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SOUNDTRACK: RHEOSTATCIS-The Horseshoe Tavern, Toronto, Ontario (August 24, 1995).

24Aug1995-adThe blurb tells us: This was the first proper Don Kerr show in Toronto. They had played the Roadside Attraction tour but this was the first in Toronto. It also features 4 songs played for the first time – Connecting Flights (aka Two Flights of Stairs), Four Little Songs, Sweet,Rich,Beautiful and Mine, and All The Same Eyes (aka Crescent II). Also the only known cover version of Joe Jackson’s I’m The Man.

As the show opens, you can hear Martin playing some cool sounds but you can also hear people asking questions on the tape, like “what are you guys doing after?”  “It depends on who has what where.”  And the snarky response, “Oh I think I know who has what and I can tell you where it is.”

Then you can hear even more chatter: “We got the best seats in the house.  You’ve seen them before haven’t you?  We have to get right up front.  When we finish our drinks.”

Martin’s noodling resolves into a lovely “Song of Flight,” and once the song starts properly you can’t hear the talkers (aside from occasional shouts).  This segues into a gentle “California Dreamline.”   After Martin sings the line, “in love with each other” Dave chimes in “and all of them wearing shirts like that” (this is not the first time I wish there was a visual).  Shockingly, or not, you can hear the chatter again during the quiet section of the song.

There’s a kind of weird version of “MJ”—it feels like they’re being a little goofy with it.  It segues into a more folkie sounding than usual “Cuckoos.”

Dave chimes in that these “songs feature all kinds of strange beings and creatures cuckoos Michael Jackson (Martin: that’s the weirdest one of them all) whale people, bird people, turtle people, and people from space;  not to be confused with People from Earth [the opening band] who use their talent for good not evil.”  This is a lengthy intro to “Aliens” a song I love which I feel they hadn’t been playing very much.

This is the first known recording of “Fat” which wouldn’t come out until 1996.  It sounds great.

For some reason, Dave says, “I told you you shouldn’t have worn such a flashy shirt, Martin.”

For “Introducing Happiness,” Dave says, “Make us happy Tim, send us a little message of joy.”

“Claire” opens with Tim singing a couple of lines Spirit of the West’s “Scaffolding”  (from their then-new  album).  “Claire” features Tim oohing in the beginning (with a la la thrown in), I think this was  fairly recent convention.  There’s a pretty wild solo from Martin.  The whole song is nearly 7 minutes and when it’s over, Dave says, “That’s the weirdest version of ‘Claire’ we’ve ever done.  And that’s something, I think.”

Dave says they’re going to debut some new material tonight (I guess they’d played “Fat” before?).  The first is Tim’s brief “Connecting Flights.”

“Fishtailin'” has a quiet ending.  But it’s followed by a rocking “Dope Fiends.”  Dave says it’s a song about Etobicoke.  The middle features a drum solo (a good one with different drum sounds like in the previous show which also featured Don Kerr–although Dave calls him  something else.  It has a great soaring ending.

Dave says, “We’re going to do a very serious piece now. I think it’s our most profound work to date.  Tim chimes in: Especially the very end.   Before continuing, Tim says, “I think this is  our first proper show in Toronto with Don Kerr on the drums.”   Dave: “It won’t be our last we’re playing here tomorrow and Saturday.”

The “serious” song is “Four Little Songs” which they mess up right away and then start again.  The song sounds pretty much as the record does, except he says “I had a dream I was in Neil Peart’s kitchen.”

There’s a kind of cut in the tape and when it comes back, someone is shouting “finally, finally, it’s about fuckin’ time” and Dave says “no kidding eh, it’s about time we got serious and …”  Then he is interrupted: “you want me to take off my hat?  That’s a steel-rimmed hat.  That’s a Kodiak hat.  (Tim: it’s pure dachshund, that’s very expensive).  Dave: Do you want to wear it or do you just want to touch it?  What do you want to do?  There’s a thing with the scabies on the scalp. Not cooties… scabies.  Or is it rickets?

