What has supposed to be a romantic getaway to the Galápagos for Diana and her boyfriend Finn – days before her 30th birthday does not go as planned. Finn, a surgical resident, must stay back in New York because it’s all hand on deck after the Covid-19 outbreak. However, he encourages and reassures Diana to go by herself since it would be a shame for all of their nonrefundable trip to go to waste. Unfortunately, Diana’s luggage is lost on her way to the Galápagos, the Wi-Fi is nearly nonexistent on the Island, and the hotel they’d booked is shut down due to the pandemic. In fact, the whole Island is now under quarantine, and she is stranded until the borders reopen.
In the book’s first part, I was a little disappointed by how the female lead ended up on the Island. I felt it was a little too convenient as a plot. However, by the book’s second part, that thought was knocked right out of me. Jodi Picoult is brilliant at engaging a reader and challenging all situations. At that point, I was reminded again why she is (one of my) favourite writer(s).
The themes in the novel about the pandemic were handled well and fully stretched despite being a relatively short book set in a complex time (and written at the earlier stages of the pandemic).
A cultural heist, an examination of Chinese American identity, and a necessary critique of the lingering effects of colonialism.
I’m giving this book a four-star for the literary, emotional and critical commentary rather than the actual heists. They were very faulty, quite convenient plans – definitely full of holes. Thus how they managed to execute them as novices was a suspension in disbelief.
The book is a feel-good about a possible situation where one can earn a tremendous amount of money to remove the burden of responsibilities and obligations while doing something meaningful and morally sound.
A running theme in the novel is the pressure of being an immigrant, more specifically, a second-generation Chinese in America trying to perform to the expectations of parents who believe in the American dream.
The critical commentary on imperialism (from both perspectives), colonialism, violence, and power were well woven into the story.
In the book, Feminism For The 99%: A Manifesto, the authors Cinzia Arruzza, Tithi Bhattacharya, and Nancy Fraser discuss an intersectional, radical, anti-capitalist, decolonial, and anti-imperialist feminism that is inclusive of all, especially marginalised women called ‘Feminism for the 99%’. With organising principles and action strategies that ensure no group is sacrificed over another and that “anti-racists, environmentalists, and labour and migrant right activists” (Arruzza et al. 5) work together, ‘Feminism for the 99%’ protects the powerless and provides hope for effective change. Hence, re-envisioning feminism and the way it has been practised. This is further evident from the theses the authors discussed in the Manifesto, particularly theses 1, 3, 4, 6, and 8.
Thesis 1 of the Manifesto states, “A new feminist wave is reinventing the strike” (Arruzza et al. 6). This refers to how ‘Feminism for the 99%’ reformed strikes, which were a form of protest only in the context of waged work, into a state of protest that withdraws labour along with housework, smiles, and sex (8). This form of protest is much more accessible to everyone from all sectors and regions. It allows for a global movement that requires little effort but has a significant impact primarily because we live in a capitalist world where labour is key to survival. By including actions related to unpaid emotional labour – housework, smiles, and sex, “the indispensable role played by gendered, unpaid work” (8) in a capitalist society, for which the system benefits but does not pay, is brought to light consequently. This deliberate attack against all types of exploitative labour is significant as it highlights that ‘Feminism for the 99%’ is radical and anti-capitalist.
Thesis 3 of the Manifesto states, “We need an anti-capitalist feminism – a feminism for the 99%” (13). This statement is linked to how feminism today, rooted in capitalism, sacrifices the well-being of the many for the freedom of the few. For example, there has been an increased push for women to get into powerful positions, obtain a high income and establish wealth to be on the same playing fields as their male counterparts. However, this sort of feminism emphasises the individual. It assumes that a woman in power would be able to change the systemic problems that affect the lives of marginalised women worldwide. Unfortunately, that assumption is untrue as those systemic problems result from ill-capitalism. ‘Feminism for the 99%’ instead aims to work with “every movement that fights for the 99 per cent”, be it for environmental justice, “free high-quality education, generous public services, low-cost housing, labour rights, free universal health care”, anti-racism or world peace (15) to dismantle capitalism and thus tackle social justice issues from their root. Hence, once against presenting how ‘Feminism for the 99%’ is anti-capitalist.
