Tuesday, June 19, 2018

Galen and the Gateway to Medicine by Jeanne Bendick

Jeanne Bendick was a well known author of many books, most of them focused on science. Jeanne was born in 1919 in New York City. Her career as an illustrator began while attending the Parsons School of Design. During this time she created illustrations for the children's magazine, Jack and Jill. After graduating in 1939, with the start of World War II, both Jeanne and  her husband became part of the war effort. She joined the American Woman's Voluntary Services while her husband enlisted in the U.S. Army Air Force.

Jeanne wrote about many different topics with an appealing simplicity. "Jeanne Bendick had a remarkable ability through her straightforward writing and illustration to present complex scientific concepts in a form that was understandable by children." She was part of a group of three authors who wrote a science textbook for elementary school-aged children, Jeanne's last book, Herodotus and the Road to History was published in 2009 when she was ninety-one!! Jeanne was writing books on science at a time when there were few women in the science disciplines. Jeanne passed away on March 14, 2014 at the age of ninety-five.

Jeanne's book, Galen and the Gateway to Medicine traces the life and achievements of Galen, doctor to the Roman emperors. Galen was born in 129 AD in the Greek city of Pergamum during the reign of Emperor Hadrian. At the time of Galen's birth, Pergamum was a city within the Roman empire which included all of "the lands around the Mediterranean Sea, much of Europe (including England), part of Africa, the whole Middle East and some of Asia.

Little is known about Galen's family except that his father was Nicon, a famous engineer and architect who "was also a mathematician, a philosopher, an astronomer and a botanist." Nicon taught Galen during his early childhood and then he was sent to study in school as other Greek youths did. As a student, Galen studied history, philosophy, science and geometry. He especially loved math.

Galen's study of medicine began at the Temple of Aesculapius in Pergamum. Aesculapius was the Greek god of medicine, the first physician. After completing his studies at the Aesculapium, and with the death of his father, Galen decided to travel and study medical practices in other places. First he travelled to Smyrna where he studied with Pelops, a famous physician.  Then he continued on to Corinth and from there travelled to Alexandria, Egypt to the most famous medical school in the ancient world, The Museum. It was here that Galen developed many of his ideas about the human body and how it worked. Although some of his theories were very wrong, "Galen was trying to put together what he observed into a theory that explained how the parts of the human body functioned together as an interconnected system."

After nine years away, Galen returned to Pergamum where he worked as a physician to the gladiators in his home city. But his greatest adventures lay in the greatest city at that time, Rome. It was here Galen's reputation as a great physician came to be known throughout the Roman world and his work passed down through the centuries.


Galen and the Gateway to Medicine traces Galen's path to becoming the most respected physician of his time, one whose writings on the human body were considered definitive for the next 1500 years!

The author incorporates historical information into each phase of Galen's interesting life in a way that is engaging and yet informative for younger readers. For example, at the beginning of the book, readers are given a detailed picture of what life would have been like for a young Galen in second century Pergamum. Everything from what Galen might have had for breakfast to the foods found at the market, the types of houses in Pergamum to descriptions of the gymnasium and the baths. In describing Galen's studies in school in Pergamum, readers are introduced to many famous historical figures including Herodotus, Plato, and Aristotle.

When Galen attends medical school at the medical school at the Temple of Aesculapius Bendick describes how the Greeks treated illness, their beliefs about how the human body functioned and how the number four, an important number to the Greeks, influenced the way they viewed the natural world around them.

Bendick uses Galen's travels to Smyrna, Egypt and Rome to describe modes of transportation, the tools a physician might use in his practice, life in Alexandria - a great center of learning in Galen's time, and the gladiators in Rome. In describing Galen's life in Rome, Bendick covers many aspects of life in the Roman Empire in the second century including what it meant to practice medicine and pharmacology during this era. The author also cover's

The chapter "After Galen" explores the advances made in medicine, almost fifteen hundred years after Galen's death. Galen's ideas about the human body and illness were considered untouchable for generations, until the Middle Ages. Bendick explores what led to rethinking Galen's ideas in the Renaissance.

Galen and the Gateway to Medicine is a fascinating exploration into the history of medicine. Bendick writes in an easy style that flows naturally from one chapter to the next. The text is accompanied by the author's hand drawn maps and line illustrations and portraits. A worthwhile read for those interested in the history of science and medicine.

Book Details:

Galen and the Gateway to Medicine by Jeanne Bendick
Bathgate, ND: Bethlehem Books Ignatius Press   2002
131 pp.

Friday, June 15, 2018

Bloom: A Story of Fashion Designer Elsa Schiaparelli by Kyo Maclear & Julie Morstad

Bloom tells the story of fashion designer Elsa Schiaparelli who was most famous for her creations during the interwar decades of 1920 and 1930's. Elsa was responsible for many significant contributions to fashion.

Elsa Luisa Maria Schiaparelli was born in Rome, in her family's home at the Palazzo Corsini, in 1890. She was born into a family with several accomplished intellectuals. Her father, Celestino Schiaparelli was a scholar whose research focused on the Middle Ages and who was Dean of the University of Rome. His brother, Elsa's uncle, Giovanni Schiaparelli discovered the canals on Mars. And a cousin of the Elsa's father and uncle, Ernesto Schiaparelli was the director of the Museo Egizio in Turin and a noted Egyptologist.

Elsa seemed destined from the beginning to be rebellious and unsettled.She had a rebellious childhood often playing pranks that had serious consequences. She attended the University of Rome, studying philosophy. During this time she wrote a book of poetry titled Arethusa, that her parents considered scandalous. Their response was to force her into a convent but she was able to leave after undertaking a hunger strike.  She left her family in Rome in 1913 and worked as a nanny in England to avoid marrying a Russian man whom her parents favoured. However, in London she became involved with Willem de Wendt, who also used the surname of de Kerlor and who was a sort of psychic involved in many different schemes including fortune telling. Many considered him a swindler. Elsa became engaged to him a day after meeting him! They married and were eventually forced to leave England, travelling to several countries before moving to America.

Elsa was eventually abandoned by de Kerlor in 1920, leaving her to care for their daughter, Maria Louisa Yvonne Radha whom she nicknamed Gogo. She returned to Paris in 1922 where she continued to receive support from her mother.  Although she had no training in the making of patterns and the sewing of clothing, Elsa began designing her own clothing. At first she made pieces for various clients. Her first big success came with hand knit sweaters featuring a black and white trompe l'oeil design. These took the fashion world by storm and Elsa's fashion career was off and running.

Elsa Schiaparelli from Vogue
In the 1930's Elsa Schiaparelli became involved with many famous artists who were part of the Surrealist movement. These included Salvatore Dali, Jean Cocteau, Alberto Giacometti and Leonor Fini. In collaboration with these artists, Elsa created some very distinct and creative pieces of clothing, including a dress with a lobster painted on by Dali, and an evening coat featuring what appears to be a vase of roses but also two profiles facing each other.

Elsa's contributions to fashion included the wedge shoe, the jumpsuit, paper clothes, transparent raincoats, specialty furs, the scarf dress, and coloured hosiery. She popularized pants and shoulder pads and her signature colour was a vibrant magenta which she named "Shocking". Many famous actresses of the period wore her clothes including Greta Garbo, Marlene Dietrich, Katherine Hepburn and Joan Crawford.

Kyo Maclear presents a very simple version of Elsa Schiaparelli's life, bringing out some of the more interesting details that are sure to capture the interest of younger readers. Elsa's life is portrayed as that of a child not welcomed by her parents. Hoping for a boy, her parents had no name for her and gave her the name of a nurse. According to the story in Bloom, Elsa's sister Beatrice was the favourite of their parents who often referred to  Elsa as "Brutta". Although her life was complicated, Elsa persevered, overcoming "Mamma's harsh words and Pappa's judgement" and opened her first shop at the age of thirty-seven!  According to Maclear, Elsa's success is marred by the belief that her parents and Beatrice "will never approve of the path I have taken."

Throughout Bloom,  Maclear incorporates quotes from Elsa's autobiography, "Shocking Life: The Autobiography of Elsa Schiaparelli". This picture book employs brilliant magenta throughout - reminiscent of Elsa's favourite colour.  Elsa's story is brought to life by the colourful artwork of  Julie Morstad who utilized liquid watercolour, gouache, and pencil crayons to create the illustrations for Bloom.

There's no doubt Elsa Shiaparelli is a fashion designer largely forgotten by most today. But her influence can be found in much of the clothing considered fashionable by women. Bloom helps to remind readers, young and not-so-young about this famous Italian designer whose major competition was Coco Chanel!

The website, Kaleidoscope  Jewellry has an interesting post on Elsa Schiaparelli's twelve commandments for women featuring some photographs of her exquisite embroidery that are worth checking out.

Book Details:

Bloom: A Story of Fashion Designer Elsa Schiaparelli by Kyo Maclear and Julie Morstad
New York: Tundra Books, an imprint of Penguin Random House Canada Young Readers      2018

Sunday, June 10, 2018

Love and War by Melissa De La Cruz

Love and War picks up months after the marriage of Elizabeth Schuyler and Alexander Hamilton. It is April 1781 and the War of Independence is raging. Elizabeth is living at the Pastures, her parents' estate in Albany. Eliza, desperately missing Alexander, has been out with  her sisters, Angelica, Peggy, five year old Cornelia and eight-year-old Rensselaer picking a rich harvest of berries.