Dave continues, “We had a great summer we opened for The Tragically Hip on their Roadside Attractions tour.  They played with Eric’s Trip.  Julie from Eric’s Trip is going to open for us… Welcome Julie to Toronto! and Benji and Julie’ husband whose name I forget.”

They play another new one: “Sweet Rich Beautiful Mine.”  After the song, Dave says, “Martin, I think that can be the slogan for the 90s what do you say.”

We’ll complete our new song trilogy with another new song: “All the Same Eyes” is another gentle Tim song which segues into a furious “RDA.”

Introducing “Self Serve Gas Station,” they tore down the gas station and the hopes and dreams of little Rexdale boys everywhere.  I’m awfully settlement about it.  How about you?”  Martin: “little boys love gas stations.”

Martin thanks the People From Earth for opening.  Some shouts they sounded too much like you… Martin replies.: “they’re related”  (Martin’s brother John Tielli was the lead singer).

“Self Serve” starts and then Martin stops it: “I thought Dave hit a wrong note but he was tuning, I forgive him.”

“Soul Glue” is as usual boppy and fun.  After the “They dragged the bottom of the lake” line, there; s a rough scratching guitar noise and Dave shouts “I found a shoe!.”  When they get to the end section Martin sings “didn’t say anything at all” (he hits a really high note–atypical for this song and it sounds great.”

They start the vocal introduction (you you you you) to “Horses” and someone in the audience shouts “Here we go.”  After Dave does a little chant the band starts.  It’s a very unusual version as the first verse is very quiet with Dave practically whispering the lyrics and the only loud thing is Tim repeating the “you you you” the song itself grows really intense, as it should.

During the encore break, Tim says “Don had to go to the bar to get beer for them. Sorry it took a little while.”

They end the show with two covers.  Dave announces that Jane Siberry has a new album out (that would be Maria). This is from her new wave period, her pink period, which is my personal favorite period.  “One More Colour,” obviously.  It’s followed by a fast, wild and chaotic version of Joe Jackson’s “I’m the Man.”  I can’t quite tell who is singing lead.

This is a really fun show with the introduction of new songs and some experimenting.  It was the last show of 1995 (on this site) excluding the Group of Seven show which was quite a different thing entirely.

[READ: March 4, 2009] “The Adventure of a Skier”

This is the first piece I have read by Italo Calvino.  Calvino’s name has been around for ages, but I honestly didn’t know a thing about him.

So, with that in mind, Italo Calvino was, at the time of his death, in 1985, the most translated contemporary Italian writer.  This story was translated by Ann Goldstein.

This was a simple, very simple story.

It begins with a bunch of disorderly boys clamoring for the ski lift.  There’s some wonderful details of just what an uncoordinated pack of rowdy boys looks like. (more…)

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SOUNDTRACK: DJ PREMIERE & THE BADDER BAND-Tiny Desk Concert #644 (August 21, 2017).

This is a fascinating Tiny Desk Concert. DJ Premiere plays turntables–scratching records and hyping the audience.  But he is accompanied by a live band: a five string bass, a trumpeter, a trombonist and a drummer.

Who is Premiere?  Three-time Grammy winner DJ Premier, one of the definitive architects of New York hip-hop, brought a new type of life to NPR’s Tiny Desk: our first concert helmed by a DJ.

The set list rested on the undeniable footprint of Preemo’s classics, but this was more than just another DJ mix. His touring outfit, The Badder Band, overlaid Premier’s blends with an undulating electric bass courtesy of Brady Watt, a steady accent on the one from drummer Lenny “The Ox” Reece and boisterous horns from Mark Williams and Jonathan Powell.

