Catwalk: Tales from the Cat Show Circuit

The world of competitive cat shows this week and a documentary, no less.

DISCLAIMER: I’ve already forgotten all the human names and I can’t be bothered to go back and catch them so they will hereon out be referred to as Bobby’s Mum and Oh La La’s Mum. Of course I remember the star cats names.

Catwalk: Tales from the Cat Show Circuit (2018)

Catwalk takes us into the gritty underworld of the cat show, something I have never thought about before and might not afterwards. Apparently it’s kind of a big deal in the US and probably elsewhere, again I haven’t done my research. Sue me.

Bobby is current king of cats, best in show. He’s a beautiful white boy described as ‘muscular, not fat’ by his mum. She might as well be describing Chris Hemsworth the way she’s going on but one look at Bobby and you can’t really blame a girl. He’s mostly nonplussed about the adoration and just gets on with what he’s required to do which is to be a good boy in competition. Via the power of a rather cute info-graphic we can see that Bobby is head and tail above all the other cats on the circuit and heading for world domination.

Burning ball of straight fiyah

Alas, Bobby’s (or more accurately Bobby’s mum’s) confidence is knocked by the arrival of one Ginger Queen, the formidable Oh La La, a Persian fluff ball with attitude. Oh La La rocks up and easily scoops Best in Show but it’s okay because it’s a one off show right? If Oh La La and her owner take their victory and bow out on a high, never to be seen again, Bobby and Mum don’t have to worry, see? Shame then that Oh La La’s mum gets the cat show bug and decides to keep going.

OOOOOOOOOPSY.

Thus starts a competition to rival Bette and Joan’s. Relax, it’s never that bad, there are no broken legs a la Tonya Harding but there is some ‘jokey’ attitude as Oh La La’s Mum ponders whether Bobby’s has sabotaged an entire airline to stop Oh La La arriving to a particular show. Bobby’s meanwhile keep saying things like “Anything can happen… Oh La La’s Mum could fall ill…” and you wonder how far these women are willing to go to come out on top.

The cats, again, are not that bothered but Oh La La in particular goes through a rigorous regular routine of beauty and pain. Personally, I think she’s kind of a bitch and that’s why I like her so much but I do feel a little sorry for all the other cats that get sidelined for The Big Two.

I feel like there is a special indignity in watching cats of all creatures being manhandled by judges. For the most part, these cats don’t really want to be there and would much rather be sleeping or roaming about, surely?

At one point Bobby throws up a collection of grotesque hair balls on the judging podium, and I cheered. His mother looks on with a pained expression of not anger so much as disappointment. I like Oh La La’s mother far more than I like Bobby’s because she at least seems genuinely cheerful. Bobby’s seems to have an underlying coolness to her but in the end the two owners are kind of friends, and at least they understand one other.

As Oh La La continues to thrash the competition, Bobby’s ma seems to resign herself to the fact she can’t catch up and she actually seems to relax visibly. She has another cat in show, who is probably my favourite and who’s name I can’t remember. She decides to focus a little more time on this cat and helps him pump up his competition points. This is quite a triumphant segment to be honest.

I just think it’s a shame sometimes that the fun seems sucked out of the shows when all they’re worried about is winning. Bobby’s mother in particular seems obsessed with the idea of the perfect cat and anything that isn’t first place doesn’t count to her.

In my opinion all cats are perfect. This doc is an eye opener. It’s shocking how much commitment goes into the pursuit of perfection and I had fun with this documentary. The personalities and the facial expressions of the cats are the best thing about it as well as the barbed ‘jokes’ between the two main cat mums.

You’re the cat’s pyjamas

I really hope that Bobby and Oh La La do/did (Oh La La is now retired) enjoy their cat show times as much as their owners believe they do/did. I suspect they don’t give a fuck either way.

⭐⭐⭐½ out of ⭐⭐⭐⭐⭐

What did my kitty cat think of Catwalk? Would she vote it Best in Show or throw it out with the hair balls? Find out here obviously.