Eliza is impatient to move out of her parents home, wishing that she and Alex could set up their own home soon but they have been apart more than they have been together.  After their marriage he had rushed back to General Washington's headquarters. Before Alex leaves to report back to duty, Eliza's family have planned a goodbye party this evening.

Eliza's father General Philip Schuyler, her husband Alexander Hamilton,  as well as Angelica's husband John Barker Church have gone into town on business. In the back room of the Schuylkill Tavern the three men seal a munitions agreement where Church will "provide five hundred rifles, twenty barrels of powder, and two tons of shot to General Washington at Newburgh, and the Continental army will pay you one thousand pounds sterling."  When pressed, Alex reveals that he plans to ask General Washington for his own unit to command.

This greatly concerns his father-in-law who fears that Eliza will be left a widow. Alex tells General Schuyler and John that he intends to fight at Yorktown, Virginia where the British under General Cornwallis has gathered his troops. It is a matter of pride - he doesn't want to thought of as a coward who "spent the war in a paneled office with a pen in his hand and a warm fire at his back..."  When further pressed if he has revealed his ambitions to Eliza, Alex admits he has not done so yet.  Alex know this will break Eliza's heart but he is determined.

Meanwhile in the Schuyler mansion, Eliza pays her mother a visit in her parents' bedroom. Eliza's mother, Catherine is due anytime to deliver what will be her last child. Catherine asks Eliza to play host to the party in the evening, concerned that Angelica's connection to her husband who is British makes her unsuitable as host. The party turns out to be a large affair with many important persons in attendance including George Clinton, governor of New York State. Eliza is thrilled to be with Alex again. However her happiness is ruined when she learns from Governor Clinton that Alex is intending to lead a regiment into battle at Yorktown. Shocked and deeply hurt by her husband's lack of consideration, Eliza argues with Alex and they part for the evening unreconciled.  For two days the young couple are not together but when Alex takes his leave to travel to General Washington, Eliza shares her concerns while Alex apologizes profusely.

Alex is given the command by General Washington he so desperately wants and marches to Williamsburg with his soldiers. On the way he gets to know them better, by sharing in the hardships of the march.At Williamsburg, Washington and Count de Rochambeau, the French General, finalize their plans for the battle at Yorktown. During their discussions, Alex learns from his friend the Marquis de Lafayette, that Lafayette's aide, Major Jean-Joseph Sourbader de Gimat will lead Alex's troops - the First and Second New York and the Fifteenth Connecticut into battle. Dismayed and angered, Alex passionately makes his case for being allowed to lead his troops into battle and wins  General Washington consent. The patriots succeed in winning the battle ending the war for the colonies' independence from Great Britain.

Back in Albany, Catherine Schuyler gives birth to a healthy girl who is named after her mother. Three months after Catherine's birth, the Schuyler family is accosted by redcoats at the Pastures. Eliza confronts the men in a friendly manner, bluffing that her father is on his way back with twenty armed men and fortunately for the Schuyler family, they leave.

With the defeat of the English at Yorktown, Alex resigns his commission and  heads for home. As Washington and others begin working to build a new nation, Alex and Eliza commence their new life too, in New York City.  It will prove to be a trying time for the young couple both in their marriage and financially but it will also see Eliza cement her position in New York society and Alex establish his reputation as a lawyer of considerable skill.


Love and War is the second book of the trilogy by Melissa de la Cruz about the life of Alexander and Eliza Hamilton and continues their story a few months after their wedding. De la Cruz's version presents a sort of  'bare bones' version of Eliza and Alexander's early years of marriage in Part I which covers the year 1781 to the end of 1783. Eliza did not remain with her family in Albany but travelled to Windsor to be near Alex while he was part of General Washington's army. They also had their first child, Philip in January, 1782. De la Cruz admits in her Author's Note that she deliberately left out any children in the her retelling of the Hamilton's story. This is a fairly big departure from their real life story which de la Cruz uses to drive the increasing tension between Alex and Eliza.

In Part I the major tension between the couple is due to Alex's determination to fight in the War of Independence. Alex doesn't tell Eliza and when she learns of his intent, she is devastated. Confronted by Eliza, Alex tells her, "I am a soldier, Eliza, and a good one. Without a command, I would never rise in the ranks, never gain the respect and honor I am due,...Please, try to understand. I am no one, I am nothing. I did this for us."  However, Eliza retorts that this is something a man might do, "...But a husband -- never,"  While Eliza argues that Alex's sharp mind could be put to better use helping "the transition from colony to country", for Alex it is a matter of pride. "What kind of man would I be if I was content to send others to the front lines while I took shelter in the general's tent?"

Part II of Love and War deals with Eliza and Alex's early life in New York City where they moved in 1783 as he launches his law career. This part of the novel deviates significantly from the real life story of the Hamiltons. Well into their marriage, they are no longer newlyweds, and have no children. Alex's focus is on his law practice while Eliza remains at home, considering her china and silverware. Eventually she does become involved in New York society but finds that she and Alex have little time together. This is in stark contrast to her portrayal in the first part of the novel as a strong woman involved in society, who undertook "fund-raising and fabric drives that had made her simultaneously the most admired and most dreaded girl in the capital region." De la Cruz also has Eliza sitting for her portrait by Ralph Earl who is in debtors prison in 1784 but her portrait was not painted by Earl until 1787. By this time Eliza and Alex had three children.In  Part II, the focus is on an increasingly distracted and inattentive Alex who works late and often forgets to communicate with his wife. Eliza feels abandoned and finds herself beginning to notice the attentions of another man. Meanwhile, Alex heads off the attentions of a loyalist war widow he is representing in court. This sets the stage for the third novel which will likely feature the crisis in their marriage

Love and War, although rich in detail about life in colonial America, is in some ways a very modern retelling. In the spring of 1781, Eliza's views on children and marriage are presented.  Eliza considers her mother's twelve pregnancies, "astonishing", an attitude that would have been unlikely for that era as it was common for women to have many children, often well into their forties. Of those twelve pregnancies, seven children died, some before they could be baptized. Eliza wonders, "True, seven lived and provided their parents with all the joys that children can impart, but one death for every life? It seemed almost too high a price to pay."  This attitude was also probably uncharacteristic for a woman in this era as both maternal and infant death was an acknowledged part of life. There was very little understanding of how to prevent deaths in childbirth, which were not the result of too many pregnancies but to poor nutrition and lack of obstetrical knowledge. Doctors had limited means of intervention in the late 1700's.

Eliza also exhibits a very modern view of  motherhood, marriage and life. She wonders at the awesome responsibility of becoming a parent at a young age. It is likely Eliza would have been prepared for this role in life by her mother and the social norms that existed at the time. In the 1700's she would expect to marry young and to bear children at a young age. However her thinking about her own place in the world of colonial America is decidedly progressive. "How could she expect to rear and mold a brood of her own, when she was still trying to decide not only who she was, but how she would be in the world?" Eliza remarkably states that she doesn't think "that raising children should be all a woman concerned herself with either."  Although maybe a wealthy woman like Eliza Hamilton could entertain the possibility of doing things other than raising children, for most women, raising a family was their sole occupation and was considered an important duty.

Love and War will definitely appeal to fans of the Broadway musical, Hamilton. Readers should not expect an accurate portrayal of Alex and Eliza Hamilton's lives or their attitudes at that time,  but one that will definitely fuel their interest and which may encourage them to research the real story behind these two famous Americans who lived at a time when a new country was being forged.

Book Details:

Love and War by Melissa de la Cruz
New York: G.P. Putnam's Sons          2018
366 pp.

Wednesday, June 6, 2018

The Kitchen Madonna by Rumer Godden

The Kitchen Madonna, written in 1967 by renowned author Rumer Godden tells the story of a young boy's love for his family's Ukrainian housekeeper and his determination to make her feel at home.

Nine-year-old Gregory Thomas lives with his parents and his seven-year-old sister, Janet in London, England.Gregory's parents are both busy architects so they employ "help"' in the form of an older woman named Marta. Marta who has been with the family for three months now has made life much easier for Mrs. Thomas. "Marta was tireless, clean and a beautiful cook" although Mrs. Thomas believes she gives the children "...rather too rich and spicy foods." Janet wishes Marta could stay with them forever and Gregory is "so tired of changes" as they have had several helpers over the past two years. Gregory loves that Marta is "always there". He feels safe by her constant presence.

But Marta is desperately unhappy. Gregory's mother believes it is too lonely for her.Marta was a refugee, driven from her village by soldiers. Marta had been shot at by the soldiers and she never saw her parents again. Marta liked the kitchen in her home where everything was done, cooking, eating, sitting and sleeping. This astonishes Janet especially when she learns that Marta's family slept on top of the oven. Marta tells Gregory and Janet that their kitchen is empty, that it feels empty.

Gregory who never forgets, waits for a week before he finally asks Marta what exactly is missing. " ' In my home, Ukrainian home,' said Marta, 'We make a good place. In the corner, there' and she showed an angle of the room. 'A place on top of cupboard, perhaps, or perhaps on shelf. Little place but it holy because we keep there Our Lady and Holy Child.' "  Marta tells them that they keep a "picture" crusted with gold, "with gold and stones, pearls, rubies..." and that there were pieces of cloth on the picture as well. Gregory understand that Marta is talking about a type of icon. Gregory becomes determined to find Marta an icon.