I don’t know much about DJ Premiere, although I have learned that he was part of Gang Starr (which explains why there is so much Gang Starr represented here).  He medleys these songs together in a 24 minute mixtape

  • KRS-One – “KRS-One Attacks”
  • KRS-One – “MC’s Act Like They Don’t Know”
  • Das Efx – “Real Hip-Hop”
  • Nas – “Nas Is Like”
  • Jeru The Damaja – “Da Bichez”
  • Gang Starr – “Step In The Arena”
  • Gang Starr feat. M.O.P. – “1/2 & 1/2”
  • Royce Da 5’9 – “Boom”
  • Gang Starr – “Moment Of Truth”

So he spins the discs and includes some of the raps from the records.  Especially the ones where he himself is mentioned:

Clap your hands everybody, if you got what it takes
‘Cause I’m KRS and I’m on the mic, and Premier’s on The Breaks
(from “MC’s Act Like They Don’t Know”)

there’s also this line

If you don’t know me by now I doubt you’ll ever know me
I never won a Grammy, I won’t win a Tony
[Premiere points to himself and holds up three fingers at the Grammy line]

He gets the Tiny Desk crowd hyped with them repeating “Hell yeah, fuck yeah, the real hip hop.”

He does a lot of scratching and repeating with Das EFX

And he features some of these great lines:

Yo, you niggedy know that I’m back man
You’re wack man, I eat a rapper like I’m Pacman
I briggedy bring it, straight from the cella
Fo’ realla, packin more hits than Lou Pinella

It’s me the Nigga wit G’z
The B double O K-S
So say yes I’ll bust your caliber
When I pop shit and rock shit like Metallica

The original song is a simple slap bass line, but here the live band adds a cool funky bass line and live drums.  It’s really cool watching how he does all his turntable work

As it switches to Nas, the horns come in, playing a jazzy riff with some nifty bass underneath.  Premiere hypes everybody up Tiny Desk WHAT! Don’t be no motherfucking bitchez (from the Jeru the Damaja song).  There’s a ripping trumpet solo followed by an interesting trombone solo

Gang Starr gets a pretty lengthy rap from “Step in the Arena.”  There’s a pause and then the violins from “1/2 & 1/2” kick in.  Premiere air violins (poorly) before a shout out to M.O.P.  He raps the end line with the record.

He does a very long scratching intro to Royce Da 5’9’s “Boom” and the drummer spins his cymbal.  Premier adds some clicking sounds from another record.  He gets another name check in this song:

Me and Premier, we kind of the same in ways
We both speak with our hands in dangerous ways

He seems to be adding samples to Gang Starr’s final song.  He’s pressing buttons and making sounds but I don’t know if they are part of the original or not.

When the rapping is done, they jam for two minutes.  Premier plays some samples, the bass rumbles away, the drums keep a fast beat and the horns kick in to rock out to the end.

This is a really fun show and I could totally see how much fun a live DJ show like this would be if you knew the songs he was mixing.

[READ: June 25, 2017] “The Piano Teacher”

This is a short piece about a piano teacher, Miss Nightingale.

She was in her early fifties and was a quiet beauty.  Although single, she felt she was fortunate.  She might have married but is involved with a married man instead.

But mostly she is happy that she can make a living teaching students to play piano.

The boy with her now was a delightful student, eager and talented with a bit of cockiness.  Although he was always silent.  He seemed shy somehow–never prattling on and she couldn’t understand why he had been moved through several teachers already. (more…)

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SOUNDTRACK: ALA.NI-Tiny Desk Concert #643 (August 14, 2017).

ALA.NI is a London-born, Paris-based singer who draws inspiration from her uncle, a British ’20s and ’30s cabaret star by the name of Leslie “Hutch” Hutchinson.  She writes her own songs in the style of the standards he sang.

ALA.NI is sweet and funny and very charming.  She exudes calm and grace as she stretches and waves her long limbs and fingers.  It’s mesmerizing.  And her voice sounds amazing.  The blurb notes:

The singer asked us to record her set using her vintage RCA Ribbon microphone, which she carries around in a small briefcase between shows. It’s a security blanket, a bit of visual branding, a statement of stylistic intent — and, not for nothing, a big reason ALA.NI’s voice carries with such warmth and intimacy.

