Monthly Archives: November 2017

‘Glee”s Chris Colfer Lands New Book Deal

chris-colfer-talks-new-book-stranger-than-fanfiction-at-ew-popfest-04As the Fox TV hit show “Glee” was winding down, star Chris Colfer was already working on his next project, a book series for children called The Land of Stories. 

Fast forward four years, and according to Entertainment Weekly, Colfer’s books have spent 48 weeks on the New York Times bestseller list. So it should be no surprise that he’s landed yet another book deal. He’s writing an insider’s guide to The Land of Stories as well as two books in a new series.

The insider’s guide is set to be released next fall. The new series is set to be published in 2019.

This comes after Colfer partnered with Twentieth Century Fox and Shawn Levy’s 21 Laps to adapt The Land of Series into films. The first film, The Wishing Spell, will mark Colfer’s directorial debut.


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Review: Best Day Ever

bestday_narrowRecap: Paul Strom has the best day ever planned for him and his wife, Mia. He’s planned a weekend away at their lake house with a special dinner and surprised the night they arrive. The kids are at home with a babysitter. The weather is perfect. But then Paul takes a phone call. They arrive too late to their favorite bakery to get the snack Mia’s so badly craving. Mia finds out Paul never left money for the babysitter. When they arrive to the lake house, Mia immediately greets their good-looking single neighbor who helped with her garden last summer. At the grocery store, Paul’s credit card is declined. Slowly but surely, the “best day ever” is slipping out of Paul’s grasp, and he is panicking. Slowly but surely, we, the readers, are realizing something’s going on with Paul.

In his anger, he begins reflecting on other aspects of his life, including his mistress, Gretchen, his dead parents for whom he doesn’t seem to care, the fact that he actually lost his job after he was reported to HR for harassing a woman in the office. Paul’s crazy shifts in mood and temper have been apparent to the reader from page one. Mia puts up with it, but it’s still unclear why this is the best day ever when Paul and Mia so clearly hate each other. What does Paul have planned? And at this point, we must begin to wonder whether Mia will make it out alive?

Analysis: A gripping story of love, hate and betrayal, Best Day Ever feels like a new version of Gone Girl with a different kind of twist. The format used is storytelling at its best. Where we usually read “man attempts to kill wife” stories from the victim’s perspective, Best Day Ever flips it, instead telling the entire story from Paul’s point of view. That decision allows the reader to understand how scary Paul is without knowing whether or not the victim realizes it. It’s that uncertainty that adds another layer of terror to the story. The question is not “what’s he going to do?” but rather “is she going to be able to stop it?” We don’t get any insight into her thoughts, feelings, or plans until the book’s epilogue.

It sounds like an obvious way to switch up the format, but considering how infrequently we see this perspective, it’s really not that obvious. Where in other books, an unlikable narrator makes you want to quit, here the book is still a page-turner despite the narrator becoming vehemently more and more unlikable as the book goes on.

MVP: Mia. Without spoiling the end, we inevitably learn that Mia is a strong, smart, caring and loving woman who is not afraid to ask for help when she needs it in the most dire of situations.

Get Best Day Ever in paperback for $15.99. 

Or get it on your Kindle for $12.99.

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Review: A Race Like No Other

aracelikenoothercoverRecap: For some, it’s about running for those who can’t. For others, it’s about pushing through all levels of pain. For some, it’s for the vanity. But for all, running a marathon is about proving something to themselves. For those running the New York City Marathon, it’s about doing it on the biggest stage possible. New York Times sports reporter Liz Robbins captures the magic of the New York City Marathon — the diligent training of the athletes both professional and amateur, the difficult 26.2-mile course through the streets of all five boroughs of New York, the unity and generosity of the crowds pushing the athletes along, and the emotional turmoil and inner workings of the runners. Each has a story.

Robbins weaves together  the stories of those who ran the race in 2007. She tells the stories of the professional athletes, including their race history and personal lives and why they’re each hoping to win this race. She also shares the story of an alcoholic woman recently released from jail, hoping to reconnect with her family. She tells the story of a college graduate diagnosed with a rare form of cancer whose brother urged him to run. She also tells the stories of the non-runners — the choir and band leaders who let their players play at certain mile markers every year, the Polish bakers who hand out brownies along the course, the men who paint the blue line of the course leading up to race day. Because when it comes to the New York City Marathon, the crowds are as a vital a player as the runners.

Analysis: Where the New York City Marathon connects everyone in the city that day, Liz Robbins connects all runners everywhere with this detailed, inspiring read about the biggest race in the world. Each chapter details a different mile in the race, and Robbins magically transports us to each and every road, bridge and water station with her writing. You can practically taste the sweat of the runners. She makes it clear that the 26.2 miles run in just over two hours by a professional athlete is same 26.2 miles run by the amateurs who finish in more than five hours. Each mile is beautiful in its own way, whether it be filled with pain, filled with joy, filled with emotion or filled with surprises.