Write the Book

“Everybody does have a book in them, but in most cases that’s where it should stay.” ~ Christopher Hitchens

There’s an old adage that suggests that every person has at least one book ‘in them’. I don’t know if this is true but I often think about whether or not I might be someone who does. My gut tells me no, absolutely not, that the fiction I love to read is way beyond me. I like dark and intricate plots – and I know I’d never have the attention to detail required to produce anything in this league. I struggle with timelines at the best of times (everything was the other day to me, even 1996) but I can’t imagine skilfully being able to foreshadow or call back to the exact moment a character turned from ordinary person to arch nemesis of the world.

For as long as I can remember my mother has been on at me to just “Write the book”. I believe I can write competently, it isn’t that I doubt that – I just don’t know if I have that something extra that she thinks I have. Writers are the most extraordinary people in the world to me. Take Stephen King, the man who wakes up every morning and writes a set number of words (1000) no matter what. Come rain or shine he throws his words on the page and something usually sticks. The man has produced some of the most memorable horror characters of all time. He’s built worlds that might look just like ours but are actually more horrible/magical/strange that we could ever imagine. Whether you’re a fan or not, this commitment is incredible – and it seems healthy and cathartic to me too. Perhaps I should try it, just open a Word doc every day and GO.

But if fiction is out of the question, then what? I haven’t enough true story in me for a memoir (I know that’s never stopped a lot of people) plus I’m way too young (LOL). Self help seems like a bit of cheek – who am I to believe I have wisdom to share with the world? This morning I had a Cadbury’s Crème egg for breakfast because “I’m ill”. I know about love, heartache and grief but so do most people. What on earth is my USP?

This is one of the million dollar questions that keeps me awake at night – what was I put on this earth to do, really? Perhaps that’s my pitch: ordinary 40 year old woman goes out into society to figure out her true purpose? Hey it could work. Failing that I’ll just whip up a book of my favourite filthy jokes, none of which are suitable for this blog post.

Happy Wednesday all!

UPDATE: I wrote this for my work blog and thought I’d share it here too.

Mary Shelley

This movie would be a good contender for Feminist February so I’m almost pissed I didn’t save it. However, it was interesting to get an insight into the life of such an interesting writer, the creator of one of the most horrifying and also sympathetic horror characters of all time.

*Spoilers*

Mary Shelley (2017)

Mary Wollstonecraft Godwin (Elle Fanning) is a 16-year-old woman with a penchant for horror. A writer whenever she can be, she is somewhat stifled by the responsibilities of home, by her step-mother (go figure) and by the death of her mother, a wanton hussy who left the family home to embark on a live-in threesome and then pegged it. Her father tends to take the side of his horrible wife, even against his own daughter and he also critiques her writing, telling her she has to find her own voice. Gee, I sure hope she does…!

Mary has a step-sister (I think) called Claire (Bel Powley) who adores her and there might be a younger brother somewhere in the background too. Mary’s step-mother Mary Jane Clairmont (Joanne Froggatt) is a professional shit-stirrer and many times I found myself shouting the C Word at the screen when she was on it. She ribs our girl about her mother’s slutty ways and this gets Mary temporarily ejected from the family home, sent away to stay with a cousin (?) in Ireland.

The cousin, Isabel Baxter (Maisie Williams) is fun and Mary begins to enjoy her life away from home and her family. Not least because here she meets the young poet Percy Shelley (Douglas Booth), a serious charmer and all-round hot piece. As Mary and Shelley begin to nuture the spark between them, Mary is called home to deal with an emergency – the serious illness of her sister, Claire.

Mary returns home to find Claire has been faking her sickness just to get her sister home and I would have slapped her damn face for doing that to me. Mary is a little more understanding and able to handle it even better when Shelley appears on her doorstep, under the guise of being apprentice to Mary’s father, also a writer. The pair are able to pick up where they left off which is all well and good until Mary is approached by Shelley’s wife and young daughter in the street. Mrs Shelley tells her to stay away from her man or she’ll cut a bitch – and Mary denies all romantic interest in Shelley, which we all know is a goddamn lie.