“Cherry Blossom” sounds terrific.  The guitar is gently echoed and her voice is soft and delicate but incredibly right on.  You could easily imagine hearing the pops and clicks of old vinyl behind her.

Between songs she is chatty and funny.  She raves about the NPR gift shop, “I got some beeswax paper that I can wrap my sandwiches in.”

She says that “Ol Fashioned Kiss” is about kissing.  She plays an acoustic guitar which she uses mostly for percussion in the beginning, but then she adds some gentle strums herself.  It’s a simple, old-fashioned bluesy song.  She does a lot of scatting.  And as the song comes to its natural ending, she says tells her guitarist, “no no keep it going, there’s too many toys here.”  She plays all kinds of things on the desks—a small drum set, some other percussive thing and even the cow mooing can.

“Suddenly” sounds like an old song–it’s so hard to believe these are new.  And then comes

Darkness at Noon is a powerful old-fashioned sounding song that opens. “We agreed to end this love affair.”  It’s chilling and gorgeous.

When the song is over she introduces her guitar player, “this is Marvin Dolly on guitar.  It’s actually Marvin’s birthday today.”  She leads everyone in a version of Happy Birthday she hits some amazing high notes while everyone else sings along  She turns as the song ends, “wow you all can sing as well.”

What a delightful person with such an enchanting voice.

[READ: June 25, 2017]  “Why Aren’t You Laughing”

Sedaris has become a lot more reflective in his later writing.  There’s still humor to be had, but for the most part this is a sad tale about his mother.

He begins by talking about the plainness of the North Carolina house he shares with Hugh (he calls Hugh his boyfriend, although I thought they were married).  He says even the theater manager at the box office he performed at knew what their house look like: “spread out over four levels and paneled in dark wood like something you’d see on a nineteen seventies TV show.”  Hugh liked to point out that the pint of the place was the view.

The title of the piece comes as he says he is signing his name on tip-ins for his books while Hugh reads the final draft of the manuscript.  Depending on Hugh’s reaction or silence David would shout Whats so funny? or Why aren’t you laughing? (more…)

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SOUNDTRACK: JOHN PAUL WHITE-Live at the Newport Folk Festival (July 29, 2017).

I don’t really know all that much about John Paul White, except that he was in the fabulous duo The Civil Wars, and that he writes intelligent but downbeat folk music.

For indeed, his songs are not cheery by any stretch.  But they are very pretty.

I know the first song, “Black Leaf,” from his Tiny Desk Concert.  I loved it then and I love it now. After the song, he asks, “How are you?  Are you well?  You should be well.  No one should be complaining, least of all me in this black suit.”

And, despite his tone, he is not above making jokes with his audience.  Like when he introduces the second song, “Martyr,” he says, “We’ll be doing  while lot of death metal covers. I figured this would be the place. This song is by a band called Sepultura.”  [Nervous titters from the crowd before he starts playing a pretty JPW song that sounds not unlike a contemporary Barenaked Ladies song, especially his delivery of it].

“The Once and Future Queen,” is a slow, quiet song with a big chorus full of pretty harmonies.  When it ends, he says:

I guess it’s probably my duty to warn you….  You came to a folk festival so you probably weren’t looking for happy songs anyway…  If you came to this set looking to be cheered up, you’re screwed.  Let’s get that out of the way.

I loved “Hate the Way You Love Me,” during the Tiny Desk Concert, but when the backing singers accompany him on the chorus and the gorgeous fiddle from Kelli Jones fills the song, it’s really wonderful.

He jokes, “Glad you’re enjoying the death metal.  I didn’t think it would go over as well as it has.”  But he then plays “Fight for You,” a fairly rocking song–with some rocking distortion on his guitar and a snarl in his voice (and a pretty heavy chorus).