Her ability to take you to mile 17, for instance, and then to Kenya where the professionals train or to mile 20 and then to the hospital where the cancer patient is battling illness to get out and run is seamless. The stories are non-fiction, but they are spell-binding and powerful. Ending with the finish times and mini-epilogues of each runner she’s followed throughout the book will you as breathless as — dare I say it? — a marathon.

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Show vs. Book: 1984

19841984 on Broadway: We are Big Brother

by Samantha Holle

It was a humid, sweltering day in September, and the clocks were striking three. It was time for the Sunday matinee of 1984.

In case you evaded reading it in high school, 1984 is the story of Winston Smith, an average Joe living in a not-so-average world: after tremendous world-wide territorial battles, Earth has been split into three superstates that are perpetually at one another’s throats. Winston lives in Oceania (what used to be London) and works at a government agency called the Ministry of Truth. His job is to literally rewrite history: when a person has been “unpersoned” — erased from society for going against the government — it is Winston’s job to go back into the files of history and remove any mention of this person’s name. The goal is to keep up the idea that Big Brother, the entity which governs and controls everything in Oceania, is never wrong, is never defied, and always comes up victorious.

But when we meet Winston, he is growing tired of this life. He has seen proof in his work that people who were labeled “government enemies” were not where they were said to be nor were they doing the illegal acts for which they were vaporized. Winston hates Big Brother and the society that lives for war, destruction, and the beating down of the human spirit.

Then he meets Julia, a coworker who, on the outside, doesn’t seem to be Winston’s type: She is a diligent worker at the MiniTruth (as the Ministry of Truth is called in the new vernacular, Newspeak). She screams the loudest and with the most vigor during the Two Minutes Hate, a daily event in which everyone watches a televised murder of an enemy of the state by government officials. It comes as a complete surprise to Winston when Julia quietly reveals that she, too, hates Big Brother and wants to defy the government by feeling love and experiencing freedom.

But there are no secrets in Oceania. Television screens can watch you as you watch them. Neighbors listen at keyholes for any sounds of dissent. People throw one another to the wolves to save themselves. And Winston and Julia soon find themselves biting off far more than they can chew when they get involved in the underground resistance movement called The Brotherhood. Their relationship — and their secret opinions of Big Brother — become more than an act of rebellion. Soon they have to decide which is preferable: a difficult life of defiance and secrecy, or an easy life of love for only Big Brother.

The novel has recently gained popularity, and it’s not hard to see why: Phrases like “fake news” and “alternative facts” pervade our conversations. People communicate via screen more frequently than they communicate in person, and the concept of handheld devices monitoring one’s actions and locations is now a definitive reality. There is little room for intelligent conversation between people of differing opinions, as the ability to argue without screaming has almost entirely disappeared. In these times, it seems every day has a little bit of a Two-Minutes Hate.

It is a dark thought: are we living in the world Orwell imagined almost 70 years ago?

That is the question that Robert Icke and Duncan Macmillan pose to their audiences through their stage adaptation of the novel. The two brought Orwell’s 1948 publication to life  in 2013 in the UK; the play was brought to the Big Apple for previews this past May. Just a little over a month later, it began to make serious headlines because people began to fall ill as they watched, especially during the extreme torture scenes at the end.

As an English teacher who has read the novel twice, I went into the play fully aware of this. How bad could it be if I already know that what I’m going to see is disturbing?

The answer to that question: no number of articles about the play or my understanding of the book could’ve prepared me for it. I left the theater uneasy, nauseous, and dizzy. It wasn’t the strobe lights and sound effects, or the fake blood, or the electrocution scene, or the revelation about what really happens when a dissenter is brought into room 101. It was the way some things hit close to home: the bastardization of the English language in order to reduce meaning (and thus kill meaningful conversation), the discomfort between people of varying opinions, the confusion of trying to balance what one feels is right and what everyone else is doing. Yes, 1984 takes place in a dystopian future, but there are present day elements. The lines between the fictional content and our reality blur.

Content and nausea aside, what made this play stand out from any I’d seen previously was the incorporation of media. The production utilizes overhead projectors and hand-held video cameras to capture action that the audience cannot see from their seats: Winston’s diary entries are projected onto a screen above his head as he writes; Julia and Winston’s secret trysts are recorded off stage in a secret room and played on this same screen. This allows the audience to feel like Big Brother in that we have access to people’s privacy, but it also creates sympathy for those being watched.

Ultimately, the novel comes to life in disturbing vividness on Broadway. There is no better indicator of this play’s construction of confusion than the opening scene: Winston is writing in his diary, questioning if the year is actually 1984 or if that’s just what he’s been told. He is interrupted by the sudden appearance of a group who are discussing “the book” and that the act of writing it is, in and of itself, a small act of rebellion. The group explains that without the book, we’d have no way of knowing how bad the past really was and how to avoid these mistakes in the future. It is, at first, unclear about whether or not they are talking about Winston’s diary. Later, the audience comes to understand that this group was the resistance, and they were discussing the book of Emmanuel Goldstein, public enemy number one of Big Brother and leader of the Brotherhood.

However, is it such a stretch to imagine that they might have been talking about Orwell’s book?

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