactly how long is unclear, because Odysseus may have spent a few days in Eummaeus’ cottage, recovering his strength. The narrative moves between several strands. There’s Odysseus, coming to understand what has happened to his island, and Penelope, often at her loom, agonising over what to do and how to look after her sons. Interestingly, there’s quite a focus on the suitors, especially Antinous (the least objectionable on the surface, but shown to be very complex and with a horrible side) and a couple of others, like Pisander (who I spent the whole film trying to place – he was Ricky September in that weird episode of Doctor Who, “Dot and Bubble”). And there’s also Telemachus… and, look. He’s never been a favourite. Ever. I was terrified we’d be subjected to a whole section of him going off and visiting Helen and Menelaus, but thankfully we’re spared that.
This is not an action film. There is action: suitors chasing Telemachus, a couple of fights, and a particularly brutal killing of the suitors. The film is far more interested in conversation, though: discussing what happened at Troy – and whether the Greeks were heroes or not; discussing what Penelope should do; discussing what Telemachus should do; mourning the events on Ithaka.
This is a film that takes Odysseus’ experiences at war seriously, and the reality that a decade of fighting will change a man – and that two decades away from his wife and son will change their relationship. It asks very honestly whether Odysseus can ever truly come home, and how his family can now relate to him. It does not paint Odysseus as a hero, nor laud his accomplishments at Troy. Overwhelmingly, he is tired. He mourns the last two decades; he is remorseful of some of his actions, and fears the future. He’s not yet bitter and angry but you can see it’s a possible outcome.
One of the really interesting changes is that of the “maids” – and I find this particularly intriguing in light of the discussion around them over the last few years, with Emily Wilson’s translation finally making it painfully clear that these women are slaves, not just servants. The choice is to make them almost absent. A few are shown sleeping with (literally and, er, metaphorically) some suitors, but that’s all: no sense of whether they are being compelled, and also no sense of whether all of the women shown are actually members of the household. I guess this is one way to avoid the ‘necessity’ of killing them all at the end.
This is a great film. I appreciate the way it takes Odysseus’ agony seriously. It doesn’t do quite as well with Penelope – it’s not particularly informed by Atwood’s Penelopiad or Claire North’s Songs of Penelope series – but it does give her some agency. Overall, it is an excellent entrant into the halls of Greek myth-inspired films.
Macbeth: the start of a project
I have loved the play ever since I encountered it. I have seen many versions since then – several on stage (a memorable one at Melbourne Uni, performed in the round, with costuming to make it classic leathers-n-chains punk gangs), and several on film. Now I embark on an endeavour to watch as many versions I can find…
It’s a lot about Lady Macbeth – she is so active and yet she’s not allowed to be powerful without being punished. I’m also fascinated by the way it portrays power. And then the text around it is fascinating too: the utter misuse of history that it represents (yo, English propaganda!); the way that aspects of Lord of the Rings (the Huorns going to the Hornburg/Ents going to Isengard, and the Witch King being killed by a hobbit and a woman) are apparently speaking to Tolkien’s annoyance with the play (the forest coming to Dunsinane; no man of woman born…) – and its many appearances in popular culture.
So: here go.
1971: Polanski / Finch.
The 1971 Polanski Macbeth is my ur-text for the play. We watched it in Year 11 English, and it has coloured my view of the play irrevocably. (This was 1995 and of course I had no idea of anything about Roman Polanski at the time.) Francesca Annis is what I most remember – even more than Jon Finch – because her Lady M was so fierce and then so completely undone.
The weird sisters:
- First appearance;
- Maiden/mother/crone styling.
- Entirely physical – no sense that they are magical
- The maiden flashes her genitals!
- Second appearance:
- A cave full of naked women, all contributing to the cauldron.
- Macbeth drinks their concoction and then has weird hallucinations. – it’s not clear whether they have done magic or just given him really trippy drugs.
Macbeth:
- You really don’t get a sense that Macbeth is very impressive at the start: we don’t see him fighting, just immediately confused by witches.
- He’s conflicted right from the start – even in front of his men. Distracted, rather than decisive.
- Malcolm and Macbeth suspicious of each other from the start.
- His haircut is doing him no favours.
- After the coronation, when he’s dealing with the murderers, is when Macbeth starts to show some determination (being bloody, bold, and resolute…).
- His behaviour is verging on manic.
- Macbeth dreams of Banquo and Fleance killing him, after he sends the murderers for them.
- By the time he’s told that the English and Malcolm are coming, he’s becoming cruel and rash.
Lady Macbeth:
- In the first shot, we marvel at the HAIR. And the CLEAN DRESS.