I tend to think of JPW as kind of a mellow singer with a great voice, but he really lets loose in the middle of “Hope I Die.”  In addition to a really powerful singing section, there’s a pretty wild solo going on (violin or guitar or both).  He introduces Adam Morrow over here on the guitar, so I assume he had something to do with it.

He says, “I’m not gonna pretend that all of you have any idea who I am.” [cheers]  He jokes, “That’s called fishing for a compliment.”  But he continues,

To those of you who do I apologize.  It’s been awhile.  it took a lot to get me out of the house.  I was incredibly happy sleeping in my bed and going to dance recitals and football games and the lot. And then these melodies started coming back in my head.  And if I gave into it I’d be back out here doing this.  I and I didn’t want that at all.  No.  No offense, but I didn’t want of see any of your faces.  But once I wrote these songs I wondered if people would connect with them…  and I still doesn’t know why I did that.  So thank you.

In introducing the slow ballad “I’ve Been Over This Before,” he says “This is one of the first songs that came to me. I was obviously listening to a lot of old country music, because that’s where it all starts for me.”

He continues, “I promise you I won’t bore you with song meanings because most of the time I have no idea what they mean most of the time.  But this one is personal for me.”  He says “Simple Song” is indicative of the folk spirit of telling stories and passing them down to further generations.

This came from my grandmother.  When my grandfather passed away he was battling many demons that everyone was having to battle alongside him.  She was raising 14 kids because of those demons.  So… I thought he was perfect, I though that he was always happy, but that was not true and when he passes away, she didn’t cry.  I asked her why  and she said ‘I cried so much for your grandfather when he was on this earth, there’s no way I’m gonna cry for him now that he’s better off.’  And so I thought, ‘Number 1, I want to punch you  in the face.  And then 2 much later in life, that that is a song waiting to happen.’  So this will also cheer you up.

The song and sentiment are beautiful with plaintive lap steel guitar: “I will remember I will remember I will remember you… but I will cry for you no more.”

He continues, “So it’s said that festival crowds… this quiet does not happen.  This is beautiful I really do appreciate it.  I’m a very dynamic performer and I need this kind of environment so…  Festivals scare the shit out of me.  I have to thank you from the bottom of my heart.  This is an unbelievable atmosphere to play in.

before the final song, the rocking “What’s So,” which I also know from Tiny Desk, he says “This is the first time Newport for all of my band so they’re geeking out pretty hard.”  In addition to Jones and Morrow, there’s Reed Watson on drums and Matt Green on bass.

“I need more band members so I have time to tune.”

“What’s So” has an aching descending chorus line that is just terrific.

I really like John Paul White’s music and I’d love to see him live in a quiet sit down club..

[READ: June 24, 2017] “It’s a Summer Day”

I know Andrew Sean Greer from a few McSweeney’s books.

This was a simple story but told in a really cool style.  It concerns Arthur Less, a writer, who has been called to an international conference where he is in the running to win a prize.  But the prize is minor and no one–not he nor his agent–thinks he has a chance.  In fact, the only reason he went was to get out of going to a wedding of an old flame, Freddy.

Freddy had once given him advice about international flights: “They serve you dinner, you take your sleeping pill, they serve you breakfast, you’re there.”

I love the narrator’s voice in this story.

He had been to Italy before. Once when he was 12.  And the second time with Robert Brownburn (Yes, that Robert Brownburn, the famous poet).  They had been dating for a while and were at a good point in their relationship.

He did as instructed with the pills, but woke up in the middle of the night–only two hours having passed!  He takes out another pill and then it’s time for breakfast.  He is in a fog and the first few pages are an amusing comedy of him possibly going the wrong way.  He barely makes his local flight (and is shocked to see ashtrays in the airplane seats–charming or frightening?) And then… was it a mistake to get in the car marked for Sr. Ess?  The driver speaks no English and it sure looks like he is heading in the wrong direction. (more…)

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SOUNDTRACK: RHEOSTATICS-Another Roadside Attraction: Cayuga Speedway – Hagersville, ON (July 20, 1995).