Trips to the British Museum, and to Rostov's - a jeweller in Panton Place don't quite provide Gregory what he's looking for. Rostov's is far too expensive and the store clerks are dismissive. However, when Gregory and Janet unexpectedly seek shelter in a church during a rainstorm, it is in the church that Gregory receives his inspiration. Hanging on a pillar is a sort of picture. "It was a Madonna and Child, a Jesus-Mary, in a heavy painted frame, but both Mother and Child stood out of the picture - 'Because they are dressed whispered Gregory - dressed as Marta had described them in stuffs and gold. The crowns were gold lace carefully cut; the veil and cloak were blue edged with silver and stuck with sequins and beads that glittered. The Mother's robe was red, patterned with silver and the Child's small robe was red too, covered with silver and beads." The two children read that this is a picture of Our Lady of Czestochowa, Queen of Poland.  Janet believes this is Marta's "icon" but Gregory tells her its not really and icon. Looking at how the picture has been decorated, gives Gregory an idea of just how he might make a picture for Marta so that their kitchen is no longer "empty".

As is often the case, helping others has the most unexpected consequences.


The Kitchen Madonna is the first of several classic Rumer Godden books that will be reviewed on this blog in the coming months. Godden was born in 1907 in India, where she lived in the town of Narayanganj which is now part of Bangladesh. Rumer had an older sister Jon who was quite beautiful and popular and two younger sisters,Nancy who was her father's favourite and Rose who was the youngest. Rumer and her sister Jon lived in India until the end of World War I and then were sent to England to attend a High Anglican boarding school in East Grinstead. This was a terrible experience for the two sisters. Eventually, after being sent to various schools, Rumer settled in at a school while Jon was sent to art school. Rumer returned to India when she was seventeen and opened a dance school.

Rumer had a social awakening after reading A Passage To India, coming to realize the racial and class prejudices that existed at that time. It wasn't until after she married in 1934, that Rumer began writing. Her first book was Chinese Puzzle in 1936. Rumer Godden wrote several children's books including The Doll's House, The Fairy Doll, Candy Floss and Miss Happiness and Miss Flower. Among her more popular adult novels were Black Narcissus, In This House of Brede and Five For Sorrow, Ten for Joy. A dominant theme in her adult fiction is the loss of innocence and how that affects life. Rumer Godden converted to Catholicism in 1968 but much of her fiction has a touch of Catholicism and spirituality throughout.

She once stated that she felt writers are " simply an instrument through which the wind blows and I believe it is the Holy Spirit that makes the artist creative. My writing is something outside me that I've been chosen to do and I think that is what has enabled me to go on."

The Kitchen Madonna is a beautifully crafted story portraying the sacrificial efforts of a young boy to help alleviate the sadness of his family's live-in housekeeper, a middle-aged Ukrainian woman named Marta. Marta fled her home, was shot at by soldiers and suffered the loss of her parents. The exact details of what happened are not presented, but the reader comes to understand that Marta is deeply unhappy. Gregory is a sensitive, quiet boy who intuitively understands that "Marta's sadness had nothing to do with her country, it was of now." He is determined to learn the root of her sadness. Marta tells the Thomas family that their kitchen has no "good place" - a place for the Blessed Virgin Mary and the Holy Child. Marta explains that this is a special kind of picture with "gold and stones, pearls, rubies...Sometimes real, sometimes no."  Gregory immediately grasps that this is a kind of icon.

Marta's sadness touches something deep within Gregory and he becomes determined to get her an icon. Although Marta hopes God will send her a picture, Gregory knows that he's the one to get the picture Marta desires. " 'God won't give her that picture, nor Mother, nor Father. I shall,' said Gregory." However, this proves far more difficult than Gregory or Janet imagined. They encounter a series of obstacles mostly due to the fact that they are young children without much money nor a means to travel around the city of London. But each obstacle is overcome with ingenuity and sacrifice that demonstrates the children's love for Marta and results in .

Their journey begins with a trip to the British Museum that will take most of their money. Janet is reluctant to give up her shillings because she is saving up for a pony. However Gregory admonishes her. "You mustn't be selfish." he tells his younger sister. They soon discover that an icon costs much more money than either of them have. And their money woes are compounded when they lose Janet's purse on the way home from the church near Rostov's store.

Gregory and Janet's sacrifices take on a much more personal note when Gregory actually begins creating the picture. When working out how to make her picture, Gregory decides he will use the frame from his beloved ship picture and paint it gold. But soon he discovers that he needs even more than that. Gregory is unable to find any scrap of material from Madame Ginette's donations that will work for the sky. Janet attempts to help, trading a pencil-sharpener and "a whole packet of peppermints" for a piece of pale blue velvet. When this doesn't work, "Janet almost cried with disappointment." Janet feels her sacrifice of peppermints was useless.  When Janet suggests that he use the sky from his "ship picture" Gregory is breathless, questioning "Cut up my ship picture for Marta?"

But this supreme sacrifice for what Gregory calls a more important picture, results in the picture coming together much more quickly and easily. "It was the first right step and almost at once he found the next...he found a piece of coral coloured cotton that, he suddenly saw, would make the veil and the Baby's robe..." Gregory's final sacrifice comes when he offers Mrs. Bartholomew his watch in exchange for a pound of toffee.Barty as she is called refuses his watch, instead writing him an I.O.U. Although Gregory is completely prepared to sacrifice his watch it is not necessary.

In helping Marta, and with each sacrifice, Gregory undergoes a journey that changes him. At the beginning of the novel, Gregory is described by his sister Janet as someone who "hardly ever does anything". "Gregory is a quiet boy, always first in his class at school but oddly out of things at home. 'He puts himself out of things,' Janet would have said and Mother complained, 'Gregory keeps himself to himself.' " Gregory's quietness is not understood by his mother who states, " 'He never hugs you as Janet does,...He's so wrapped up in himself that sometimes I wonder if he has a heart -- and he's so possessive."  Gregory also has the knack of never forgetting, he doesn't like to touch people and the Loft where he reads, is off limits to all.

As Gregory works on obtaining a picture for Marta, he begins to come out of himself. For example, when they are at the British Museum, it is Gregory who surprises Janet, asking where the icons are kept. He even carries on a conversation with a complete stranger in the icon room and gets their next lead in the search for an icon. At Rostov's, Gregory "quailed" at the shop door, fearful of entering, but he eventually works up the courage to do so. And while the shop's vastness and brightness makes Janet want to leave, Gregory is not afraid. While Janet "jibbed like a frightened little calf" , Gregory states that he wants to see the owner. "His voice, in its clearness and grandeur, reached all around the room, even to where an older man with white hair was writing at a desk at the back." When the men in the shop ridicule the children, Gregory stands his ground, "We didn't come here to be laughed at." he tells them. Although the visit to Rostov's ends badly Gregory has seen the kind of icon he believes Marta has in mind.

Gregory has his own space at home which he calls the Loft. It has a drawing table similar to his architect-father's drafting table, and he also has a favourite "painting of a little ship ploughing along in a rough sea under a pale blue sky with cotton wool clouds". Instead of asking Janet to leave his special space as he normally does, Gregory allows her presence as he considers the problem of Marta's picture. As he works away, Gregory notes, "Janet still breathed down his neck as he worked but something seemed to stop Gregory from snapping at her; perhaps it was those two pairs of pictured eyes that looked so steadily at him. He was patient with Janet and let her stay where she had never been allowed to stay before, in the Loft. He even let her go on with her questions."

When Gregory is unable to find the pieces of fabric for the Madonna, he acts on Janet's suggestion to visit their mother's milliner, Madame Ginette. Puzzled by Gregory's request, Madame Ginette asks him to explain why he needs the scraps. "For the first time Gregory smiled and then he, who never, as Mother complained, told anyone anything, told Madame  Ginette about Marta, the good place and the Kitchen Madonna." When Janet learns of Gregory's visit, she is stunned that Gregory went to Madame Ginette's alone AND that he spoke to her.

Determined to finish the picture, Gregory continues to reach out to those who might have what he needs. When he needs more wrappers for the border of the picture, he decides to visit the sweet shop, whose proprietor he has never spoken to and whose name he doesn't know. "What made him decide to carry out this business too without Janet he did not know, but he went alone and stood studying the toffees in their big glass jar." His explanation of why he needs the wrappers, stuns Mrs. Bartholomew. "Who would ever have thought you were that kind of boy. Proper stuck-up I thought you were: never a word for anybody...."

And when Gregory and Janet present the picture to their parents, telling them the entire story of how it came to be made, Gregory gives his sister her credit, " 'Because of Janet,' said Gregory -- and Janet glowed with pleasure -- 'Because of Janet I found a way to make the picture after all.' "  When Gregory cannot understand his mother's tears, she explains,
" 'What have you don?' said Mother through her tears. 'Lots of things. You began by sharing Rootle with Marta. You gave up your ship picture. You were ready to give up your watch, and here we all are in your Loft where you would never let us in.'....

'Yes!' said Mother. 'You let us in, Greg, and you have come out,' said Mother, which they did not understand."

The Kitchen Madonna is such a sweet story, chronicling how small acts of love can have such significant consequences in our lives.

Book Details:

The Kitchen Madonna by Rumer Godden
Toronto: Macmillian and Company Ltd.    1967
93 pp.

Wednesday, May 30, 2018

Blood Water Paint by Joy McCullough

Blood Water Paint tells the story of painter Artemisia Gentileschi, today considered one of Italy's most talented artists. Artemisia's story, told in free verse is juxtaposed between the stories of the Bible's heroines Susanna and Judith. These stories are told, in prose, to Artemisia by her mother, Prudentia Montone as she lay dying from a fever after giving birth to a stillborn daughter.