- She is excited to see Macbeth – and he to see her: they are shown to be in love.
- She suggests murder – to Macbeth’s complete surprise.
- Uses tears to manipulate Macbeth into assassination.
- She has a potion to hand already that will drug Duncan’s servants.
- She is already freaked out while Macbeth is doing the deed. And she never recovers the composure she had at the start.
- Lady Macbeth falls asleep doing embroidery – first sign that she does anything so ladylike. And she has her first hallucination of bloody palms: her behaviour is very distracted.
- Re-reading the first letter: hair in disarray, can’t read for tears.
- We do not see her fall, but hear the cry of the nurse at finding her.
The Fall of Egypt and the Rise of Rome
Read via NetGalley and the publisher. It’s out now.
My feelings on this book are conflicted. There are some good bits! There are also some frustrating bits that definitely got in the way of my enjoyment.
The good bits: just the existence of a book about the Ptolemys is a pretty good thing, I think. They so often get ignored in histories of Egypt; and they just end up as a prologue to Cleopatra VII. And I get it – it’s hard to figure out where they fit in, as an invading ruling family that doesn’t fit with OG Egypt. I am also intrigued by the idea of putting the Ptolemaic dynasty and the rise of Rome together: if you know anything about the two, you know they have a stunning convergence in Cleopatra VII/ Caesar / Marc Antony, but what de la Bedoyere shows is the ways Egypt and Rome had been interacting for generations beforehand, and why therefore Caesar went to Egypt and Cleopatra thought getting the Romans involved made sense. I have a much greater appreciation now for the ways Rome was meddling in their surrounds, and how Egypt and Syria and others were using external players in their internal struggles.
Other positive aspects are the fact that the women get some discussion (although that’s also a source of frustration, see below), and the fact that this is written fairly accessibly, within the confines of ‘there are a lot of the same names and that gets very confusing’. I appreciated that the author did acknowledge things like ‘Roman historians have a LOT of prejudice’ and that there are several aspects of Ptolemaic history where historians simply do not have enough information to adequately explain things.
So. The less good bits. Firstly, the frustrating-ness is partly a product, I suspect, of writing a book that’s intended to be generally accessible – so it doesn’t go into a lot of detail about some aspects, and doesn’t have all THAT many references either. Instead, the author just makes claims… which are sometimes such that I raised my eyebrows. Perhaps the most egregious, from my perspective, is the fact that he doesn’t try to examine why various non-Roman kings in the Mediterranean world would appeal to Rome at the start, when Rome is an international upstart. He simply says that it happens because the Romans had won some wars. There seems to be an underlying assumption that Rome was always going to preeminent, so it makes sense that everyone acknowledged this early on. I wanted to write “needs more evidence” in the margin.
Secondly, the portrayal of the women is fairly problematic. The second Ptolemy was the first to marry his sister. De la Bedoyere blithely states that the sister, Arsinoe, basically made the marriage happen after she ran to her brother for help when previous marriages had gone badly wrong, because she was so ambitious. There is no explanation offered for her characterisation as ‘ambitious’. The fact that she married various rulers doesn’t tell us anything about HER attitudes. There is no suggestion that maybe Ptolemy forced or convinced her to marry him. Given the extravagant after-death cult stuff set up by Ptolemy II – which may be partly about playing into Egyptian religion – it seems more like to me Ptolemy II was either besotted or very, very political (why not have both?!). There are other moments when the various other Cleopatras, Berenices, and Arsinoes are also treated like this: mothers acting as king instead of stepping down for their sons, or manipulating brothers… and maybe some of them were indeed political machines! But I need evidence of that – because achieving that in such a patriarchal world would be admirable and worthy of applause! I point you also to this claim: “Worried that her power and influence were waning after his triumph over [another ruler], [Cleopatra Thea] tried to poison her son. Having already killed one child, killing another must have seemed comparatively easy.” NO WORDS.
Fourthly, connected to what I said earlier about acknowledging the problems with Roman sources in particular: relaying what those sources say in great detail, AND THEN spending a couple of lines saying ‘but we can’t take everything they say at face value’ doesn’t really work. Pretty sure that’s what lawyers do when they know a jury will be asked to ignore some evidence, but THEY’VE ALREADY HEARD IT (lol, at least that’s how it works on tv, and you see what I mean). I really think those sections – usually bad-mouthing a Ptolemy, and especially Cleopatra VII – needed to be PREFACED with ‘but the Romans had an agenda’. I really got the sense that de la Bedoyere doesn’t care for Cleopatra VII at all, to be honest; he claims she didn’t care for Egypt in the slightest, just her own power, and again – I’d like to see more evidence please.
