Book Review: MRS DALLOWAY by Virginia Woolf

Wanting to expand my knowledge on 1920s Modernist texts after reading the brilliant The Great Gatsby, I picked up Virginia Woolf's Mrs Dalloway at my school library. Being one of her most well-known novels, Mrs Dalloway was a spectacular introduction into Woolf's effortless and captivating writing style. The narrative follows Clarissa Dalloway through morning and night as she evaluates her lifestyle and past whilst preparing for an elite party. The novel explores internal monologue as the focaliser swaps between each of her guests throughout day as the reader familiarises themselves with the ultimate complexity of the human mind.

One of my favourite aspects of this novel was Woolf's presentation of time. Being a fluid and yet erratic concept, time confuses us all and never ceases to confuse which I believe Woolf captured perfectly. In a Romantic Modernist style, the beautiful lyricism of the prose juxtaposed with the frequent fragmentation of the past and the present creates a startlingly realistic situation as time seems to blur and merge constantly throughout the narrative. Moreover, the motif of Big Ben which illustrates the objective mechanical time of the clock, always appears unexpectedly and throws the reader straight back to the novel's present in that way that we're all familiar with: that the time within our consciousnesses never coincide with the time on the clock face. In doing this, the reader can empathise with the thoughts of the characters in a subtle and effective way where we begin to understand the impact of Clarissa's entangled past with Peter and Septimus' dreadful memories of the war. In true Gatsby fashion, Mrs Dalloway's characters all want to "repeat the past" and return back to the utopian place of hindsight. However, reality triumphs again and again where the slow and at times tiresome pace of the novel really accentuates this inability to escape from the present. 

This theme of unforgiving escapism reappears in the underlying references to death. Clarissa and Septimus fantasise about it and embrace the thought of it which establishes an extremely ominous and profound undertone beneath the frivolity of Clarissa's desire to organise the perfect party.  Even within Peter's mindless opening and closing of a pocket knife the reader is hinted at the possibility of a Romanticism in death. 

"All of this, calm and reasonable as it was, made out of ordinary things as it was, was the truth now; beauty, that was the truth now. Beauty was everywhere."

The technique of essentially swapping narrators every few pages was one of the most interesting aspects when reading the novel. There was a mixture of elegant naturalness - where the change in perspective was so seamless that the monologues passed on without me noticing - and intense confusion where I had to flick back a few pages just to check who was thinking. This combination may have been accidental or intentional but I thought it was effective in making me concentrate better on each characters' personal voice. It also emphasised the similarities in everyone's worries. A lot of the characters had unlikely correlating thoughts which was interesting to show the extent of similarity between unconnected people. It made me wonder: who else is thinking what I am thinking? Who else has the same stress and worry and confusion that I face?

Furthermore, being able to see the world through the eyes of every mentioned character was exciting as it created this paradoxical effect where everyone was connected and yet all were isolated. Although the book followed nearly every combination of relationship such as husband/wife, mother/daughter, teacher/student, doctor/patient, the interactions between the characters paled in comparison to the internal interactions the characters had with the reader. The power of uncontrolled unconscious thought really showed through Mrs Dalloway and was highlighted even further through the absence of chapters. Overall, Mrs Dalloway felt continuous, textured and above all, real.

Concert Review: IMAGINE DRAGONS 'Night Visions' Live at O2 Brixton

Securing three consecutive nights at London's O2 Academy in Brixton, Alternative Rock band Imagine Dragons blasted out an amazing high-energy performance that had me captivated and reeling for days after it ended. Being my first ever concert from one of my all time favourite bands - Imagine Dragons didn't disappoint and really set the bar high for any future performances I go to. Performing songs predominately from their album Night Visions, each and every song was executed to an outstanding degree with nearly all my favourites making an appearance. The music is original, thoughtful and uplifting and I left the evening feeling completely stripped bare of stressful worries. 