Thesis 4 of the Manifesto states, “What we are living through is a crisis of society as a whole – and its root cause is capitalism” (16). This means capitalism destroys anything it uses, such as nature, public goods, and human beings. As such, the political, economic, ecological, and social justice issues the world is facing are caused by capitalism. One example is the refugee crisis – marginalised folks are displaced daily due to war, violent conflicts, and environmental disasters. These circumstances that result in the displacement of marginalised folks are rooted in ill-capitalism, such as how companies pollute the air and water sources at the expense of people for profit, and similarly, how countries export arms to volatile regions for the sack of profit. Canada is one country that profits from the violent conflicts that cause displacement. Yet, Canada believes itself to be a country that practices “humanitarian exceptionalism” because it presents itself as a haven for displaced people and is more benevolent than the United States regarding accepting refugees. However, Canada predominately takes exceptional refugees, such as community organisers and activists. Furthermore, it employs immigration laws that discriminate against refugees based on race, sexuality, and ability (Phu et al. 29). Unfortunately, Canada’s performative action is also rooted in ill-capitalism, as the nation is driven by its desire to push an international and local political narrative of an “international leader in human rights and democratic freedom” (29) at the expense of vulnerable human beings. Hence, ‘Feminism for the 99%’ argues that by eliminating capitalism based on exploiting others, we can efficiently work on putting an end to the problems facing our Earth.
Thesis 6 of the manifesto states, “Gender violence takes many forms, all of them entangle with capitalist social relations. We vow to fight them all.” (Arruzza et al. 25). Capitalist social relations refer to the social links that occur under capitalism, between an employee and an employer or between intimate partners. In addition, due to the different aspects of private and work life, women are subjected to violations both at the hands of family and personal intimates and at the hands of “capital’s enforcers and enablers” (28). One example of a capitalist social relationship where gender violence is present and common is between women migrant workers and their employers. Although borders are not fixed and thoroughly ideological, they produce “hard workers” (Anderson et al. 7). This is because immigrants must work hard to keep their status in the country, which their employers have over them as citizens. The power that citizens have over migrants puts these female migrant workers in vulnerable and dangerous situations, such as when their bosses or managers in factories, for example, “use serial rape, verbal abuse, and humiliating body searches to increase productively and discourage labour organising” (Arruzza et al. 32) because they endure the mistreatment for fear of being deported. Borders, and consequentially, nationalised identities, which are colonial as most settlers do not have rights to the land they claim, are “a key strategy in dividing and subordinating labour” (Anderson et al. 13). Thus, ‘Feminism for the 99%’ which aims to fight all forms of gender violence, such as those that occur due to the construction of borders, is anti-colonial.
Thesis 8 of the manifesto states, “Capitalism was born from racist and colonial violence. Feminism for the 99 per cent is anti-racist and anti-imperialist” (Arruzza et al. 40). This means that the foundation of capitalism is racism and colonialism. Thus any feminism that does not actively dismantles capitalism would be enabling racism and colonialism. Unfortunately, this failure was present in the first, second, and third wave feminisms. First-wave feminism was liberal feminism and focused on getting women the vote. However, Black women and their needs were excluded in the process. White chosen stead choose to dissociate themselves from white men and argued that racism was “endemic to white male patriarchy” and that they could not be “held responsible for racist oppression” (“Chapter 4: Racism and Feminism: The Issue of Accountability”). Consequentially, this ignorance from white women during the first wave of feminism birthed Black Feminism, a philosophy that “motivated black feminists to work against their multilayered oppression” and to challenge “white feminists to acknowledge their exclusion of women of colour and working-class women in the feminist movement” (“The Combahee River Collective Statement (1977)”). This effort to include racialised and working-class women is also present in ‘Feminism for the 99%’. On the other hand, second-wave feminism, which was radical and concerned about racism, failed to include transgender and non-binary people in the conversation. Lastly, third-wave feminism, which is post-modern feminism, was focused on social media, digital space, and the representation of women. Although it began being more inclusive, it supported ill-capitalism by encouraging women to obtain high positions,
Overall, ‘Feminism for the 99%’ attempts to re-envision feminism. It is intersectional, radical, anti-capitalist, decolonial, anti-imperialist, and inclusive, especially for marginalised women. It challenges all that we have been accustomed to when we discuss and engage with feminism by enforcing organising principles and action strategies that emphasise no group is sacrificed over another, that all activist and community organisers need to work together, and that capitalism has to be dismantled for long-standing effective change to happen. While this is one way to re-envision feminism and its movements, as a manifesto, it oversimplifies the severe hostility against feminists and feminism, especially today.
“Chapter 4: Racism and Feminism: The Issue of Accountability.” Ain’t I a Woman: Black Women and Feminism, by Bell Hooks, Routledge, 2015, pp. 119–158.
Phu, Thy, Vinh Nguyen, et al. “STATES OF REFUGE: KEYWORDS FOR CRITICAL REFUGEE STUDIES.” Sept. 2019. “The Combahee River Collective Statement (1977).” Available Means: An Anthology of Women’s Rhetoric(s), by Joy S. Ritchie and Kate Ronald, University of Pittsburgh Press, 2001, pp. 291–300.