Later, Shelley states that they are married in name only (that old chestnut) and that the marriage was nothing like what he’d signed up for. Mary is talked around quickly by Shelley because she wants to be but her family are outraged that Shelley would shirk his responsibilities to his wife and child so easily. Mary’s father tells her that if she sees him again then she is dead to him and – ooops – guess who she chooses?

When the time comes, Mary runs away and Claire begs her to go too. So the girls and Shelley disappear into their new life which lacks the grandeur both of them were expecting. It is free and sexy though and the girls are able to indulge their desires, e.g. drinking wine and shagging. Eventually the trio move to a house though things are still far from idyllic. Shelley is a struggling writer who has a deal but isn’t delivering the goods, they’re poor and struggling and then Mary falls pregnant. Added to this, the couple have a fight when Mary declines the sexual advances of one of Shelley’s buds. It becomes clear that Shelley has quite an open-mind when it comes to the topic of monogamy, while Mary is a one man kind of gal. They fight about who each of them believed the other to be and there is also a strong suggestion that Shelley is also schtupping Claire (though as far as I recall this is never confirmed).

Mary has the baby, Clara and all is well for a time until she passes away. Baby Clara is sickly anyway but during a mad dash from the home in the middle of the night (I think the trio are running away from creditors or the landlord), Clara catches a chill. I fully blame Shelley for this needless death and Mary’s subsequent grieving.

Claire begins shagging Lord Byron (Tom Sturridge) who invites them all to his home for a fancy retreat and Mary meets a kind (and fit) doctor who seems to dig her. Shelley gets jealous about this chemistry and throws his weight about, or is this a delayed response to the news he receives that his wife has killed herself? Either way he’s a dick. Byron too is a shit to Claire who is up the duff with his child. The take home here is ditch the zeros and go your own way, girls.

During the course of the film we are given glimpses of Mary’s interest in science and while they’re staying with Byron, the group go to a TED Talk about bringing people back to life via a spooky looking machine. Following this, a seed is planting in Mary’s mind and a monster is born. You know to which ‘monster’ I refer.

Mary of course writes Frankenstein which is an exceptional work but is not taken seriously by the publisher on Mary’s return because you guessed it, she is a lowly woman and books by women do not sell. Also, the publisher dick implies that Shelley wrote it anyway. Lo! – Shelley in the end gets the credit for Mary’s masterpiece and she is so angry they split up.

Will he do the right thing in the end and will Mary reconcile with her father? More importantly will she gain the recognition she so richly deserves for her work? Well, most of us have picked up a copy of the book with her name on the cover so that one might be a no-brainer but it’s still nice to have an insight into how this comes about.

Well, I might not have paid particular attention to the details but I did enjoy this period piece. Elle Fanning is always a delight and I presume she does Mary Shelley justice. I don’t like any of the male figures, except maybe the kindly doctor and that’s the point. This is about Mary and her journey to liberation. It’s about being taken seriously as a member of the fairer sex and of staying true to her own principles. Mary holds her head high despite the reputation she gains from being with Shelley and the shadow of who her mother was and what she did.

I love the book Frankenstein and the themes it explores – I will be picking it up again soon.

⭐⭐⭐½ out of ⭐⭐⭐⭐⭐

What does my heroine think of this one? Would she keep this one reanimated or refuse to publish it? Find out here.

 

Maniac

Maniac (2018)

Jonah Hill, Emma Stone, a depressed computer, a series of mind-bending simulations and a seemingly predestined shared destiny – what’s not to love?

Honestly, not much. While everyone seemed to be tooting on about this when it first dropped on Netflix, I had a hard time getting past the first few episodes. But I wanted to give it a fair go, given its cast and I’m so glad I did.

I found it to be thoughtful, beautiful, funny and heartbreaking all at once. Like, honestly so profound in places that I thought my own heart might burst out of my chest and jump across the floor.

I don’t know how well I can describe it but Maniac focuses on Owen (Hill) and Annie (Stone), two quite damaged individuals who find themselves part of a new and potentially life-changing drug trial, run by Dr. Muramoto (Rome Kanda) and his colleague, Dr. Azumi Fujito (Sonoya Mizuno).