On the night I attended, Imagine Dragons were supported by The Moth & The Flame and Linus Young, two bands I had no prior knowledge of before entering the venue. The show opened with The Moth & The Flame who had a lovely rustic lyricism to their sound which I really liked. Feeling lethargic after an hour or so of queuing, the deep thrums of their bass and drums woke me right up and I thoroughly enjoyed their unique style. I did feel that a lot of their charm and lyrics were lost in the size of the stage and I wish I could have heard them in a quieter and more intimate place. I did enjoy them, and their set had me riled up for the Dragons. However, the second supporters, Linus Young, didn't do quite as well. Their drummer and lead guitarist were great yet the band fell short on their vocals. Again, it could have been the acoustics of the large venue, but the female singer sounded particularly pitchy. Unfortunately, being the second support act may not have been in their favour as the crowd admittedly weren't paying attention until the main act were to appear.

Finally, the set was reorganised, the stage darkened and a flurry of piercing eyes emerged within the blackness of the stage. The projected eyes glowed momentarily until a bright illumination of neon wedges overtook them. The stage rapidly burst into light as Imagine Dragons took to the stage and each member played their instruments with passion in a powerful instrumental introduction.  

The Moth & The Flame

(From left to right) Ben McKee (bass), Dan Platzman (drums), Dan Reynolds (vocals), Wayne Sermon (guitar)

The whole atmosphere and set up of the gig was incredible. From the psychedelic lights to the beautiful projections on the screen behind them; with a scattering of multiple heavy drums and a golden guitar; Imagine Dragons filled the venue with their presence and every second they were on stage was exciting. Dan Reynolds (lead singer) in particular had such strong stage presence and it never felt like a separated viewer/musician performance but rather a fully involved connection. There were plenty of opportunities for the crowd to sing along - however out of tune it may have been - and we were encouraged through every drum beat to fully enjoy ourselves. With this positive attitude permeating through the audience, I couldn't help but jump up and down with all the enthusiasm my athletically-challenged body could muster. 

"And now it's time to build from the bottom of the pit right to the top, don't hold back."

Amsterdam

The set list was well constructed with a good amalgamation of their faster songs with slower counterparts. They opened with the brilliant Round and Round which blended perfectly into one of my personal favourites: Amsterdam. The timings and order of the songs created a good complementing experience. Specifically, after a energetic run of It's Time and Imagine Dragons' surprise cover of Blur's Song 2, the contrast of a beautiful acoustic and emotionally-fuelled piece set a poignant tone. The highlights of the night have to be It's Time where the upbeat instrumental had everyone clapping and stomping in response. This was also where several large confetti-filled balloons floated down to the crowd which just made everyone happier. On Top of the World was similarly as uplifting as the whole audience were encouraged to jump together and just let go. Of course, Radioactive has to be given an honourable mention and hearing it live felt truly apocalyptic. If it were possible, they were even better in the encore with Nothing Left To Say where they really made themselves heard. The encore song choice  in my opinion, was perfect as it closed the show in a bittersweet but powerful way. The intensity and energy poured into this last song showed the dedication and passion the band has for their music.

I also really liked how every member had a portion of the show to rock out their own solos which allowed the audience to see every facet of the band's talent. I have no doubt that Imagine Dragons will go far with their extremely skilled musicians, meaningful lyrics and emotional resonance. This is a night I won't forget.

(Concert photos taken by me, The Moth & The Flame and band photo not mine)

TV Review: First Impressions of AMERICAN HORROR STORY: COVEN

The brand new season of American Horror Story finally aired this month with the third instalment, Coven telling the mysterious story of the witches of New Orleans, and in true AHS fashion, alludes to both the past and the present as it explores the complexity of magic and witchcraft. After watching the first two episodes, I can say without hesitation that I love it. Season Three finds a middle ground between the humourous but outrageous Murder House and the darkness and cruelty of Asylum. Coven features a healthy mixture of exciting characters of both old and young generations; dynamic conflicts and antagonists; and a good helping of pancreas (sorry). With a long list of exciting plot twists and room to wonder, the introductory episodes of Season Three don't disappoint. Let's run down a few of my first impressions:

(Disclaimer: This review contains spoilers, so if you haven't watched it yet, what are you doing here? Click away and enjoy the new AHS.)