Artemisia's mother died when she was twelve years old. Her father Orazio Gentileschi is a mediocre painter for whom Artemisia works as an apprentice, grinding and mixing pigments as well as painting. His shop does commissions of  "Bible tales, some portraits, ancient histories, myths." Artemisia finds it frustrating when she's taken away from her painting to cut up onions for their housekeeper Tuzia who often sends her shopping for linseed oil, and figs and fritters for her younger brothers. But Artemisia is determined to make the most of everything including a shopping trip to the Piazza di Santa Maria where she tries to notice colours and details.

Artemisia feels that her father is not able to portray feelings through his paintings. Although he attempts to lecture her on pigments and perspective, Artemisia knows more than her father is aware. To teach her about perspective, her father hires Agostino Tassi. Artemisia first meets Tassi when Tuzia lets him into the studio while Artemisia is working alone. She is overwhelmed by his large physical presence but she focuses on learning from Tassi. Signor Tassi encourages Artemisia to call him "Tino" which she does only reluctantly. He confirms to Artemisia that he has come to Rome for the Quirinal Palace commission, which Artemisia's father hopes to be involved in.

At this time Artemisia begins the preliminary sketches of Susanna. Although Artemisia needs to learn dual-point perspective before she can paint Susanna, her father wants her to focus on getting Tassi to include him in the palace commission. When Tassi at first declines based on the poor quality of Orazio's painting Artemisia offers a solution. Her father's name will appear on the works, but it will be she who will do the painting. Tassi appears interested in her proposal.

Later while working on her own painting of Susanna, Tassi stokes Artemisia's frustration over her father. She is moved by his apparent concern for her especially after he learns that she has been posing for her father. Tassi feigns concern, even questioning Artemisia as to whether her father abuses her. His concern moves Artemisia to kiss Tassi. The next day, on the way to Mass their carriage is stopped on the Via della Lungara by Tassi who insists on riding with them. His request is "a violation of the rules of decency, our code, our social order." Tuzia who is accompanying Artemisia, does nothing but Artemisia tells him he must not join them. When Tassi persists, stating that Artemisia has a chaperone, Tuzia orders Artemisia to make room for him.

Afterwards, Artemisia finds her thoughts preoccupied with Tassi. He returns to the studio the following day, "a hurricane of energy", telling Artemisia that he is falling behind on the Quirinal commission because he is captivated by her. She has a "horrid father", many responsibilities and a dreary studio. His solution is for Artemisia to come work in his studio. His offer is tempting to Artemisia because she believes she would not have to do many of the menial tasks her father makes her do, but instead might offer her other opportunities. However she also believes she would always be second in Tassi's studio too. When Tassi visits the next day he continues to press her to move to his studio; "Imagine what you would accomplish in my studio." and "...the things we could do together." To Artemisia, Tassi is speaking about marriage but Tassi has something quite different in mind. When he begins groping her, Artemisia struggles out of his way, telling him to stop.

Tassi returns to the studio, drunk, critical of Artemisia's Susanna. When he gropes her again, Artemisia orders him out of the studio. Instead Tassi, shreds the canvas and leaves, not returning for days. When he does, Artemisia tells him he is not welcome. Tassi warns her that her father is loyal to him and that payment is owed for her lessons. He rapes Artemisia in the studio, her screams are ignored by Tuzia.

Unable to paint or do much of anything after the brutal attack, Artemisia confronts Tassi when he returns the studio. Tassi acts indifferent, ignoring her orders to leave. Between his visits, Artemisia continues to suffer. Tassi again returns to the studio, attempting to win her over again, but this time, inspired by the stories of Judith and Susanna, Artemisia tells him that is going to tell her father. Tassi tells her he merely took what she offered, but Artemisia responds that he also destroyed her father's property - her painting.

Artemisia's father doesn't understand why she can't seem to focus on her work and doesn't know what it wrong with her. She tells him she will take no more lessons from Signor Tassi and when her father admonishes her for ruining their chance at the Quirinal commission, Artemisia tells her father the truth.  Despite her father's warnings about how her accusations will be perceived and how she will be treated, Artemisia insists that her father accuse Tassi. Gaining inspiration and strength from the Biblical heroines Susanna and Judith whose stories her mother told, Artemisia prepares to face a trial that she hopes will bring her justice. But what little justice she receives will come at a great price.


Blood Water Paint brings forth the story of Artemisia Gentileschi who was raped by painter Agostino Tassi. Artemisia who was born in Rome in 1593, was the eldest child of Orazio Gentileschi  and Prudentia Montone. She was introduced to painting in her father's workshop, mixing pigments, preparing canvases and painting her own works. Her mother died when she was twelve years old. Her brothers were also trained as artists but none showed promise equal to Artemisia. Her father was greatly influenced by the style of Carvaggio and this influence was passed on to Artemisia.

Susanna and the Elders by Gentileschi
Artemisia specialized in painting women from the Bible and ancient myths. Her first recognized work was Susanna and the Elders which she completed when she was just seventeen-years-old. Shortly after this work Artemisia was raped by her father's friend and colleague, Agostino Tassi. Tassi had been hired by Orazio to tutor his daughter and she was often left alone with Tassi and his friend Cosimo Quorlis. When Tassi did not act on his promise to marry Artemisia to restore her honour,  her father brought him to trial. Artemisia gave the judge all the required testimony indicating that what happened was in fact rape. Nevertheless she was tortured to see if her testimony was honest. Tassi was convicted but released by the judge.

After the trial, Artemisia married Pierantonio Stiattesi, an artist from Florence. She also painted Judith beheading Holofernes. Artemisia and Pierantonio moved to Florence where she became a successful painter, whose patrons included the House of Medici and Charles I, King of England. She was the first woman to be accepted into the Accademia delle Arti del Designo. She also lived and worked in Rome, Venice, Naples and London. Her reputation as a Baroque artist eventually surpassed that of her father.

In Blood Water Paint, McCullough uses free verse to imagine the events leading up to rape of Artemisia and the trial afterwards. Interwoven throughout are the stories of Susanna and the Elders from the Book of Daniel in the Bible, and the story of Judith from the book of "the same name in the Old Testament. Artemisia's mother Prudentia begins her stories before the birth of her child. She is not well and fears she is dying. As her strength wanes  she seeks to educate her daughter in the dangers she may one day face as a young, attractive woman in a man's world.
"She knew I'd need Susanna
when I found myself
a woman in a world of men.

Girl as prey."

And so Artemisia's mother spends
"the last of her strength
to burn into my mind
the tales of women
no one else would
think to tell.

These stories
of a righteous woman,
her virtue questioned
through no fault of her own,
of a widow
with nothing left to lose..."

Prudentia tells her daughter the story of Susanna, the young, beautiful, virtuous wife of Joaquim who is accosted by two elders while bathing in the privacy of her home. Stunned and terrified, Susanna clutches at a robe to cover her nakedness. The two men  tell her "Today I am your husband. Today I tell you to lower your robe, and if you deny me, the world will hear how the faithless wife of Jaoquim cavorted in her garden with a man who was not her husband." Terrified, Susanna refuses even when they threaten her with the certainty of being stoned for adultery. "Susanna could lower her robe to these monsters who believe they can take whatever they want simply because they have the power...But if she does what they ask, she will be dead tomorrow either way. "
The elders lie about what happened in the garden and Susanna is ready to be stoned when Daniel, a respected young leader happens upon the scene. He questions the elders, determines they are lying as their stories are inconsistent and has them stoned. Susanna is freed. From Susanna's story, Artemisia learns to speak her truth, to speak out and let her voice be heard. She learns to be strong.

The other story Prudentia tells Artemisia is that of Judith, whose husband, Malachi died after being sent to investigate how close the Assyrians have come to the Jewish city of Bethulia which they have besieged. Bethulia's rulers have decided to hunker down and wait out the siege, meaning certain death for Judith and her people and rendering Malachi's death a waste. Outraged, Judith formulates a plan and with her servant Abra, travels during the night to the Assyrian camp and into the tent of Holofernes, the captain of the army. There she seduces him and then beheads him with his own sword. Judith and Abra carry Holofernes' head back to Bethulia. The Assyrian army flees, abandoning the siege and Bethulia is saved.                     

From Judith's story Artemisia learns that she is strong, despite the fact that she will be told she is "too small, too weak, too feebleminded to be of use."  Her mother counsels, "The world will tell you not to be outraged, love. They will tell you to sit quietly, be kind. Be a lady. And when they do? Be Judith instead."

These examples of strong women help Artemisia find her voice to accuse Signor Tassi and to endure a trial in the hopes of achieving justice. Like Susanna, Artemisia's story is not believed. Instead, she is tortured to determine if her testimony is true. Her hands are her life, but Artemisia submits to having thumb screws applied, severely wounding her hands, so determined is she to obtain justice for the rape.

Blood Water Paint is Joy McCullough's tenth novel. It began as a play which was eventually performed in 2015. As she was working on the play over the years, Mc Cullough began to see the possibility of it as a novel that might be of interest to teens.

In light of the recent #metoo movement, Blood Water Paint is a timely novel that asks the reader to consider the many issues surrounding rape and sexual harassment. These include victim blaming, sexual objectification and the trivializing of rape. McCullough also explores how social attitudes about sexuality and gender influence how rape is perceived and how it is treated by the courts and by society in general.