The band sounds kind of different for a festival like this, they downplay some of their weirder elements, to be sure, although maybe it’s just practical to play your more popular work to a wider audience.  This looks like a pretty good festival, check out the line up –>

The beginning of the set is kind of muddy–mostly because you can hear audience chatter, but it clears up okay.

After a warm introduction (You’re gonna love these guys), they play a nice “Self Serve Gas Station”

For the next song Martin says, “This is a song about a kid writing a letter to Michael Jackson.”

After a nice “Soul Glue” Martin says “Dave, I’m the CN Tower.  You be the Bank of Montreal.”

Before “California Dreamline,” Dave says, “That last song was about a lake, this next song is about an ocean.”  During the song, Martin sings “spooning” instead of “fucking” in the dry sand–is that a festival decision?

There’s a lengthy, trippy, swirling opening to “Claire” with a Dave announcing: “Tim Vesely has gone electric, stop the presses.”  Martin does a really wondrous guitar solo.

The most notable concession to “normalcy” is their cover of “One More Colour” which lessens some of its heaviest noises.  The ending. which can go pretty far afield, is also pretty straightforward.  “Dope Fiends and Boozehounds” sounds a little prettier than usual.  The middle section has a kind of instrumental section with a drum solo and waves of sound.  (This is the first show on this site with Don Kerr on drums, although no mention is made of him).

The end segues into RDA which is fast and cool but leaves off the final “Americas!”

This is a very unchatty show for the band, although at the end Dave says they’re playing at Woolsock (Woolstock?) on August 12 in beautiful Welling.  Welling is in Alberta, but I find a Woolsock Music Festival listed in Nova Scotia, so I’m at a loss.

[READ: June 27, 2017] “Show Don’t Tell”

I can’t get over that Curtis Sittenfeld has had three stories published in the New Yorker in the span of about a year.  This one is set in a graduate school writing program.

The narrator explains that the most prestigious fellowship one could earn at their school was the Peaslee–$8,800 with no work requirements. It was the gold standard.  Other ones paid less and required a fairly heavy work load.  Ruth is in her first year and, like everyone else, hopes desperately to win this fellowship.

No one knew exactly when the acceptance letters went out, but there was also a rumor, so Ruth waited in front of her mailbox to wait for the mailman.

When her neighbor heard the door shut, she assumed Ruth had left so she came out with her cigarette–something that she and Ruth had had words about several times. (more…)

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[LISTENED TO: August 2017] Falling In

Our trip to New Hampshire wasn’t going to be that long but I decided to really stock up on audio books.  This one sounded interesting, but I was mostly intrigued because I’ve enjoyed Jessica Almasy’s narration in the past (she sounds very young and like she is always smiling).

I liked the premise of this story: a girl walks through a door into another world–not terribly original, I admit, but still interesting.  And the way O’Roark Dowell set up the story was really promising.

The main character is Isabelle Bean, a middle school girl and a misfit.  And I absolutely loved the way her character is set up:

Over the years Isabelle had demonstrated an impressive talent for irritating teachers to the extremes of their patience. It wasn’t something she set out to do. In fact, she never quite understood what she did to raise her teachers’ blood pressure to such dangerous levels. Neither did her teachers, and this irritated them even more. Teacher’s college had equipped them to handle nose pickers, fire starters, back talkers, hitters, biters, and whiners. But quiet girls who weren’t shy, girls who talked in riddles but were never actually rude, girls who simply refused to comb those confounded bangs out of their eyes, well, girls like that were beyond them.

(more…)

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[LISTENED TO: April 2016] The Scarecrow and His Servant 

I was looking for a story that C. and I could listen to in the mornings when I drove him to school.  I didn’t want it to be too long (our commute was only 15 minutes), but I wanted it to be really enjoyable.