Both our protagonists have their own battle ahead. Owen Milgrim lives with severe mental health issues. He is also due to testify on behalf of his brother (Jesse Magnussen) in court, after he commits a felony. Increasingly, Owen disconnects from the world and from his family, struggling with suicidal notions.

Annie Landsberg grieves the death of her younger sister in a car accident and is driven to take extreme action to face what’s become of her life since. And so the two find themselves loosely acquainted, both test subjects in Muramoto’s lab. The tests are surreal and immersive, not to be discussed with the other patients but to be dissected at length after the fact.

When Muramoto drops dead suddenly, seemingly an addict of his own experimental drug (and the very pill the subjects have been taking prior to their simulations), Azumi calls in Dr. James Mantleray (Justin Theroux) to take his place. James it seems was one of the founders of the experiment, which is set to address and then fix all the misery of the world.

You didn’t think it would be that simple though, did you? Well of course it isn’t, as the project is plagued with issues. In fact, the only thing that seems sure in this whole trippy scenario (and all the wonderfully vivid simulations) is that Owen and Annie will find themselves together, their lives somehow entwined. Which isn’t supposed to happen.

The rest is up to you but it’s a Technicolor study of loss and life and love and mental anguish. Of accepting your limitations, of taking a leap of faith – of not being ‘normal’ and doing it all anyway. I adored it and by the last episode I actually felt deflated. Maniac has lit up this dreary week and engaged me fully. I want it back.

Have you seen Maniac? What did you think?

Eileen

Eileen is one of those novels that grips you to the final page but doesn’t quite give you the pay off you’re expecting. Not that you really mind when the character is as rounded as Eileen Dunlop. The writing here is so descriptive that Eileen practically pops off the page and this is the reason I really enjoyed it.

The story goes a little something like this: Eileen is a middle-aged woman when we meet her but as the narrative unfolds, she regales us with a tale from her early twenties. A tale it seems that has paved the way for the rest of her life, up to present day.

The daughter of an ex-cop, Eileen dreams of the day she can leave her dreary life and unfulfilling job behind. When glamorous Rebecca Saint John arrives at the juvenile prison Eileen works at, our protagonist’s world is set ablaze with bizarre and potentially devastating consequences.

Oooooh!

Again, what I enjoyed most about this book was the way Ottessa Moshfegh paints a picture. Eileen is not an attractive character per se but she is so vividly molded by the author that she becomes something else altogether. As she just about tolerates her home life and the increasingly unstable behaviour of her largely unloving father, Eileen builds an inner fantasy life around the prison.

Lusting after one of the guards, our girl engineers scenarios in which he falls in love with her and her (love) life finally begins (she also dedicates a great deal of her waking day waiting outside his apartment in her car). She also admits that the youthful inmates she’s around every day have an effect on her too and I like the scenes in the prison the best. I love a prison setting and the psychology of why people do what they do and Eileen gives us snippets of their lives to savour.

When Rebecca appears we explore this element in more depth. I couldn’t really fathom where the ending would take us, apart from knowing that Eileen finally leaves her depressing home town for a bigger life – and this is part of the reason I enjoyed my experience so much.

The ending is probably the only part that made me scratch my head a little bit. It’s not that it’s bad and it’s not that it doesn’t fit, it’s just turned out differently to what I expected and I think that’s a good thing. I won’t spoil it but if you do read, I’d like to know your thoughts.

I definitely miss Eileen Dunlop. She’s not your typical heroine but I’d love more of her. I’d like to know more about how her life developed after the events of this book – and way beyond. As a middle-aged woman, she alludes to some of the relationships she’s had throughout her life and I’d like to hear her talk about them.

Ottessa is a great novelist and I will be exploring more. STAT.

Book details:

Eileen
Publisher: Vintage; 01 edition (18 Aug. 2016)
ISBN-10: 1784701467
ISBN-13: 978-1784701468
Gifted paperback for Christmas

What are you currently reading?

UPDATE: Realised after posting (no I didn’t, Meghan told me) that I’d been calling it ELAINE throughout. Jesus.