Starting with the origins of this tale, the season opens with 19th century Madame LaLaurie. Played by Kathy Bates, this strange figure brings the immediate horror to the season. LaLaurie is introduced with a face covered in blood, as she hastily applies more with a face brush: she clearly isn't going to be a tame character.Trapping and torturing slaves in her dank attic, Madame LaLaurie's eerily content disposition chilled me from the beginning. To make it worse, after doing a little research, I was horrified to realise that this woman was not fictional. Taking elements from truth whilst intermixing a frightful magical immortality to her courtesy of Marie Laveau (Angela Bassett), I'm very excited to see more of LaLaurie, especially once trapped in modern day setting. Specifically, I'm intrigued to see the development of LaLaurie's obsession with mythology and her Minotauric creation and possible future allusions to mythological symbolism.

Jumping to the modern day, we are introduced to the season's main heroine: Zoe Benson (Taissa Farmiga). It was exciting seeing Taissa in the AHS cast again, and her acting doesn't disappoint in delivering a subtle but raw performance as her character is plunged into the world of witchcraft. Hopefully Zoe will make some very interesting character developments during the course of this series as her unfortunate gift of death will create some isolating and complex situations.

Similar to the past two seasons of AHS, there is still a building of significance in the form of Miss Robichaux's Academy: a boarding school for the magically talented. The school itself stands as a grand and towering white property. Equally menacing and elegant, the Miss Robichaux's seems to reflect the young women within. But will the witches remain as pure as their house? Alongside Zoe, Sarah Paulson reappears as the school's kind but icy headmistress Cordelia Foxx, Madison (Emma Roberts) a forgotten actress turned drama queen, Nat (Jamie Brewer) and Queenie (Gabourey Sidibe); the other students. Although the population of the school is thin, there is no emptiness and each character displays a strong presence in their unique personalities and magical abilities. Nat is a quiet and somewhat troubled clairvoyant, which I can't wait to learn more about. Queenie is a human voodoo doll - my favourite power by far. Just think of all the possibilities the producers could take with this. Finally, Madison is blessed with telekinesis, which seems to cause much more trouble than harmony in her aggressive hands.

I commend the decision to keep this group of teenage witches tight-knit as it allows a much stronger dynamic to develop and progress between them.  Above all however, Jessica Lange's newest ruthless role as the 'Supreme' blows everyone else away as she commands every scene just with her presence. The Supreme's predicament with her inevitable ageing adds yet another menace. What lengths will she go to retain her youth? Death is not an obstacle, as we are shown in her interaction with the biochemist. With such a strong, prominently female cast, it seems that Coven will hold a very feminist approach this season which I am eager to see unfold.

"We are under siege. Our lives, our very existence is always at risk. Know this. Or, face extinction."

The visual decisions are very different from what I was expecting but have produced clever results. The costume design and atmosphere have been given a jaded, period appearance which heightens the edge of uneasiness of the strange happenings.  However, the modern day doesn't shy away either - with a college fraternity party the backdrop of the opening's main climax. The amalgamation of modern and old thrusts the show into an odd in-between where time is uncertain and vulnerable causing the viewer to remain on the periphery of secrecy.

This aforementioned party was both the cutest and most disturbing scene in Coven's first episode. We are introduced to a small, kindling relationship forming between Zoe and Kyle (Evan Peters) which doesn't last long for the fated couple. I really liked the little reference to Baz Luhrmann's Romeo + Juliet as Zoe and Kyle smile to one another through the rippled surface of an ice sculpture. Not only is it implied that their relationship is cursed from the start, but it is explicitly established that these two are not going to have it easy. On the other side of the party, Madison has been drugged and brutally gang-raped by Kyle's fraternity brothers. When the boys are discovered by Kyle, they are chased onto their fraternity bus, only to be all instantly killed by Madison with a simple flick of the wrist as the bus flips over and over. Now the viewer is caught in a moral dilemma. Were these deaths excusable? These teens are confused, angry and short thinking. It's a dangerous recipe for tragedy if there was one.

Evan Peters is not the only one to play a recurring character who is killed off in the initial episode. Misty Day (Lily Rabe) is quickly becoming another one of my favourites to the group. A young woman discovered by her community for her magical power of necromancy, Misty is burned at the stake. But that is by no means her last appearance, and with the death of two main characters in Episode 1, as well as multiple murders, I'm beginning to wonder what else the writers could possibly have in store for us.

