Janeiro - 2011

Georgina Kinkaid - Richelle Mead.

(Succubus Heat (4) + Succubus Shadows (5).

“He shook his head. “Yeah… but it’s still surreal to think that I can write something – create something – that affects people so strongly that they get an emotional involvement with what I’ve pulled from my head. And to realize that someone I know personally… knowing it affects you like that… well, like I said, surreal.” (Succubus Heat, p. 150).

“Guilt was probably the worst culprit of all when it came to stupid behavior.” (Succubus Shadows, p. 21)

“Dreams are what fuel human existence. Dreams of power, love, revenge, redemptions… the dreams of mankind are vast, uncountable. Humans dream both waking and asleep. Those hopes and fears are what put them at risk – they gamble their lives and souls on dreams.” (Succubus Shadows, pp. 192/193).

HQ - Scott Pilgrim 1 e 2 – Bryan Lee O’Malley.

Totalmente hilário... muito bom! As caras do Scott são impagáveis, os micos também. Um dias desses tive um sonho em formato de mangá, com personagens japoneses, dentro de uma história do Scott. 

 A long Way Down - Nick Hornby.

Quatro pessoas se encontram na noite do ano novo – a mais suicida noite de todo o ano – no alto do prédio mais suicida de Londres. Martin, Maureen, Jess e JJ passam a conhecer a história de cada um e a contar a sua própria, no insightfull modo de ver o mundo que Hornby possui. Não se deixe desanimar pelo tema, o livro é divertidíssimo e muito doce. Eu havia comprado esse livro antes, e vendi para o Sebo... Comprei de novo alguns anos depois e não consegui parar de ler. Tudo tem seu momento.

“And I’m not saying that being engaged to Miss Sweden, playing for Manchester United and winning Oscars inoculates you against depression – I’m sure it doesn’t.” (p. 6).

“The trouble with my generation is that we all think we’re fucking geniuses.” (About 30, JJ, p. 23)

“Consistency is the last refuge of the unimaginative. “ (p. 26)

“I got like this brain thing. It’s called CCR’ which, of course is credence Clearwater revival…” (p. 37).

“But of course I’m angry. I don’t know why I ever pretend I’m not. The church had something to do with it, I suppose.” (p. 93).

“You’re not allowed to say anything about books because they’re books, and books are, you know, God.” (p. 146 – Jess).

“This is how I feel, every day, and people don’t want to know that. They want to know that I’m feeling what Tom Jones makes you feel. (…) But I feel like this, and they won’t play what I feel on the radio, because people that are sad don’t fit in.” (p. 151).

"…when you can’t even tell people the simplest fact about your life, just because they’ll presume you’re asking them to feel sorry for you. I suppose it’s why you feel so far away from everyone, in the end; anything you can think of to tell them just ends up making them feel terrible.” (p. 154)..

“That’s when stories end, isn’t it? When people show they’ve learned things, and problems get solved. I’ve seen loads of films like that.” (p. 191).

“The truth will set you free. Either that or it’ll get you a punch in the nose. Surviving in whatever life you’re living means lying, and lying corrodes the soul, so take a break from the lies just for one minute.” (p. 199).

“Telling yourself life is shit is like an anaesthetic , and when you stop taking the Advil, then you really can tell how much it hurts, and where, and it’s not like that kind of pain does anyone a whole lot of good.” (p. 231).

Asleep - Banana Yoshimoto.

São três histórias basicamente sobre perda. De uma melancolia tão palpável, que daria para esculpir. Yoshimoto parece fazer exatamente isso. Esculpe a melancolia com uma delicadeza incrível. No últlimo conto, Asleep, eu me vi de frente.

“The flood of memories that streamed over me when this draft of na old letter emerged from the depths o fone of my drawers was so powerful that for a few moments I stopped cleaning and just sat still.” (p. 1 Night and Night Travelers).

“Even travellers who brush sleeves on the road are bound by ties from a former life…” (p. 80, Love Songs)

“The only thing I understood right from the very beginning was that our love was supported by loneliness. That neither one of us could haul ourselves up out of the deadly numbness we felt when we lay together, so silent, in darkness so isolating it seemed to shine. This was the edge of the night.” (p. 114, asleep).