Hibernation Nation

Our household has come down with a case of the sickness and I’m personally affronted by the fact it’s penetrated the force field of my annual flu-jab. Rude.

As a result of this I do get to do my favourite ever thing without guilt though: nest. So I’ve got a whole weekend planned, reruns of Broad City, Twin Peaks: Fire Walk with Me, a re-watch of Mandy, good food (or whatever I can afford the weekend before Pay Day) and watching the gerbils fuck about in their natural habitat. Glynn is sick too of course and he’ll be feeling it far worse than this guy (because he’s a man) but I’m looking forward to being curled up in our dressing gowns together all weekend. Sue me.

I’ve always been a homebody. Someone way more comfortable in my own environment than anywhere else. Over the years I’ve got much better at being out and about socially but if given a choice I would always be more inclined to stay in. I like being cosy and comfortable, I like my own shows and my sofa, on which I keep all the things I could ever possibly need (face wipes, notebook, giant tub of Vaseline).

rmbyg5kffqg_full3130907085564145300.jpg

I like my husband even when he’s being annoying and I like his company, although we definitely don’t live in each other’s pockets. If he’s gaming, I’ll be in the bath or in the bedroom, reading usually. If I’m chilling and Netflixxing (with myself), he’ll be in the bedroom reading too. It’s a perfect kind of harmony really and always reminds me of a line in Chicago’s Cell Block Tango:

“He’d go to work, he’d come home, I’d mix him a drink, We’d have dinner. Well, it was like heaven in two and a half rooms.” ~ Annie (SIX)

Obviously (hopefully) without the bigamy. What I’m trying to say is I’m content. I think we both are – and sometimes I actually embrace being sick. It feels like a chance to slow down a bit and just be, to give the body what it desperately craves (no, Christa, not 16 Cadbury’s Creme Eggs) – I can’t wait.

How’s everybody today?

And Breathe Normally

Lesbians in Iceland! Sort of. Maybe not as cheerful as that, sadly. However, Free for All Month focusses itself this week on a subtle examination of poverty, homelessness and the search for asylum. It’s bleak AF frankly but kind of sort of beautiful.

And Breathe Normally (2018), or Andið eðlilega (original title)

Two women, Lára (Kristín Þóra Haraldsdóttir) and Adja (Babetida Sadjo) find their lives and troubles colliding in this slow but impactful film.

Lára, an apparent former addict and her son Eldar (Patrik Nökkvi Pétursson) are on the verge of hitting rock bottom. Things are shaky as we meet them but when the pair are evicted (along with their new rescue cat), they find themselves sleeping in the car and eating free supermarket samples for dinner.

Lára manages to dress this up as an adventure to Eldar who is remarkably chill for a kid and actually, is quite sweet. Lára isn’t jobless though, she’s a trainee Immigration Officer trying to become permanent and you get the impression there’s quite a lot of competition for a job like this. Accordingly she is very thorough, so when Adja comes through passport control on her way to North America with a dodgy passport, Lára clocks it – and so begins Adja’s personal hell.

Adja it turns out is seeking asylum from her country Guinea-Bissau and is travelling with her sister and young daughter, both of who get through security and arrive at their intended destination: Canada. When she is detained, Adja claims to be travelling alone and although Lára realises otherwise, she keeps schtum. Unfortunately for Lára, she is rewarded for her eagle-eyed skills by being permitted to sit in on the initial interview with Adja. Which is all kinds of awkward.

Adja is send to a half-way house with the threat of deportation hanging over her. The refugee center isn’t great and is filled with people in similar situations. Adja witnesses one of the tenants being forcibly removed by Immigration in the middle of the night and this understandably freaks her the fuck out.

One day by chance, the two women find their lives entwined once more. Adja meets Eldar when his cat runs away – and off the back of this Lára is forced to show her kindness. This is not something she lacks, it’s just that Lára is very conscious of the consequences her actions have had for Adja. Gradually though Adja twigs that the duo have their own issues and offers them shelter in her tiny, temporary room. She also offers to babysit Eldar while Lára goes to work. This is something that seems to bring her comfort in light of being separated from her daughter, who she can only chat to on the communal payphone.