During the trial, Artemisia is treated by the court as though she is the one who has committed a crime. The trial drags on for months with Tassi showing up in court in "showy costumes", his story changing daily. Agostino testifies that she is a whore, "My studio is less for painting than for vulgar rendezvous", love letters are produced, despite the fact that Artemisia cannot write and a list of lovers given - including her father! The judge orders Artemisia examined by midwives for proof that her "pudenda" which in Latin is translated as "parts to be ashamed of" shows that she is not a virgin. The painful examination causes panic in Artemisia who feels like she is being raped again.
"My integrity must be tested
while Agostino smirks,
a man who raped
his wife,
her sister,
possibly even
had them killed."

McCullough, in her retelling of Susanna's story, has her appear ungrateful towards Daniel, questioning him as to what he would have done had the two elders stories not conflicted. Her point is that her testimony of what happened was never considered to be enough to prove her innocence. In the same way, Artemisia's account of what happened was also not considered sufficient. It was only accepted after she maintained her testimony was true under the pain of torture.
"...when I cried out
in the courtroom
like a child.

It's true.
It's true.
It's true."

The theme of contrasting perspectives is developed throughout the novel. The word "perspective" has two meanings, for the artist it is a way of portraying depth and distance but it can also mean  an attitude or point of view about something. McCullough incorporates both meanings into her story. At first Artemisia mentions single point perspective, "one vanishing point. The place where all lines parallel to the view converge"' This is a foreshadowing of the violent convergence of Artemisia and Signor Tassi's lives.
Although Artemisia knows single point perspective, Signor Tassi is engaged to teach her dual point perspective, something she needs to paint Susanna. Artemisia's paintings of Susanna demonstrate this perspective but there is also another meaning - the dual or two points of view of the events the artwork portrays - that of Susanna and that of the evil Elders intent on raping her.

McCullough contrasts Artemisia's perspective of painting the attempted rape of Susanna with that of men such as her father. Artemisia knows that her father cannot paint Susanna in the same way she can.
"Father's made attempts at Susanna,
just like the other painters - men-
who think they have the right
to tell the story of a woman
always watched.

But one can't truly tell a story
unless they've lived it in their heart."

His version of Susanna is that of a girl welcoming the attentions of the men who have watched her bathe.
"It doesn't matter.
He never listened
to my mother's stories, never bothered
to notice the fear of women.
He'll tell Susanna
just like all the others."
Like the other masters before him who painted this scene, Artemisia's father cannot comprehend "a woman's feelings in that moment."
Their paintings do not reflect the reality of a woman's experience, the feelings that only a woman can know.

"...The way the masters paint her,
the men are monstrous,
creeping, loathsome beasts,
obvious villains.
Yet Susanna wears
a smile that says
she welcomes their attentions."
The masters are perpetuating the myth that a woman who has been raped enjoyed it and indeed may have even encouraged it. Ironically this is exactly the perspective Signor Tassi, a rapist, takes. His "perspective" later on is to question Artemisia, "What was wrong with taking what you offered?"

Blood Water Paint is an interesting blend of poetry and prose, and of storytelling and painting. Fans of historical fiction will find this novel an engaging read while those interested in the social issues surrounding rape, especially from a historical perspective will find McCullough's novel has much to offer. There are many themes, some of which have been touched on here to further explore.

Book Details:

Blood Water Paint by Joy McCullough
New York: Dutton Books     2018
292 pp.

Friday, May 25, 2018

A Troubled Peace by L. M. Elliott

A Troubled Peace is the sequel to Under A War Torn Sky and tells what happens to Henry Forester when he returns to the United States after serving as pilot, being shot down, travelling through war torn Europe with the help of the French resistance, being captured and tortured by the Gestapo, escaping in an attempt to return to America.

Henry is back home in Tidewater, Virginia and all is not well. He is struggling with nightmares, flashbacks, restlessness and insomnia. He is often angry and does strange things. Anything can trigger a flashback that leads to him doing something strange. A shot by his father Clayton at a fox triggered Henry into believing he was being hunted by the Gestapo, resulting in him running for miles across the county. "He wanted the war in his soul to be over. He was home. Why couldn't he get back to normal? And why wouldn't Patsy marry him?" Henry had  planned a perfect proposal, dancing at the tony John Marshall Hotel in Richmond. However, Patsy turned him down telling Henry that he seems angry and scares her.

Henry worries about the fate of those who saved  him and relives events to save those who died along the way. "Henry was not quite twenty and already he carried an old man's worth of regret and mourning." All of this causes Henry to get up every night and walk the lane of the farm so his nightmares won't distress his mother. Everything comes to a crisis one night while Henry is out for a walk with his dog Speed and thinking about the blind loyalty of German troops and the stubbornness of the Nazis as they fight a hopeless battle against the Allies. Remembering his own experiences and how the Allies are now "responding to Hitler's unyielding stance with their own brutality, desperate to hasten the war's end." only increases Henry's internal conflict. Although he starts out walking and whistling a tune, soon Henry is running fast. Unable to outrun his memories he decides flying might help him distance himself from those memories and bring him closer to God.

This leads Henry to steal Old Man Newcomb's Curtiss Jenny, an open-cockpit, World War I biplane. "In Newcomb's Jenny, he'd leave his nightmares in the dust...No bombs, no flak, no fighters, no worries."  In the air, "Henry's soul rang with a long-forgotten joy." Henry, mesmerized by the stars and the Milky Way attempts to take the little Jenny higher and higher until suddenly the engine stalls out. The plane begins plummeting to earth with Henry not reacting to the danger. At the last minute, believing he hears Dan's voice telling him to pull up, Henry manages to save himself, and land the plane, but unable to stop it crashes into the trees. Henry is knocked out, Newcomb's plane is badly damaged and Henry's father Clayton is furious.

Henry finally admits to his mother and father and Patsy that he "can't forget France. My friends who died. All those missions where I rained death on people, on civilian. All the people who helped me and may have been tortured and killed because of it...because of me. And that little boy Ma. Pierre. I keep worrying about where he is. If anyone is helping him." Although he tries to explain what happened with the plane, Henry knows his father doesn't understand. Nevertheless he accepts that what he did was wrong and the fact that he must pay for the damage done to Newcomb's plane.

Henry's mother Lilly understands and advises him that sometimes healing is brought about by helping others. She tells him, "But I don't think you'll rest easy until you know about that little boy. Maybe...maybe you need to go back to France and find Pierre?"

After three weeks at sea, Henry disembarks in Marseille, France. Patsy discovered a way over to Europe for Henry after he was unable to return to the Air Force due to being too thin and too battle fatigued. The newly organized United Nations was providing relief in the form of food, clothing, medicine and livestock to Europe. Henry became a "sea cowboy" shoveling manure, feeding and watering livestock and helping to birth foals on a merchant boat bringing over livestock to Europe. The livestock boat docked in Trieste, Italy but without the proper papers to enter the country, Henry had jumped ship and hired onto a boat sailing to Marseille. Now in France with cartons of cigarettes , tins of Spam and some cash, Henry sets out on a journey to find Pierre and in so doing, finds himself.


A Troubled Peace is another finely crafted work of historical fiction by L.M. Elliott that provides readers with considerable insight into life in Europe - specifically France, during the post liberation period of 1944-45 and just prior to the end of World War II. Where A Troubled Peace excels is in portraying the effects of war both on a personal level and a national scope.

The tragic effects of war on individuals are ably demonstrated through the characters of Henry, Pierre, Claudette and Madame Gaulloise. For those who fought, it is best shown through the character of Henry Forester who returns to America suffering from post traumatic stress disorder, although during the 1940's this was largely unrecognized. Recently returned to the States, Henry is unable to settle back into farm life. His traumatic experiences from the war have left him a completely changed man. At first Henry doesn't realize what is happening to him and he attempts to pick up where he left off before enlisting by asking Patsy to marry him. Henry believes that "marrying Patsy was the way back, back to the life he'd planned before the war, before the missions, before all the killing."But Patsy tells him, "You seem so angry...so haunted. I worry that you think getting married will stop all that somehow. But what if I'm not enough? I don't think I can fix all that. It scares me Henry...You scare me."

Henry describes how he feels. "Was he haunted? For sure. Every day in his mind, he walked the hills and streets of France, imagining the fate of those who'd saved him. He reflew his last bombing raid wo that Captain Dan lived. He reclimbed they Pyrenees to save his friend, Billy." Henry doesn't know how to come down from constantly being on alert. "He had entrusted his life to strangers he couldn't understand, and lived off of adrenaline and suspicion, scrounging for food, scrounging for safety, rarely finding either, day after day, week after week, for months. He couldn't figure out how to shed that kind of battle-ready wariness, that kind of split-second instinct to fight, to run. Half the time, he felt like a lunatic race-horse in a start box. Nobody had said anything in debriefing about how to shrug that off."

In an attempt to flee his memories and find some peace Henry steals a neighbour's plane. "This night was about freedom. This night was about baptism -- washing himself clean of death and regrets and disappointment and fear, the beginning life reborn, redefined." But the accident with the plane merely reinforces that something is terribly wrong. In an attempt to heal, Henry returns to France to try to locate Pierre who saved his life.

