Esse livro eu escolhi pela capa que gritava verão e terminei muito envolvida e desejando uma mudança brusca na minha vida com um amor gostosinho ao lado.
Após ser deixada no altar, Annie se encontra em estado de suspensão. Ao mesmo tempo que não consegue aceitar/entender o motivo de ter sido deixada, sua mente vaga pelos sinais gritantes que estavam ali durante o relacionamento mas que eram ignorados por ela seguir uma cartilha de moça perfeita que não deve abraçar a solidão.
Com a ajuda parcial da família e total das amigas (o quinteto é perfeito!) os primeiros passos da superação são dados, ganhando ainda mais força ao reencontrar o Patrick, um ex-colega de um tempo em que ela se sentia livre. Ao revisitar um pouco do passado, ela começa a repensar quem se tornou e o que não deseja mais ser, e ter a oportunidade de viajar para sua lua de mel com o novo amigo parece ser perfeito para começar a quebrar as regras.
Adorei acompanhar essa história sobre amores e recomeços. É um romance, mas o amor e os recomeços não ficam restritos ao casal, sendo bem vistos nas relações que a Annie tem com seus familiares e amigas. O Patrick é um um personagem ótimo e também tem suas questões trabalhadas de uma forma tocante, mesmo que a visão seja apenas da Annie.
Com tudo isso, acabou sendo uma leitura perfeita para o fim de ano por me fazer repensar vontades/sonhos e as diversas formas com que posso alinhar esses desejos à realidade sem ser um grande fardo - principalmente quando a gente pode/consegue se abrir para quem amamos e podemos confiar.
Só sei que preciso viver uma paixão dessa que envolva férias internacionais com um parceiro perfeito mas que eu não precise passar pelo processo de ser abandonada no altar para isso acontecer. Recomendo demais!
Um livro que se passe durante o natal
Um Conto de Natal - Charles Dickens
Essa leitura eu iniciei com bastante receio porque é um clássico muito querido e eu não tinha lido absolutamente nada do Charles Dickens, apesar de ter desejado fazer isso há anos, então o medo era de ODIAR, mas eu simplesmente ADOREI.
O livro é curtinho e ao longo das 144 páginas (li a edição da Lafonte) acompanhamos o Scrooge, o casmurro britânico, sendo levado numa aventura sobrenatural por espíritos que levam ele numa viagem aos natais do passado, presente e futuro.
A cada viagem, a casca dura do Scrooge vai sendo quebrada porque ele vê o quão insuportável. Ele viaja ao passado e reconhece a vontade de viver; viaja ao presente e se dá conta de como não valoriza ao que tem ao lado; viaja ao futuro e vê que a solidão não é tão boa quanto parece.
A moral é muito bonitinha e super coerente com o clima natalino - agora entendo o amor por essa história -, então acertei bastante no desafio. Eu nem vi o tempo passar durante a leitura e me encantei com a escrita do Dickens, o que me fará colocar ele na lista de leituras de 2024, com certeza!
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ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--
But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.
And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.
That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.
Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.
And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"
So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.
Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.
Personally I don't want Alastor's power to be (at least solely) a result of his deal. It feels like a pretty obvious and almost cheap twist.
I think it would much more unexpected and crueler if he truly was a talented up-and-comer who made a name for himself, who was so close to attaining freedom and control over his life as an Overlord of Hell, only to be brought under someone's boot anyway due to circumstances outside of his control. Of course he'd be all about "taking control of his fate" after that.
Saverio’s 8 wisdom is in full force this time around and it’s almost embarrassing...if you can’t trust handsome men who gift you free drinks and carry assassin knives on them while showing off their totally legit mail to you, who CAN you trust??
🦇 (No spoilers please!) 🦇
(Future module doodles and art will be found in my CoS tag on my page!)
Something funny about the possibility of Lucky Guy being just that. A guy. Went to the manor with his closest friend for fun, only to end up in a hellhole all alone
The other survivors and hunters have all these complicated and rich backstories of why they came to the manor and Lucky just thinks to himself that he shouldn't have taken anything for granted back then. Worrying about his thesis and rushing to class looks so much easier now that he's in a game of life and death
He feels stupid for having gone to the manor. Test his luck? Yeah right. Lucky was too selfish. And now it cost him everything.
The first time the survivors and hunters finally step out of the manor, he doesn't believe it at first. The others celebrate, feeling like a huge burden has been lifted off of their shoulders.
Only Lucky stands to the side, staring at the phone in his hand. So many missed messages and calls.
(What was once cloth and cotton has turned into flesh and blood.)
Emma tries to call Lucky over to celebrate as well. Lucky looks up from the screen, and the gardener tries not to blanch at the dead look on his face. His eyes look tired.
Orange released a while ago some lore on the slave trade. Saying that people who had colored hair and such exotic traits, remnants from the earth era where genetic engineering was a thing, were targeted a lot.
This was definitely said in relation to Legato with his blue hair and golden eyes.
But in Trigun there's also another character with strangely colored hair and golden eyes.
Livio.
Did we ever get to know why Livio ended up at the orphanage? Did we ever knew why Razlo was born. Why did he need such a powerful protector?