Eldar and Adja bond and it is through this interaction that we get a little insight into Adja’s life. During a conversation with her legal support, we learn she is fleeing her country because of her sexuality. With Eldar she opens up about her ‘friendship’ with her lover, who seems not to be with us anymore. While there are hints of trauma in both the women’s lives, the film does not fully go in on them and somehow the simple suggestion of them feels worse.

In the end, a decision is made about Adja’s future and she is forced to consider some very drastic action. Luckily for her she now has a new friend to look out for her – and I’m sorry but the ending of this film made me feel all the feels. These women deserve better than the hands they were dealt and hopefully, they both finally get it.

While it is bleak and cold to look at (lots of frosty tarmac surrounding the airport Lára works in), the performances are great and it is a nice story. It’s proof that you never really know what other people are going through until they show you.

The men in this movie are mostly secondary, with the exception of Eldar and I like that. Lára’s bosses are largely unsmiling and authoritative, while Adja’s fellow (male) residents are portrayed (unfairly?) as people doing what they need to do to survive (e.g. wheeling n’ dealing). At one point Adja is approached and offered sex work. But this is about the struggle and these women find common ground in one another without the usual cliché of your typical odd-couple pairing.

“Get in bitch, we’re going shopping…”

Lára is also gay and our protagonists are not thrown together sexually for the titillation of the viewer and I’m here for that (I’m also here for titillation but you know what I mean). It’s no surprise that this was written and directed by a woman, Isold Uggadottir. In her hands it is a thoughtful study on immigration and more importantly, it humanises both sides of the coin. Refugees are people with lives and loves who don’t deserve the negativity they receive, particularly in the press (shock horror!) and Lára is a human being too, just trying to do the right fucking thing.

⭐⭐⭐ out of ⭐⭐⭐⭐⭐

What does my beloved think of And Breathe Normally? Would she deport it from her memory right away or help it escape its own nightmare? Find out here.

The Empress’ Old Clothes

Every month I tot up all my expenses to see how much ‘treat’ money I’ll have left after all the bills are covered. These funds go towards dinners out, takeaway and new clothes if I’m lucky.

Increasingly the treat pot is getting smaller, especially after this Christmas and February looks just as bleak as this never ending January.

I beat myself up about never having proper money and although it’s true I like to shop and possibly have a problem with that, I live in Brighton and it’s expensive af! We are all just doing what we can and I know I’m much luckier than a lot so should just shut the fuck up.

But! I’ve decided to set myself the challenge of only wearing clothes I already own until the Summer. I thought this could be fun and teach me a few forgotten lessons about being wasteful. I have some really lovely items in the back of my wardrobe (in a pile of clean laundry in the corner of my room) and dammit if they don’t deserve their moment in the sun (or lack there of).

So this is my pledge. No more new stuff until August. No new handbags, no new clothes. No new jewellery – I have heaps of the stuff.

Man, I might even go through my room with a black bin bag and Kondo some shit. I haven’t actually read or watched any of her stuff but I do like the idea of only housing joy-enhancing stuff. Mmmmmm, stuff.

Shit this is going to be challenging.

UPDATE: There are 197 days until 1st August. I’m going to make a daily note of what I wear each of those days. Who knows, it might even encourage me to get more creative with what I already have.

I’ll hit you back with an update in August. Wish me luck! 🎉

The Favourite

The Favourite (2018)

Is this the perfect movie? Maybe. It’s so gorgeous crafted with the brilliant performances that only certain actors can command. I haven’t stopped thinking about it and I can’t wait for my second viewing.

Yorgos Lanthimos (of The Lobster and The Killing of a Sacred Deer) gives us a gloriously bitchy examination of power and corruption, of sexuality as currency and of war between three complex women during the reign of Queen Anne.

Olivia Colman is our queen in every sense of the word. Her Queen Anne is a sickly woman, prone to crippling attacks of gout. She relies heavily on the counsel of her best friend Lady Sarah (Rachel Weisz) who has a sharp mind for politics and pretty much runs the country on her behalf.