Gu Miyoung is an 18-year-old gumiho, a nine-tailed fox who must devour the energy of men to survive. One night, she stumbles upon and saves Jihoon from being attacked by a globin deep in the forest. However, this action violates the rules of survival and puts her at risk.
I think this book would have been better read than listened to. In addition, the narrator spoke in a sad, gloomy manner, which I don’t think was a good fit for the novel.
The plot was engaging and there were quite a few surprise twists. However, I felt like it was missing something. Maybe there was not enough time spent between the main characters for there to be as deep of a love to be formed and depicted – they were willing to die for each other. In addition, there is a lot of trauma between the two characters, and I am usually not a fan when characters bond because of the trauma they face.
Unfortunately, I will not be continuing with the series. The bridge to the next book did not make me excited. Instead, it made me sad for the female main character and thus unwilling to see her endure even more pain.
Tate and Miles agree to a low-stakes relationship because of their personal circumstance. However, things take a turn for the unexpected…or did it?
This book should come with the warning “when someone tells who they are, you better believe them”. I know it’s fiction, but it paints the picture that one can get into a relationship by disregarding boundaries…and believing the idea that one can “change” a man…
The trauma that the male lead went through, while very saddening, felt artificial. It was like the incident was put there for the shock factor…to explain his aloofness yet excuse his behaviour towards the female lead. This was the case because there was little to no elaboration of why the incident had happened and the immediate effects of that incident (I’m being general here to prevent spoilers).
I did enjoy the shifting point of view, especially how Tate’s pov was in the present and Miles’ was always in the past. It emphasised that he was stuck in the past. Furthermore, Miles’ pov is read in the present only after the resolution between the lead characters. This was a nice touch in the book.
Ayesha might be a little lonely, but the one thing she doesn’t want is an arranged marriage. And then she meets Khalid…As for Khalid, he’s happy the way he is; and was set on leaving his love life in the hands of his mother until he met Ayesha.
This book is a Muslim romance comedy. There was good character development, real tension between the two lead characters and a beautifully written and smartly executed resolution. There was suspense, surprise, and shenanigans. The plot was engaging, the issues addressed in the book were given great justice, and the humour was appropriate. In addition, it is a retelling of Pride and Prejudice! It was so good that I read it in one sitting. I highly recommend it!
Through a kaleidoscope of women – a mother, a sister, a homicide detective – we learn the story of Ansel Park’s life, a serial killer who is scheduled to die in twelve hours.
The latter half of the book was what raised my initial four-star rating to five stars and why I would recommend this book to others. The commentary on the prison system, mainstream media craze about serial killers (especially when they are young and attractive), and how victims are usually remembered at their last living moment (often how they were brutally murdered).
I think the plot was brilliant, as we moved from the perspective of all those whose lives were impacted by the main character’s actions. Furthermore, it was pretty interesting how the main character’s perspective, the serial killer, counted down in hours to his execution and shifted from first-person to a narration (in which a narrator speaks directly to the readers, almost as if they were the murderer themselves).
The author was cautious in how they wrote each character and addressed the sensitivity of serial killers being psychopaths, sexual violence, loss, and murder. I appreciated how they were no violent descriptions of how the victims were killed.
George Woodbury, a well-liked teacher, beloved husband and father, is arrested for sexual impropriety at a prestigious prep school on the birthday of his seventeen-year-old daughter. The arrest leads to a series of events for his wife, Joan, his daughter Sadie who is a student at the school, and his son Andrew, a lawyer in New York. The book follows the family’s journey of coming to terms with the allegations.
This book engaged with what happens to the family of a sexual assault offender/predator, how they gripple with the scrutiny, the deceit, and their lives changing forever. The author did a good job of engaging with the plot and issues addressed sensitively. However, I did not like the element of fatalism – several characters not speaking up for themselves, several characters easily getting away with questionable character and the lack of critical dialogue required in a book that engages with sexual violence.
Genre: Historical Fiction, Mythology, Romance, Young Adult
Pages: 471 pages; 13 hours (audiobook)
Level of difficulty: 3/5 Dictionaries
Rating: 5/5 Stars
Two couples. Hazel, a classical pianist from London and James, a British would-be architect-turned soldier. Colette, a Belgian orphan with serious emotional scars that fail to hide behind her beautiful voice, and Aubrey, a Harlem-born ragtime genius in the U.S Army. Their love story is told in first-person perspective and by goddess Aphrodite as she faces judgement on Mount Olympus for her interference with mortal love.
Romance, History and Mythology – a wonderful intersection! This is one of the best historical fiction I have ‘read’; it was funny, honest, hopeful and historically accurate. A beautiful tale that reveals that though War is a formidable force, it’s no match for the transcendent power of true love. I highly recommend listening to it as an audiobook. It is quite an immersive experience with different voices for different characters and the music the characters play in the background.