I know Pullman from the His Dark Materials series which I loved.  But I didn’t know much else by him.  This story seemed unusual, to say the least, but it was a perfect length–about 3 hours–for morning drives.

The audio book was read by Graeme Malcolm, and he did an amazing job–he had a great variety of voices at his disposal and he really made the story come to life.

The story is really quite unusual.  It begins with the history of the titular scarecrow.  How a man made him–and gave him a lovely turnip for a head–dressed him smartly and tucked a piece of paper, to show ownership, into his jacket pocket.  Pretty much straightaway, he is stolen, and then stolen again and then one more time until he is very far from home standing in a field.

And then he is struck by lightning and comes to life! (more…)

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[LISTENED TO: August 2017] The Trouble with Twins

I grabbed this book because it seemed kind of interesting.  I see also that this book was released in the UK as Missing Arabella, which I think is a slightly better title).  I wasn’t entirely sure if we’d like it.  I mean, we don’t have twins and this is about twins and I wasn’t sure that our 12-year-old boy would like a book about twin girls.

But holy cow was this book outstanding!  It was utterly hilarious and the way it was read aloud was genius.

The book begins with this wonderful setup:

And so it begins in front of the fire, the story of two twin sisters.  One remains with her family in their lovely country house, where yellow roses perfume the air.  The other waits for her in another house, where she stands alone at huge arched windows.  She is restless, pacing wooden floors that creak in the night when a cat jumps down from the bed to chase at shadows.

And then in different typeface:

“What are their names?” the girls asks.  “The sisters.”
“Arabella and Henrietta.”
“Are they lonely,” asks the girl.
“They belong together,” says the mother.  “And it makes them sad to be apart.”
“Can’t you tell a happy story?” the girl asks.
“With puppies and a garden?”
“Yes!” says the girl.
“I’m only telling it the way my mother told it to me,” the mother says.
“And will there be puppies?” the girls persists.  “Or only gloomy girls at windows?”

(more…)

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[LISTENED TO: August 2017] Half Magic

I grabbed this book at the library not realizing that Tabby had just started reading it on her own.

The selling point for me on this was that it was described as being “set in Ohio in the 1920s, yet fresh and funny now as the day it was written.”  And that was totally true.  This book was very very funny and the location and time was pretty much irrelevant.

This is the story of four (very precocious) children: Jane, Mark, Katharine and Martha. The beginning of the book has a great time creating and addressing their characters:

Jane was the oldest and Mark was the only boy, and between them they ran everything.

Katharine was the middle girl, of docile disposition and a comfort to her mother. She knew she was a comfort, and docile, because she’d heard her mother say so. And the others knew she was, too, by now, because ever since that day Katharine would keep boasting about what a comfort she was, and how docile, until Jane declared she would utter a piercing shriek and fall over dead if she heard another word about it. This will give you some idea of what Jane and Katharine were like.

Martha was the youngest, and very difficult.

The children’s’ father was dead and their mother worked full-time.  They were looked after by Miss Bick:

Miss Bick came in every day to care for the children, but she couldn’t seem to care for them very much, nor they for her.

(more…)

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[LISTENED TO: August 2017] Adventures with Waffles

I saw this book in the library and the title sounded interesting. The blurb on the back when enticing as well, so I grabbed it for our family road trip.

I had no idea that the book was a translation of a Norwegian story (Vafflehjarte) nor that it had already been translated into English as Waffle Hearts (a much more accurate, and frankly much more satisfying title).  I gather from a little research that Waffle Hearts is a British translation and Adventures with Waffles is an American one (although they both have the same translator, Guy Puzey).

The story is about Trille and Lena, two kids who live next door to each other in the village of Mathildawick Cove in Norway.  Their village is small and there are only 9 kids in their grade.  Lena is the only girl. The bully Kai-Tommy wishes she weren’t in their class.  But Trille feels that Lena is his best friend (he hopes it is reciprocated, but is unsure).  She is wild, she is spontaneous, she is dangerous.  And she is a lot of fun. (more…)

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