When Sarah’s cousin, former lady but now down-on-her-luck Abigail (Emma Stone) arrives asking for a job, Sarah takes a shine to her charm and sense of humour. Thus begins a war of feminine wiles as Abigail worms her way into the affections of Sarah and then the queen – and initiates her social climb from housemaid back to lady. While Sarah and Abigail’s relationship dynamic shifts dramatically, the perimeters of what they’re fighting for becomes less clear. Who will be the real winner here and what is the prize?

Honestly, this is just a very delicious character study and I loved it. It’s always good when the male characters (including Nicholas Hoult‘s dandy Harley) are side-lined in favour of flawed females and while it shouldn’t be such an event when this happens, it still is.

Every one of our trio is on her A-game, particularly Colman, who delivers a vulnerable, heartbreaking and often grotesque portrayal of a queen plagued by tragedy. Honestly, she’s receiving so much praise for her performance and it’s well deserved. The movie’s ending is honestly perfect and the woman is able to convey so much through a series of facial expressions.

I guess there’s the possibility that this could be considered over-stylised. It is a period piece after all with some stunning framing but I think of it as a dark comedy, a power struggle that just happens to be set in the early 1800s. The Favourite is probably the most accessible of Lanthimos’ films to date but it still has that quirky sense of humour of his other movies, all of which I’ve enjoyed.

I love this movie even though it is long and my bum went to sleep. A very good start to Oscar season and to 2019 in general.

⭐⭐⭐⭐⭐ out of ⭐⭐⭐⭐⭐

Have you seen The Favourite? What do you think?

The Secret Diary of Laura Palmer

The Secret Diary of Laura Palmer is a book I read a lot when I was a teen. I was thrilled to find a copy in HMV the other day when I also bought Rosemary’s Baby in a delicious 2 for £5 offer. I re-read it over last weekend and found it just as sinister and creepy as ever. I think I had forgotten just how sexually active our Laura was and now I’m older I must say it makes me feel uncomfortable to be privy to the way she’s exploited.

Female sexuality aside and her right to autonomy over her own actions and body, she’s such a vulnerable character let down by so many people around her.

The diary is a companion piece to the series’ and film, and fills in some of the blanks around the mystery of Laura’s murder. Sort of.

I never really picked up on any clues back in the day but they are there. The diary itself doesn’t appear until episode 4 in Season 2 of the show. I read it with sadness and despair, the latter of which is an emotion that escalates in Laura from an incredibly young age.

From 12 to 17 she’s tormented by visits from BOB, a presence that takes great pleasure in humiliating and torturing her. At night he takes her to woods and does unspeakable things to her, leaving her frightened to sleep at night.

As she reaches puberty and discovers sex and drugs, she is able to numb herself against some of the trauma but at a price. Her antics further alienate her from her best friend Donna, her parents, her peers – and as she gets in with some deeply unsavoury characters – namely Leo Johnson and Jacques Renault – and gains employment at One-Eyed Jack’s – she begins to spiral out of control.

Sadly we know what happens to Laura (her fate is revealed in the first episode of Twin Peaks) and it’s heartbreaking to witness the demise of such a young woman with so much to offer the world. She is such a greatly complex character and as mesmerising to read as she is watch onscreen.

This is a book that could be triggering to some. At times it is extremely explicit and does allude heavily to the abuse Laura is routinely subjected to. When I read it as a teen I thought I was so edgy reading about sex but as an adult, I am far more aware of the darkness inside this character and of the injustice of it all. It’s really upsetting.

I’m on a massive Twin Peak revival tip at the moment and I’m currently plowing through the TV show at a rapid pace. I’ll be revisiting it on this very blog in the coming weeks. I’ve thoroughly enjoyed my time with Laura, once of my favourite fictional characters of all time.

Book details:

The Secret Diary of Laura Palmer
Publisher: Simon & Schuster UK (8 Dec. 2011)
ISBN-10: 9781849838627
ISBN-13: 978-1849838627
Bought paperback (new)

What are you currently reading?