Henry's journey through France does eventually help him to begin to heal and to provide the closure he needs. He learns the shocking fate of the people of Vercors. he finds Madame Gaulloise who saved Henry and many other downed pilots from certain death, he reunites with Claudette whom Henry saved from certain capture and he eventually does find Pierre. From Madame Gaulloise, Henry learns that she survived by building "a safe fortress with my memories, an inner peace that came from knowing that I had done what had to be done." She advises Henry to read Albert Camus, a French philosopher, who "wrote that man's grandeur lies in his decision to rise above his condition. There is no fate that cannot be surmounted with scorn."  She tells Henry that "The struggle itself toward the heights is enough to fill a man's heart."

While helping at the Lutetia's deportation center Henry begins to heal. "Seeing other people fight to survive, to walk away from the agonies they'd endured, was definitely prodding him to do likewise. " But it is when Henry spends time with Claudette the woman he talked out of a killing rage, that he finally understands what Madame Gaulloise was attempting to tell him. Claudette explains to him what Camus meant in his short work, Le Mythe de Sisyphe. Sisyphe was a king, condemned to roll a boulder to the top of a hill every day only to see it roll back down. Sisyphe's life should have had no meaning but instead it is his struggle that gives meaning to his life. This, Claudette tells Henry, is what he must find for himself again and the struggle to do so will help heal him. Henry comes to realize that taking Pierre back to America and helping him rebuild his life will give him a purpose. It is a beginning and one that was suggested by his mother Lilly, months ago. For Claudette, her purpose will be to rebuild her country into something better than what it was - country where women are treated as equals and where there are jobs.

The devastating effect of war on civilians is shown through the fate of some characters from Under A War Torn Sky. Henry returns to Vercors, France, the home of little Pierre and his mother. Once a vibrant country village, he is shocked at the devastation.
"Beneath him should have been a lush green cup of fields and farms, wildflowers and sleepy cattle, ruled in the center by a little village of creamy houses with cherry pink-tiled roofs that were nestled around a church --its bell ringing out the hour, clear and sweet, rejoicing in another day.
Instead there was silence. A wide field of white crosses...
And where the village should have been --alive with roosters crowing, children yawning over cups of frothy warm milk, mothers humming as they poached eggs -- was rubble...
Henry could imagine the cries, the pleas, the refusals, the machine-gun fire, flames catching hold of timber, houses collapsing."

Henry learns the villagers of Vercors were encouraged to rise up against the Nazi's with promise of reinforcements, only to be left to face them alone. The Germans dropped incendiary bombs on the towns in retaliation, and landed SS troops with orders to exterminate everyone. French paratroopers, waiting in Sicily were never deployed, the people of Vercors sacrificed in a political move by de Gaulle.

As Henry searches throughout France for Pierre, he inadvertently finds himself in Annecy, the home of Madame Gaulloise. Arriving at her house Henry is at first thrilled that she might be alive and then shocked at her condition. "The invalid, the living scarecrow, was Madame Gaulloise...Henry could see that all that was left of her dark, glossy hair were little tuffs. Sores scarred her temples." Madame Gaulloise's condition is so tenuous after months of starvation that she can eat little food and she is dying of tuberculosis. Only a day after arriving, Madame passes away.

Henry discovers that Pierre Dubois is now an orphan, his mother shot as she attempted to escape Ravensbruck. Pierre, like many abandoned children in Paris, searches the train station for his mother, while living in a cardboard box beneath a bridge near Notre Dame. These are just a few of the examples that portray how the war affected individuals.

Elliot also presents readers with a solid picture of what Paris and France was like in the aftermath of the war. Although liberation has brought relief from the oppression of the Nazi's, France is socially and economically devastated. According to Elliott in her Author's Note at the back, "France was the largest supplier of manpower and finished goods to Hitler's Germany.To win the war, the Allies had to destroy its production of ball bearings, tires and other such items used for Nazi tanks, planes, and ships." This meant bombing factories, supply depots and railways. Bombing these targets often meant significant collateral damage to civilians and left much of France in ruins. Elliot portrays the ruin of France both socially and economically; black marketers who ship meat and cheese in suitcases, empty stores, starving and orphaned children who search for parents at the train stations or at hotels, train stations filled with family and friends waiting for "absents" - that is people deported to concentration camps - to return.

Few novels deal with the immediate post-war period and Elliott's descriptions of the crowds in Paris waiting at the train station for the absents are deeply moving. "But when people recognized a ghostly figure, they burst through the crowd with both cries of joy and horror, gathering their loved one up in kiss-filled embraces. Others rushed forward and then stood woodenly, shocked, bewildered, repulsed."

Elliott also touches on the tenuous political situation in post-war France. The resistance contains many communist sympathizers and the United States government, which worked with Stalin to bring down the Nazis is now concerned that France will fall under the influence of the Soviets. The author uses Henry's arrest by French police as a suspected black marketer to portray the work of the Office of Strategic Services (OSS) in attempting to identify communists and even working with Nazi SS officers to do so.

Henry believes that with the war now won, and peace declared, life will go back to normal. But George Orwell tells him, "The aftermath of war is a messy, brutal elbowing among political ideologies, as different groups that survived the war battle each other for power. They will smile at one another's faces while plotting coups and spying on each other...Peace? Peace is not that easy, that finite, my boy. War ends; then it takes along time to negotiate a real truce. Many times that peace is troubled and contains the embers for the next war, smoldering, just in need of a spark..."

The title of the novel is a direct reference to Orwell's comment to Henry. It is a reference to both the struggle for peace on a personal level as Henry is experiencing and on a national and social level as France and the rest of Europe will be experiencing post war.

A Troubled Peace offers so many themes to explore, forgiveness, the concept of peace, identity, and the struggle to find mean in life. It is a novel with richly crafted characters, realistic descriptions of settings and events and superb incorporating of historical details that make the immediate post war era come alive.

Book Details:

A Troubled Peace by L.M. Elliott
New York: Katherine Tegen Books    2009
289 pp.

Tuesday, May 22, 2018

Interlude by Chantele Sedgwick

Interlude is a classic story of a boy and a girl thrown together unexpectedly, each struggling with their own problems but who fall in love. The novel opens with eighteen-year-old Mia Cox in her doctor's office. She's there to get tested to determine if she's a compatible match so she can donate a kidney to her younger sister Madison (Maddy). Dr. Mason discusses the risks of donating a kidney and tells Mia that she will know in two weeks.

Weeks later, Mia takes Maddy to her dialysis treatment which undergoes three times per week. Mia is very worried about her sister who is tired and withdrawn. She is in the final stages of kidney disease which is renal failure. At dinner that night Mia gets a call from the doctor's office informing her that she is not a match and therefore not suitable to donate a kidney to Maddy. Mia retreats to her bedroom, completely distraught but also determined. She pulls out an old birthday card sent by her birth mother Carmen Santalina from fifteen years earlier. Mia and Maddy's mother Carmen, abandoned them when they were three years old. Her father moved to from New York to California where he remarried.

With a plan formulating in her head, Mia questions her father as to whether Carmen still lives in New York City. However,he will only tell her that Carmen won't care, even when Mia begs him to at least call her and tell her about Maddy's illness. Furious at her father's refusal, Mia googles Carmen's name to locate her in New York. She is interrupted by Maddy who come to her bedroom and then collapses. Mia screams for her father, the paramedics are called and Maddy is rushed to hospital.

At the hospital Maddy is stabilized but weak and she confides to Mia that she knows she's going to die, that a donor will not be found in time. Mia tries to encourage Maddy who believes it is too late for her. Determined to save her sister Mia goes home, packs a backpack, writes her father a note, and drives to the airport where she books herself onto a flight to New York City. Her hope is to find their birth mother and convince her to donate a kidney to Maddy.

On the flight, a guy about Mia's age, with dark hair and an eyebrow piercing, is seated next to her. He is slouched down in the seat, not talkative, his earbuds in listening to music. Part way through the flight Mia notices the distinctive tattoo on his arm. When he picks up an entertainment magazine, Mai mutters about not liking the band Blue Fire and the lead singer Jaxton Scott who are featured on the cover. Mia's remark is heard by this guy who questions her as to why she doesn't like them. Mia tells him she believes they have no talent, their image is creepy with the makeup and black nail polish and piercings and that they are fakers. The conversation makes Mia curious about the article on Blue Fire. As she's reading it, a closer look at the picture of Jaxton Scott leads Mia to recognize the tattoo on his arm is the same as the one on the guy sitting next to her. To her horror Mia realizes she's sitting next to Jaxton Scott.

Mia tries to apologize but Jaxton insists he's not offended and appreciates her honesty.  Jaxton tells Mia that he is "taking a spontaneous vacation to New York. Indefinitely."  He has no gig to be at and no girlfriend, no bodyguards or groupies. When Jaxton questions Mia about her trip at first she is reluctant to tell him her reason for flying to the city, only that she is sightseeing. However Jaxton can sense that Mia is not telling him the truth and that she's running from something. He reassures her that everything she reads about him is fake, that it is all show.

Mia tells Jaxton about her sister's terminal illness and that her trip to New York is to locate their birth mother who is the only other person likely to be a match. Jaxton tells Mia he is "The screw-up who's running away from  his life." He tells her that his band formed in high school and by their junior year, they had a record contract. On tour he managed to finish his senior year of high school but there were also parties, tours and playing huge venues. Jaxton insists all he wants to do is write music. When Mia questions him as to why he's doing this if it's not what he wants, he tells her it is difficult to get out of contracts, so this trip is a break to try to figure things out by returning home to his family on Long Island.