This is emphasised in the resurrection of Kyle in Episode 2. This is possibly the most exciting element of the show for me so far. I am desperate to find out how Zoe and Madison will keep this secret hidden from the Supreme and how Kyle will function as a living, breathing Frankenstein's monster. Evan Peters has also revealed that the next few episodes will show Kyle restricted to body language, devoid of speech. I also have a theory about Zoe and Kyle. As Kyle is already technically dead, would it be that Zoe's power will be reversed so that instead of killing Kyle through sex, she resurrects him instead? More darkness is also hinted to come as Cordelia performs dark fertility magic as she grasps onto her last chance of pregnancy. 

These themes of life and death are thoroughly investigated in this season of AHS thus far. Each character can either bring about one or the other, some yearn death, some yearn life, some embody death itself. If the season continues to be as excellent as it has been so far, it may surpass as my favourite season.

(Images and screencaps from http://kissthemgoodbye.net/americanhorrorstory)

Album Review: MY FRIENDS by Paper Lions

Summers. Memories. Nostalgia.

Canadian indie band Paper Lions' My Friends screams the above; marking every drumbeat and guitar riff with a gentle probe in the memory bank as they manage to illicit mellow connections with childhood and first discoveries.Whether it be through their catchy and radical melodies, or through the humble and at times humourous lyrics, Paper Lions have managed to create a collection of songs that will summon a smile from any listener. 

"I know you are my friend. And if I never met you, I would be different."

I've been a firm supporter and appreciator of Paper Lions for the last year, and was delighted to hear of their new album release. I was even more intrigued when I discovered that a lot of the featuring songs would be rebooted versions of the tracks on their acoustic EP At Long Creek. Although At Long Creek has a special place in my heart with its gentle simplicity, My Friends didn't ruin my love for the songs, but strengthened them instead.

Beginning with ironically light-hearted and catchy "Bodies in The Winter", the album immediately begins on a quirky note. I can't really describe Paper Lions' style other than it being a mixture of The Strokes with Jack Johnson in a bouncy castle with sunglasses and tambourines. The tempo remains cheerful and energised; "Sandcastles" showcasing a more vintage, grainy sound followed by two joyful songs which perfectly capture those warm affections for family and friends in "My Friend" and "Little Liar". The album eventually draws to a close with "My Friends Are Leaving", a slower, bittersweet ending to this carefree childhood of music. However, although I know I can never physically return to those days of youthful smiles, I can replay this beautiful album which transports me back there nevertheless.

As well as being enjoyable on the surface, the lyrics always make me chuckle when I listen to them. Being a band of brothers and childhood friends, the songs and their emotions feel honest and personal. But I also feel like anyone can relate to the story of those early childhood trips to the country and seaside with family friends that My Friends narrates. The lyrics are also artfully imaginative, letting me escaping to "Balance on the rail ties" whilst "The brook runs through the broken arch".

I adore My Friends and I'm glad that it arrived in my hands just when I needed it. Through all my current worries about higher education and adult life, it's elating to be able to take a break from it all and return to the corners of my memories.

Images from Paper Lions' facebook page (https://www.facebook.com/paperlions). 

You can listen to My Friends for free on their website at http://paperlions.com/

Film Review: THE PERKS OF BEING A WALLFLOWER

Based on the best-selling novel of the same name, The Perks of Being a Wallflower charts the coming of age journey of Charlie, a quiet but endearing freshman in high school. Following his explorations and challenges in a letter formatted narration, Charlie speaks to the viewers of everyday struggles as he tries to understand.

Although I watched and bought this film back when it was released, I only just got round to listening to the director and cast audio commentary on the DVD a few days ago; inspiring me to write this review. There really is true depth and surprise in every re-watch of this film due to it's ability to get anyone to relate.

Having the same writer of the novel write the screenplay was a genius decision as Stephen Chbosky captures the same beautiful essence of first encounters and innocence in the screenplay. Doubling up as the film's director, the whole composition of Perks oozes the same tone as the novel, making it one of the most accurate book to movie adaptations. As well as including startlingly harsh scenes of topics rarely discussed, Chbosky's script still retains humour and wit. There isn't a shortage of smart one-liners that were so befitting with the characters and moments, that when more serious scenes ensued, both became hyper-realistic in comparison.