Finally, there are some odd choices in terms of the book’s presentation. Every now and then there are boxes with random bits of information that is tangentially connected to the main part of the story. I found these more distracting than helpful – although I guess YMMV and maybe for some people this really works.
Overall… I’m reluctant to recommend this to an Egypt or Rome novice. I really think you need a slightly sophisticated reader who is able and willing to question some of the assumptions, and put things into context. So like I said: I am conflicted.
Ocean: A History of the Atlantic before Columbus
I read this courtesy of the publisher and NetGalley. It’s available now.
Broad sweeping history like this, even when done well, is both very intriguing and enjoyable to read, and occasionally frustrating. As long as you know what you’re reading, you can get around that.
To get the frustrating bit out of the way: the book focuses almost entirely on the European experience. It touches briefly on Africa, and even more briefly on the Americas, but largely through a European lens. Now, I am sure that this is partly a dearth of written records – but a significant portion of the book is about pre-history and/or relies on archaeology, so that doesn’t hold as a reason. I would have less of a problem with this if the book itself made clear it was “the European Atlantic,” but it doesn’t.
So, on the understanding that this book is largely about the European experience of the Atlantic before Columbus sailed across it, this is a pretty good book! It’s a survey, so it covers an enormous swathe of time and, within the European bounds, a broad range of cultures too – which does mean it doesn’t have really nitty-gritty detail, but that aspect is entirely expected.
Having recently visited Skara Brae, on Orkney, I was delighted to discover a section on that site, and to learn more about what it reveals of how Neolithic folks used the ocean. Haywood covers what we can know about how humans have eaten from the ocean (isotopes in bones, how amazing), as well as – when the literary sources exist – how they thought about it, used it in myths and stories, and so on. And then of course there’s sailing, for a variety of reasons and in a variety of vessels.
I left this book intrigued by the different ways people have used this ocean over time. I generally enjoyed Haywood’s writing style, and think this is accessible to the general reader.
The City in Glass
I am relatively new to Nghi Vo and now I want to read pretty much everything she has ever written.
There is so much that is enchanting about this book.
I love the idea of an immortal being having a long-term connection to, basically a relationship with, a particular place and group of people. What that looks like over a long period of time is a key part of what Vo is looking at here. I think connection to place is something that we don’t talk about enough.
And then there’s the fact that the main protagonist is called a demon, while the antagonist is an angel… nice work on the challenging expectations and flipping conventions, Vo.
The writing itself is also just a delight. This was such an easy book to read – it was so easy to just KEEP reading, to be sucked into the world and desperately need to know what was going to happen. This is always a good sign.
I remain delighted to have read this.
The Mercy of Gods

Read courtesy of NetGalley and the publisher. I will admit to a little trepidation when I saw this was coming. I’m a major fan of The Expanse series; there’s always that mix of excitement for new work from a favourite author (combo, in this case), and worry that new work will not compare to the old. What if the first stuff was a result of thinking and planning for their whole life, and now they are doing stuff with less preparation?
Happily, my fears were completely and utterly unfounded. This book is wildly imaginative, the characters are flawed and complex and compelling, and I am already psyched for the next one. Which is probably in at least a year, so that’s going to be so very frustrating.
Humans live on Anjiin. They haven’t always been there, but they have no history to explain how or why or even really when they arrived. But they’re doing very well in terms of arts and sciences and general life standards. They have a highly structured society, which isn’t great for everyone, but people deal with it as people always do. Dafyd works in a team that has recently made a major breakthrough: they have figured out a key step in integrating the two sets of biology on Anjiin. Because this is the clue as to humanity not being indigenous to Anjiin: there is the biology that seems related to humanity, and there is… everything else. And ne’er the twain shall meet. Until now.
At this point, it seems like the story will be about science and scientific rivalry. Which is all well and good. But then something is spotted on the edge of the heliosphere, and it turns out to be aliens, who do dreadful things to Anjiin and then collect a bunch of humans and take them… somewhere else. At which point the story becomes something else entirely. There are a whole range of aliens under the dominance of the Carryx, and humans are now one of them; they have to figure out what that means, on a personal and collective level. There are (unsurprisingly) a range of responses – and it’s in this that Corey shows a deep and compassionate understanding of humanity. I don’t agree with all of the ways various characters respond – and I’m not meant to – but I do understand why they act like they do.
It’s a first book in a series, so the ending is in no way a finale. It’s absolutely a prologue to what’s to come – indeed, the opening of the book, written by a Carryx, already says that Carryx interaction with humanity is going to have unexpected and catastrophic consequences. Exactly how will that happen? No idea! Need the rest of the series to figure that out!