“So we remained precisely as we were, making no waves, at a standstill.” (p. 133, Asleep, fala Terako).

“Nothing exists in this world but me and my bed…” (p. 141).

Lunch in Paris (A love story with recipes) - Elizabeth Bard.

A vivência de uma cultura diferente da nossa pela comida é incrível. Uma americana em Paris narra como conheceu seu marido, se apaixonou por ele e criou uma nova vida, numa outra nacionalidade. As percepções da cultura francesa passam pelo entendimento de como o francês se alimenta... muito bonito e doce.

Para mim, mostra também como o mundo é um lugar realmente estranho para os americanos – generalização, né? Mas acho que essa funciona. Um olhar para as diferneças que faz com que elas fiquem muito absolutas... enquanto eu acho que depende sempre do olhar. Liz Bard já havia vivido em vários lugares antes de se mudar para a França, mas o olhar dela é muito “nós e o resto do mundo” em alguns momentos. Somente uma ressalva num livro de que gostei muito.

http://www.elizabethbard.com/

“No better way to avoid making a decision than burying yourself in a big fat book.” (p. 105).

“I had descended from the mountain of the perfect, into the valley of the possible…” (p. 155).

“You forget to say bounjour!” (p. 204).

“As may father used to say: “assume” makes an “ass” out of “u” and “me”. (p. 207).

“A fabulous cook and an adventurous eater…” (p. 235).

“Then something extraordinary happened. As soon as I gave up control, relaxed the grip of my whitened knuckles, as soon as I admitted that I could not right a tilted universe with my bare hands – the squatters up and left.” (p. 288).

“But in France food is a labor of Love, not a convenience…” (p. 306).

“Control freak of yore…” (p. 307).

“Meals can, and do, tell stories.” (p. 308).

“There is a museum to preserve the stories of the past, and a movie studio to create the dreams of the future.” (p. 310).

 

Filmes

Enrolados (Tangled). Nathan Greno, Byron Howard, US, 2010. Amei, amei,amei.

Incontrolável (Unstoppable). Tony Scott, US. 2010. Acabei o filme com as mãos na cabeça, nervosíssima, rs. Muito legal. 

Além da Vida (Hereafter). Clint Eastwood, US, 2010. Clint I Love You!  Amo. A delicadeza para tratar de temas sem julgamento... Quando vi o trailler, fiquei preocupada, rs. Quando eu acho que ele vai pisar na bola, ele me surpreende de novo. Muito bom.

As viagens de Gulliver (Gulliver's Travels). Rob Letterman, US, 2010. A parte de Kiss, do Prince, é legal. Ponto.Enrolados, again.

A Vida e Morte Charlie (Charlie St. Cloud). Burr Steers, US, 2010. O resto do planeta odiou, eu achei fofo e me emocionei.

As Viagens de Gulliver, again.

Zé Colméia, o filme (Yogi Bear). Eric Breving, US/Nova Zelândia, 2010. Uma catástrofe.

Hereafter, again, com a mãe.

O Turista (The Tourist). Director: Florian Henckel von Donnersmarck, US/França, 2010. De novo, EU X The world. Achei divertidíssimo e o final é realmente surpreendente.

Biutiful. Alejandro González Iñárritu, México/Espanha, 2010. Angustiante ao extremo, um filmEnrolados, again and again and again.

e maravilhoso, though. Mas isso só dá para perceber com a distância, porque no cinema é só angústia.

Amor e Outras Drogas (Love and Other Drugs). Edward Zwick, US, 2010. Um filme feito com cuidado é sempre diferente. Adorei, os diálogos são honestos, a história não é contada com preguiça. E Jake é sempre um bonus.

Deixe-me Entrar (Let Me In). Matt Reeves, UK/US, 2010. Versão de Let the Right One In, filme sueco, adapção de livro do mesmo nome. O primeiro filme é ainda meu preferido, poético e forte.