However, undoubtedly, the film's real asset is its choice of a stellar cast. Front-lined by a powerful performance by Logan Lerman (Charlie), there are similarly strong additions of Emma Watson (Sam), with her first breakthrough part since Harry Potter; Ezra Miller (Patrick), who brings brilliant comedy to the film as well as executing his own emotive storyline; as well as Mae Whitman (Mary Elizabeth) and Paul Rudd to name a few. Individually, every member brought something magical to the movie, but once all together, the way in which they all interacted made their friendships and relationships seem so convincing that nothing made me doubt that these were a real group of friends going through the same heartbreaks and laughters as ourselves. Some of my favourite scenes were those of the main friendship group where you could tell how real and organic their acting became; for example in the living room of Sam and Patrick's house during Christmas where the team chuckle and playfully insult one another as they play Secret Santa. Cue one of my favourite Patrick quotes: "Mary Elizabeth, why are you trying to eat Christmas?" 

Another aspect of the film that I absolutely adored was the soundtrack. As well as the all important "Asleep" by The Smiths, the soundtrack also included the perfect tunnel song - "Heroes" by David Bowie, and a score that managed to radiate compassion, nostalgia and innocence. The majority of the score were these gentle tinkling piano notes that fit with the closeness of the cinematography. And of course, there was the brilliant moment at the Homecoming Dance where Sam, Patrick and Charlie dance away their youth with a backdrop of Dexy's Midnight Runners with "Come on Eileen".

Comedy aside, the artistic execution of this film is of such high calibre. The only way I can describe the style and cinematography is beautiful. Every shot of the film was so incredibly beautiful. With intimate camera shots that got right to the heart of the characters and their emotions and struggles, the camera filter itself had this old-style fuzziness where the edges seemed slightly out-of-focus and frequent appearances of bright lights would bleed into a visually stunning luminosity. This was such a brilliant effect as it added a subtle feeling of remembrance and dreaminess which led to even more honesty and familiarity in the viewing experience. Especially during my first watch in front of the large engulfing cinema screen, I was completely absorbed by Charlie's story. The wide shots in conjunction with the gentle music all encompassed to this out-of-world experience where it felt as if I were literally crawling into the mind of someone else. I eventually became unconscious of the fact I was watching someone else's story but believed that I had been assessing the sadnesses and happinesses in my own life, and my own mind in turn.

So when the film closes with that last pass through the Pittsburgh tunnel, you don't just see the characters transforming, but you feel changed yourself. It is one of the simplest but most cathartic endings I've seen in a good while and I come away from the film each time feeling different about myself.

"You are alive, and you stand up and see the lights on the buildings and everything that makes you wonder. And you're listening to that song and that drive with the people you love most in this world. And in this moment I swear, we are infinite."

I absolutely recommend this film to anyone, and although it is hard-hitting and emotional, there is such a myriad of emotions that are experienced whilst watching that the film definitely endures long after the credits have rolled.

(Pictures from of imdb.com and kissthemgoodbye.net with some self-editing.)

Teaser Trailer Review: DIVERGENT

Summit gives fans a first glimpse of the upcoming film adaptation of the popular and well-loved YA novel, Divergent (written by Veronica Roth) in a thirteen second teaser trailer. However, unlike plenty of teaser trailers I've seen in the past, this preview of Divergent doesn't disappoint. Filled with a rapid succession of the main characters in action, fighting and the titular line, these thirteen seconds are packed with small details to tame expectant fans until the theatrical trailer is released. Let's break it down:

First and foremost, it begins with the first moving shot of main character Beatrice (Shailene Woodley) in Abnegation uniform. Hair tied back and insecurity in her eyes, Woodley's performance seems promising. When I first heard of Tris's casting, I had unsure first impressions. Although I haven't seen much of Woodley's prior acting bar The Descendants, I'm keeping an open mind until I see more.

Cut to Divergent's antagonist Jeanine Matthews clothed in Erudite navy blue portrayed by elegant Kate Winslet. This too, seemed like an interesting casting choice as I'm intrigued to see Winslet in a film targeted towards a younger audience.  Nevertheless, the quick one second shot exudes sternness from her expression as she glances at now Dauntless Beatrice as they pass each other. Beatrice is now Tris, in black attire instead of grey and decorated with her notorious raven tattoo. In short, looking very kick-ass. The next cameo we see is of tattoo artist Tori (Maggie Q), warning Tris of her Divergence.  Next we see a series of quick snapshots: Tris in the Dauntless compound perhaps; Four wielding a gun; kicks, punches and dodges as Dauntless initiation plays out; Capture The Flag; and finally ending with a slow-motion jump of Tris taking Christina's hand as they leap out of a moving train onto a rooftop.