After a lay over in Denver, Mia and Jaxton board their flight to New York. Jaxton arranges for Mia to sit next to him, and invites her to really listen to his music. When it becomes apparent that Mia has no where to stay and that she has no idea how to locate her birth mother, Jaxton insists on helping her. But Mia is reluctant to accept Jaxton's help because she really doesn't know him, so to remedy this, he spends some time telling Mia more about himself in the hopes she will feel safer. As their flight nears its destination, Jaxton offers to put Mia up in a hotel overlooking Central Park. Mia balks at this because she cannot afford it but Jaxton insists. As they spend time together, Mia knows she has to stay focused on finding her birth mother and helping save Maddy, even as her attachment to Jaxton grows.


Although Sedgwick's novel, Interlude is a predictable YA romance, it is both enjoyable and sweet, with the added bonus of a happy ending. Mia and Jaxton, from very different worlds, each dealing with very serious life problems, are inadvertently thrown together and fall in love. Jaxton has the image of a bad boy rocker in contrast to Mia's clean girl image. While Mia seems to have her life together and knows what she wants, Jaxton is struggling to deal with his rock star lifestyle.  Their time together is seen as an "interlude" in their lives.

The story is told from the point of view of Mia who astutely identifies the situation both she and Jaxton are in. "We're two people running from different things in our lives. One of us is running to save another, the other is running to save himself." Both Jaxton and Mia love music; Jaxton is a song writer and lead singer in a rock band, while Mia is an accomplished pianist. While talking on the plane about music, Jaxton mentions that he loves preludes which he describes as "...the most important part of the song, I think. It has to be distinct. Different  than everything else out there. It's like the hook. Or the tease before the masterpiece, if you will."  But Mia loves the interlude which she sees as the solo in the middle of a song, that gives a break from the lyrics. Their time spent on the plane is the interlude for both Jax and Mia, a time away from the stresses of their lives, where they can just be themselves and not deal with their worries. It is the break for Jax from his rock star life and for Mia it is a break from the worry about finding a donor for Maddy and her illness.

The themes of sisterhood and family can be found throughout the novel. Mia is devoted to her sister as evidenced by her willingness to take her sister Maddy to her dialysis treatments and to stay with her for the three hours it takes to clean her blood. Mia is determined to save her. She is willing to donate a kidney to her sister however when that becomes impossible Mia impulsively and in desperation decides to travel across the continent to find their estranged biological mother. Although this isn't successful in the way Mia planned, it does work out in the end.

Sedgwick's story stresses the importance of family. Jax tells Mia, "I talk to my mom at least once a week. My sister Jeigh, usually every day. We've always been really close. I have another sister, but she's a bit younger, so I don't hear from her as much. I love hanging out with her when I go home, though."  For Mia, despite being abandoned by her birth mother at age three, she is very close to her father and her stepmother, Trista. "I can't imagine living my life without Trista. She's been a wonderful mother to me."  Because Mia has such a strong sense of family with her father, Trista and Maddy, she is stung by her birth mother Carmen's complete rejection of herself and Maddy being "family". Carmen tells Mia that Maddy is not her daughter. "I might have been a mother to you once, and I'm sorry for all the pain I caused you, but I was never a mother to Madison. I held her once...She's a stranger to me and she has no recollection of me either. I don't owe her anything." Fortunately for Maddy, Carmen's sister Ana does not feel this way and decides to undergo testing to see if she is a possible donor.

Sedgwick admits she had to do considerable research into kidney disease and organ donation. Live donor organ donation is somewhat controversial because of the risks to the donor. However, live donor kidney donation is the most common and the most successful of all transplants.

Interlude is a light, enjoyable read, with well developed and interesting characters. Suitable for ages 13 to 18.

Book Details:

Interlude by Chantele Sedgwick
New York: Sky Pony Press    2018
275 pp.

Thursday, May 17, 2018

Shooting Kabul by Naheed Hasnat Senzai

It is July 2001, and eleven-year-old Fadi Nurzai's family are fleeing their home country of Afghanistan. Fadi along with his father Habib,his mother Zafoona, his older sister Noor and younger sister Mariam are packed into a taxi hurtling across the dusty plain in the dark. Their driver is Professor Sahib, Habib's former  teacher at Kabul University. After a six hour ride from Kabul, they arrive in Jalalabad, a city in the eastern province of Nangarhar Province of Afghanistan. Here they will rendezvous with a truck to take them to across the Afghan border with Pakistan to Peshawar where Zafoona's cousin and her husband will meet them at the border.

Only a month earlier, Fadi's father had told them they were leaving Afghanistan. Zafoona needed better medical care for a cold that had turned into a serious illness. But also the Taliban had tried to recruit Fadi's father in what was a thinly veiled threat. Although he had put them off for the time being, it is inevitable that they will return.

Habib was born in Afghanistan but had travelled to Madison, Wisconsin where he earned a Ph.D in Agriculture. Afterwards he returned to his homeland inspired to help rebuild Afghanistan after the defeat of the Soviets by the Taliban.

When he and Zafoona had returned to their homeland along with their family, the Taliban asked Habib to rid the country of the poppy fields used for opium. Gradually Habib had been successful in this endeavour, getting farmers to grow food for the country. However, the Taliban's strict interpretation of Islam began creating problems as they began suppressing civil rights. Music, movies, books and photography were banned, women were forced to wear the burka, and schools for girls were closed. Fadi's father had hoped to obtain work at Kabul University in the agriculture department but it was closed because of the years of war. Instead, Habib opened a dry goods store in downtown Kabul to support his family.

Just past midnight an army truck shows up at the rendezvous point to take them to Pakistan. Habib, realizing this is their ride, orders Fadi to take Mariam, while Noor follows with their mother. As they move towards the truck, suddenly dozens of people emerge from hiding, running towards the truck. Fadi is gripping Mariam's hand tightly and tries to steer them towards his father in the back of the truck. In the chaos, with everyone scrambling to get on the truck, the Taliban arrive, creating even more panic. But as Fadi's father pulls him into the back of the truck, Mariam slips from his grip, trying to retrieve her pink Barbie, Gulmina which as fallen to the ground.

Panicked by the approach of the Taliban, the truck driver announces he is leaving. To Fadi's horror, the truck roars away, leaving six-year-old Mariam behind with many others and the Taliban in hot pursuit. Zafoona, already ill and exhausted is completely hysterical. Her pleas for the truck to return to retrieve Mariam are ignored while Habib who wants to jump out of the truck, is held down by the other men. Returning would mean capture by the Taliban and possible execution.

On the plane to London, Fadi berates himself, feeling responsible for losing Mariam. He thinks back to when they arrived in Peshawar. Once in Peshawar, Fadi's father went back over the border in an attempt to locate Mariam, but could find no trace of her. Zafoona's cousin, Nargis promised to contact them and let them know when she heard any news. Unable to delay any longer, Fadi's family had to go to the American consulate in Peshawar to pick up the papers "arranged with the help of Habib's old college advisor in the United States." Zafoona had wanted to remain in Peshawar but Habib told her that if they did not leave their asylum papers would expire and they would have been stateless - unable to return to Afghanistan but unable to remain in Pakistan.

When they arrive in San Francisco, Fadi and his family are met at the airport by Uncle Amin, who is married to Zafoona's younger sister Khala Nilufer. Once a doctor in Kabul's main hospital, Amin and Nilufer had left Afghanistan in 1998 along with his parents Abay and Dada, a month after Fadi's parents had arrived back in the country from the United States. Uncle Amin works two jobs as a lab technician to support his family but he generously offers them to stat with him at his home in Fremont. Fadi meets his cousin, Zalmay, who is his age. While eating lunch, the adults talk about little Mariam and how UN Refugee Agency has sent out a bulletin about Mariam and how there are many people looking out for her. However, Fadi's feelings of guilt overwhelm him and he hides inside the pantry.

In August of 2001, Fadi's father and his Uncle Amin have contacted many family and friends in both Pakistan and Afghanistan, all searching on both sides of the border for Mariam. Meanwhile Habib moves his family out of Uncle Amin's house into an apartment at the Paradise Apartment Complex.

Fadi begins the school year at Brookhaven Middle School where he is in Mr. Torres' 6B class. Almost immediately he draws the attention of two bullies in his class, Felix and Ike. Fadi does a good deed by returning a classmate's wallet and she introduces herself as Anh Hong. Meanwhile at home, Fadi's family learns that Mariam may have been taken in by a family with two boys who were trying to get to Peshawar. This information upsets Zafoona and she argues with Habib telling him they should not have left Peshawar.Zafoona wants to return to Peshawar to search for Mariam but that requires money the Hurzai family does not have.

When Fadi learns about the school photography club and an upcoming contest with the chance to win tickets to India, he believes he just might have found a way to go back and help find Mariam. With the encouragement of Anh and Noor's money for the club fee, Fadi is determined to win. Meanwhile he must deal with the class bullies and his own feelings of guilt. When the contest doesn't produce the results Fadi is hoping for, he all but gives up until a remarkable meeting changes everything.


The events in Shooting Kabul bracket the 9/11 terrorist attacks in New York City and throughout the United States. The novel provides young readers with insight into the immigrant experience during this time. Fadi's parents who returned to their homeland of Afghanistan with the hope of helping to modernize their country are now refugees in the United States. But their relief at escaping from the Taliban is marred by the loss of Mariam who was accidentally left behind in Jalalabad.

