a journal of the plague, sword, and famine year [no end on sight]

Read the second volume of The Craft Sequence, Two Serpents Rise, by Max Gladstone,  with great difficulties as I found the story (again) poorly constructed, despite some characters being mostly well-designed (no connection with volume 1, except for taking place in the same universe, if at another time period). Mixing steampunk and hard fantasy involving gods does not work well in general and particularly there…. Following a New York Tĩmes review of the sequel, I also went very quickly through the Unwanted Dead, a first volume by Chris Lloyd, HWA Gold Crown for Best Historical Fiction winner for 2021, following a (s)hell-shocked PTSD-ed Paris police detective during World War II, when German troops arrive in the city. Not very realistic imho, as the nosy inspector happens to cross paths with Hitler during his very brief and unique visit to Paris as well as in Compiègne, and with a disappointing resolution of the wagon murders, but well-documented and with no obvious anachronism (except the unlikely presence of bathrooms in all apartments!, and the detective drinking whisky). (A wee nitpicking: Neuilly-sur-Seine (west of Paris) seemed to be confused with Neuilly-Plaisance (east of Paris), but the author acknowledged to me a general tendency to confuse east and west, just like I usually confuse right and left…) Overall, I found the Berlin Noir (Philip Kerr’s) novels more impressive and engaging!

Had a matcha flan in Paris, following a tip from Le Monde!, but was somewhat disappointed by its mild flavour, if comforted by the hojicha kokicha (made solely of tea stems) they served. And an excellent Filipino dinner in Kenilworth. And a yummy lamb Turkish Gözleme next to the ATI in London. While snacking the rest of week on Mysore dosas made on the street next to the Statistics Department at Warwick.

Watched (via a neighbour screen, on the flight to Martinique!) La Nuit du 12, a French thriller that got elected as Film of the Year (2022) by the Le Masque & La Plume (France Inter) audience, following a police investigation in the Maurienne valley after a particularly grisly murder of a young girl, one of the most fascinating aspects being that the crime remains unsolved despite the police efforts. In an impromptu home-made (!) Michelle Yeoh cycle, rewatched Crouching Tiger, Hidden Dragon after reading a particularly positive article in The Guardian. While the fighting scenes are definitely worth watching, esp. the trio fight on ice, the story remains rather lame. And Everything Everywhere All at Once, which I had also partly watched in the plane, but found highly unsatisfactory overall as lacking purpose, despite some great scenes between Michelle Yeoh and Jamie Lee Curtis ! Concurring with the strongly critical analyses in The New Yorker and the Guardian at the failure of the Daniels to find a purpose and a pace. (To quote from the latter, “these often impressively nutso formal backflips land in a position of pedestrian sentimentality, and then upbraid anyone resisting the viscous flood of sap for their cynicism.”) The scenes around the Everything Bagel are interminable…

a journal of the plague, sword, and famine year [with avocados]

Read two books by Alix E. Harrow, A Spindle Splintered and A Mirror Mended, which are modern takes on Sleeping Beauty and Snow White. Rather hilarious for their tone and dry humour, if rather YAs… And Undercover, a novella by Tasmyn Muir. Rather well-build steampunk around a moving city and… zombies. Plus a new volume of Blake and Mortimer, a gift from my son, which is a come-back to more standard scenarios in the series, set in the 1950’s between Berlin and the USSR. Hence much enjoyable. Not at all like These Violent Delights, by Chloe Gong, which I could not complete reading. I bought this book last Fall in Brussels‘ English bookstore, in the horror section shelf!, attracted by the prospect of a gang war in 1926 Shanghai. But the story is terrible, the style appalling, and the characters laughable, the proclaimed connection with Romeo and Juliet making little sense…

Made heaps of guacamole from the 2kg of local avocados we brought back from Martinique. Still unclear about cooking with the accompanying fresh tamarind box. Ice cream, as the flavour on sale at the Fort-de-France airport?! If not tamarind, we had a great (or slow) time eating our way through Martinique, incl. the highly original Habitation Céron at the Northern tip of the island and its most unusual mix of flavours.