Short but sweet, hopes are high for Divergent: release date 21 March 2014.

(Watch here: http://www.youtube.com/watch?v=agWN5gkiOls)

Book Review: THE COLLECTOR by John Fowles

Having initially spotted this book on the floor of a dusty second-hand bookshop in London, I was intrigued by the storyline. Being a firm supporter of libraries, I refrained from buying the £3 book and checked it out first.

The Collector pieces together the dissociated tale of an estranged captor and his captive against the backdrop of a secluded country cottage isolated from society. Here, Frederick Clegg, a collector of butterflies and an obsessive of beauty, becomes increasingly fascinated by another similarly beautiful creature. Turning his fantasy into reality, Frederick holds Miranda hostage in a house made just for her as he caters to her every wish except for her strongest desire: to be set free. The two struggle to coexist as tensions build and the two thirst for escape and restraint.

The element of excellence in this novel was Fowles' ability to depict parallels and oppositions within the two central characters. Like the art and fiction they discuss, Frederick and Miranda consistently defy and dispute. In Frederick's desire for a more romantic situation, he lovingly names himself the 'Ferdinand' to his Miranda to only have it backfire in his face as he becomes her 'Caliban' instead. Like The Tempest itself, the couple come from completely different backgrounds; the female taken by surprise. Miranda, in contrast to Frederick, prefers the harsher The Catcher in the Rye, baffled when Frederick doesn't understand its appeal. The same applies when they discuss and practise art. Frederick takes photographs: quick and calculated . Miranda, on the other hand, loves to draw and allow herself to express her emotions through sketching. However, the stark initial differences between the two begin to slowly dissipate as Miranda begins to lose her identity. Interestingly, it is in her drawing that this begins to be apparent in as she slowly loses her style causing her to copy the works of existing artists. She gradually begins wearing the clothes Frederick buys for her and across time in entrapment, her vigour and personality wan as she is stripped of her dignity. This is where the symbol of Frederick's butterfly collection begins to become significant. The dehumanising character of Miranda could easily be interchanged with his butterflies as she is lifelessly photographed and examined.

""They're dead." She gave me a funny look sideways. "Not these particularly. All photos. When you draw something it lives and when you photograph it it dies."

The narrative style of The Collector is also exciting. The first half is told by Frederick, a somewhat sociopathic man with infantile qualities. He humourously refers to educated people as being 'la-di-da' but this hints at the first signs of this man's inability to empathise and understand. The style of the prose brings the reader right into the mind of the man whilst still remaining artfully distant and critical - reflecting his frame of mind even further. Having the first account of events be from Frederick is notable as he fails to accurately recall Miranda's emotions. Therefore, when the reader is thrust into a diary format of Miranda's point of view, the change is startling and there is suddenly passion and personality in the narrative. The drastic change doesn't just separate the two further but allows the reader (who has become accustomed to Frederick's prose) to become conscious of emotion, making it even more effective. Additionally, the events are retold again from her point of view, so in having to essentially re-read the book again, perhaps Fowles is reiterating Miranda as an inferior character as even the reader is forced to listen to Miranda as a repeat of Frederick; belittling her further. There is also a circular nature in this novel, and in doing this, Fowles in able to relay the events to a broader level of realism as the structure mimics the cycle of a butterfly for example: beginning as an ugly creature which then experiences beauty if not only for a short while.  Only Frederick's actions increase the chances of mistakes being made yet again and again and again.

I have to commend Fowles for convincingly crawling into the mind of a sociopath and how three-dimensional he managed to make the characters.  Regardless of Frederick's detached temperament, we are able to understand why. The book also feels cleverly raw and intimate and therefore creates a tight microcosm; thrusting readers into a type of captivity of their own. The Collector is a curious blend of a fantastical but harsh display of reality.

(And then I found The Collector in a charity shop and purchased it for £1.99. Perhaps there was a sign in that initial restraint.)