Watched The Pale Blue Eye, by Scott Cooper, which stemmed from the appealing concept of involving the then-West-Point-Cadet Edgar Allan Poe in a crime inquiry, but flopped rather miserably with unbearably slow dialogues, a ludicrous incursion of dark magic, and a terrible ending. And both Knives Out, Glass Onion (#2) being much better in my opinion. Craig’s acting is superb (with his Southern accent), the scenario twists most enjoyable, if far from realistic, and the satire of tech billionaires a balm. The earlier Knives Out is too cluedo-y, with the final twist revealed way too early, and too much sympathy for one character. (But having Jamie Lee Curtis acting as a redeeming feature!) I also finished All quiet on the Western Front, which somehow disappointed me, maybe because E.M. Remarque’s book is one of my favourites. And I could not entirely recover the friendship bond between the troopers that was central to the story, presumably due to lengthy gory scenes or the accumulation of woes in the final hours before Armistice. The last third of the film stalls, somehow bogged into the prospect of the coming disaster as the troopers are in the hellish landscape of the front lines. The heavily stressed opposition between the muck of the trenches and the refinery of the Compiègne wagons (despite the stale croissants!) was quite unecessary, as Remarque’s point was to stay away from the higher spheres (as opposed to his later books, like Drei Kameraden). [The Guardian of 13 Feb features a highly interesting interview of Lesley Paterson,  the Scott screenwriter of the film who not only spent 16 years making All Quiet &tc., but also financed it through triathlon winnings!]

a journal of the plague, sword, and famine year

Read over the last week of 2022 and in the plane to India, three books by Katherine Addison, The Goblin Emperor and both volumes of The Cemeteries of Amalo. While the steampunk side is very light, the universe is rather well-conceived and the stories compelling, esp. the duology that follows a priest able to connect with recently deceased people, towards seeking murderers or scone recipes. Too much introspection and self-pity, too many descriptions of itineraries in an imaginary city, unnecessarily complicated names, but pleasant nonetheless, with a fascination with (imaginary) teas and tea-houses. I also read All the Horses of Iceland, which turned out to be an historical novel on an early Icelander’s trip to Mongolia and his bringing home the ancestors of the famed horses of Iceland. Very well-written and full of historical tidbits.

While visiting Ivan Vautier’s restaurant in Caen with a scallop menu was a continuation of a family (almost) tradition, I cooked very little over the period except for making my own garam masala from spices I bought in India. Put to use in weekly fish curries. I also tried to bake dosa (ದೋಸೆ), this very thin rice-flour crêpe ubiquitous in South India, but it ended up closer to a galette!

Watched most of The Good Detective, a rather conventional Korean TV series (meaning the same police stations, endless shots of police stations from outside, post-work dinner parties, intricate blackmail situations, widespread corruption, massive conflicts of interest, as in series earlier watched). But enough originality to keep me interested. And second-watched Belfast in the plane to India, a black-and-white film by Kenneth Branagh, focusing on a Protestant family during “The Troubles” and sounding (!) rather engaging, if possibly soppy (as sound was off).

“an appeal to cease fire so that Orthodox people can attend services on Christmas” [theocripocrisy]]

a journal of the plague, sword, and famine year

Read my very first Annie Ernaux piece and it was in English, in The New Yorker! A very short piece on a short visit to her mother. Beautifully written, carrying the bittersweet feeling of the impossibility to reconnect with earlier times and earlier impressions. I was much less impressed, however, by her Nobel discourse and the use of Rimbaud’s race (and Galton’s and Fisher’s…) in such a different context. A constant projection/fixation on her background and class inequalities, supplemented by an ethic of ressentiment, does not sound enticing, the more because auto-fiction has never appealed to me. (Sharing similar social and geographic [Rouen!] backgrounds sounds precisely as the wrong reason to contemplate reading her books.)

Cooked weekly butternut soups, red cabbage stews and squid woks as these are the seasonal best offers at the local market, along with plentiful Norman scallops, not yet impacted by inflation. Also restarted making buckwheat bread, with the side advantages of temporarily heating home (and a pretense to add the rice pudding dish in the oven!).

Watched Trolls, Wednesday (only on Wednesdays), and Decision to Leave. Apart from the Norge exposure, the first is terrible, esp. when compared with the earlier 2010 tongue-in-cheek Troll Hunter (Trolljegeren).Wednesday is a television series that centres on Wednesday Addams, the dead-pan daughter in the Addams family. I found the series hilarious, even though intended for YA audiences. The quality of the episodes varies, those from Tim Burton usually coming on top, but the main character (Wednesday, in case you are not paying attention!) is fantastic. (The fact that, Christina Ricci, the actor playing Wednesday in the 1991 movie is also involved in the series is a great wink to the earlier installments of this series.) And, final argument, a series where the heroin pogoes to a song by The Cramps cannot turn all bad! The Korean Decision to Leave (헤어질 결심) is a masterpiece (except for the ridiculous climbing scenes!) in deception and ambiguity (with a very thin connection to Hitchcock’s Vertigo). Far from his backup role in the stunning Memories of Murder, Park Hae-il is fabulous as a policeman torn between his duty and an inexplicable attraction for the main suspect, brilliantly played by  Tang Wei, who manages the ambiguous character till the very end.