Shooting Kabul focuses primarily on the struggles of eleven-year-old Fadi as he experiences tremendous guilt and shame for not being able to hang onto his little sister Mariam when they were trying to board truck to take them out of Kabul. He is so certain of his own guilt in the matter that he is shocked to discover that each member of his family is also struggling with guilt. Shortly after arriving in San Francisco, Zafoona confesses her feelings of guilt to her sister Nilufer,
" 'She's my baby. I'm her mother. It's all my fault,' cried Zafoona, and, she burst into ragged sobs...
'No you don't understand,' said Zafoona. 'If I wasn't so sick, I could have looked after her. But instead everyone was looking after me. Noor and Habib were so worried about getting me on board the truck that they lost track of Fadi and Mariam. It's my fault.'"

Despite hearing this, Fadi continues to believe Mariam's situation was his fault, and he withdraws, often withdrawing from his family. In their new apartment, Fadi overhears his sister Noor confessing her responsibility for the loss of Mariam to their father. Noor states that she was responsible for caring for Fadi and Mariam; "No, I'm the oldest. I should have taken care of them...It's my fault Mariam is lost!" Fadi is shocked to overhear this admission but he thinks, "Everyone things it's their fault she's gone. But it's my fault, not anyone else's. I'm the one who doesn't deserve to belong to this family. I'm the one who's torn it apart."

Fadi then hits on the idea that he will return to Peshawar to find his sister. However without money this will be difficult so he devises a plan to travel to Pakistan. Just how deeply Fadi feels the loss of his sister is demonstrated when he sneaks into the trunk of his father's taxi to hitch a ride to the airport. His plan is to board a flight to London and then to catch a plane to Peshawar. Fortunately for Fadi, when he is unable to get out of the trunk, disaster is averted when his father opens the trunk to place a passenger's luggage inside.

Fadi then becomes determined to win the grand prize of a trip to India, in a local photography contest. Although planning to enter the photography contest gives Fadi hope his pain and guilt surface in a destructive way when the family visits a Toys R Us store.
"From both sides of the aisle hundreds of Barbies stared down at him. Fadi closed his eyes. His body felt cold and his hand went numb...His eyelids flickered open. Cowgirl Barbie gave him an accusing glare. Artist Barbie stood next to her, holding a paintbrush, sharing a conspiratorial frown with Doctor Barbie....Assembled on the bottom row stood a platoon of Barbies from around the world. Native American, Korean, Spanish, Nigerian, and Austrian Barbie were whispering to one another...whispering about Gulmina." The sight of the Barbies triggers the image of Mariam "holding out Gulmina, asking him to put her into his backpack." Fadi becomes enraged and begins destroying the Barbie display. "He knocked off a line of dolls, and they crashed to the floor. He stomped on the slender rectangular boxes, his tennis shoes making crunching sounds. He fell to his knees and ripped of the lids and pulled out Diamond Princess Barbie. He shook her with all his might and started banging her and Soccer Barbie against the concrete floor. The store manager found him, huddled on a pile of crushed boxes and Barbies, sobbing." The scene is tragic and disturbing, portraying the trauma many refugees from war-torn areas  experience.

Although both Zafoona and Noor have told someone about their guilt over Mariam, Fadi has been unable to confide in anyone, carrying his burden alone. However, after losing the photography contest and any chance of traveling to India, he confides in Ms. Bethune, telling her what happened that night in Kabul. Fadi is shocked that she does not consider him responsible and she helps him look at what happened in a different way, encouraging him not to blame himself for something he had little control over. Fadi never does tell his family about his guilt because the situation is resolved before he has the opportunity to do so.

Throughout the novel Senzai does an good job of incorporating recent Afghan history into the story so that younger readers have the background information to understand the events that occur. Readers experience the 9/11 attacks from the perspective of the Afghanistan refugees through the characters of Habib, Zafoona, Uncle Amin and others. The author also portrays how the Afghani people themselves view Osama Bin Laden, in the scene after 9/11 in the grocery shop in Little Kabul, and how they believe the events of 9/11 will impact their country. By incorporating many details about the country itself young readers from the United States and Canada are able to learn a bit about  Afghanistan's a rich heritage and diverse ethnic groups.

Shooting Kabul is another fine novel from this author and is highly recommended. Senzai states in her Author's Note at the back that "I didn't want to write this book..." because it touched many sensitive and personal issues including Islam, Afghan history and politics. Senzai's father-in-law's experiences are mirrored in those of Habib making the novel a very personal story. But it is a story well worth reading because it provides young readers the opportunity to understand Afghan history and culture separate from the American perspective presented in the media and because it also portrays the challenges refugees experience in coming to a culture vastly different from their own.

Book Details:

Shooting Kabul by Naheed Hasnat Senzai
New York: A Paula Wiseman Book      2010
273 pp.

Friday, May 11, 2018

DVD: Breathe

Breathe portrays the remarkable story of Robin Cavendish who contracted poliomyelitis in 1958 at the age of twenty-eight years old. As a result of this illness he was paralyzed from the neck down and completely reliant upon a respirator to breathe. Initially Robin wanted to die but with the support of his wife, Diana he was able to live a very full life and change the way severely disabled people were treated.

The movie opens with Robin Cavendish first noticing the beautiful Diana Blacker while playing cricket. His friends tell him he hasn't a chance with her as she is a notorious heartbreaker. But after he bats a ball into the china on a table near Diana, her interest in him is piqued. They date, fall in love and marry in 1957, despite her twin brothers Blogg and David expressing concern about the impending marriage. Marrying Robin will mean having to travel and live in Kenya, however Diana is quite agreeable to this.

The film then jumps to Kenya where the Cavendishs are with friends, Colin, Mary and Don who is a doctor. Robin mentions how much he loves the silence in Kenya. At a camp fire one evening, Don tells a story about sixty prisoners on Kome Island during the Mau Mau rebellion. Crammed into a small tin hut and with no possibility of being freed, the leader of the prisoners gives them permission to die. The next morning they are all found dead; Don's point being that people can will themselves to live or die. While Robin doesn't really believe the story, Diana emphatically states that she would choose to live. This scene is a foreshadowing of the coming trial Robin will face when he becomes seriously ill and must make the choice to live or die.

Shortly after this Diana reveals to Robin that she is expecting a baby and he is thrilled. The movie then jumps to the British Embassy in Nairobi in 1959. During a tennis match, Robin feels unwell and uncharacteristically loses to Colin. That night Robin becomes ill, shivering with fever and with terribly aching joints. He staggers to his friend's room and collapses. It would be the last time Robin would ever walk. He is rushed to hospital and when asked to move his arms or legs he can do neither. Soon he is struggling to breathe and is placed on a respirator. The diagnosis of polio is made with complete paralysis from the neck down. Diana is told Robin has a matter of months at most to live. When their baby, Jonathan is born, Diana places him next to Robin.

In 1960, Robin is flown home to England where he is placed in a hospital with other patients. Dr. Khan tells Diana that Robin is severely depressed and doesn't want to see her or his son Jonathan. When Blogg and David visit, Robin insists he wants to die. Dr. Entwistle who is in charge of the ward tells Diana that Robin is learning to swallow and if he can accomplish that he can learn to talk again. When he finally is able to speak, Robin challenges Diana as to why she continues to visit him. "You can't love this," he tells her, to which she responds, "Apparently I can."

Robin with his son Jonathan
In response to Robin's wish to die, Diana tells him that since the machine is breathing for him he's going to keep on living; she wants Jonathan to know him. So Robin asks her to get him out of the hospital. But when she approaches Dr. Entwistle, he refuses saying that no one with her husband's level of disability has ever left hospital care. Nevertheless, Diana purchases an old house and with the help of Dr. Khan, her brothers and a nurse, they attempt to sneak him out of the hospital. There efforts are discovered by Dr. Entwistle who orders them back, but Robin staunchly refuses. For Robin, being outside the hospital, seeing the blue sky, being around his family and friends is glorious and his mood improves immediately.

Robin is not satisfied with just being home, so with his friend Teddy Hall, an Oxford professor, they   devise a chair with a battery to power the respirator to give Robin more mobility. The first chair was built in 1962. Mobile around his home leads Robin to want to explore further and in 1965 they are able to retrofit a van so that Robin can sit in the front seat. This leads to trips across England and even into Spain where disaster almost strikes when the van's power which runs Robin's respirator is shorted out.

In the spring of 1971, Dr. Clement Aitken, Director of the Disability Research Foundation is amazed by Teddy Hall's motorized wheel chair and questions how he created it. Aitken tells Hall that he wants him to create hundreds of chairs, something that isn't possible without some kind of funding. Their first attempt at funding is refused so they seek a private donor in the form of a dowager and are able to make ten chairs for two thousand pounds. Dr. Aitken tells Robin and Diana that there are thousands of patients living their entire lives in hospital beds when they could be living a much better life.

With the encouragement of Dr. Aitken, Robin and Diana accompany him to a European conference in Germany in 1973 on Managing the Lives of the Severely Disabled. Dr. Aitken and Robin go to see Dr. Erik Langdorf who has patients in a modern, sterile environment of iron lungs. They are immobile with only their heads visible. He is shocked when he sees Robin in an upright chair with a respirator. At the conference, Dr. Aitken remarks that it is odd that at a conference on the disabled there are none in attendance and brings in Robin who asks them why they keep their disabled hidden away.Robin tells his story and tasks them to go back to their hospitals and help their patients to truly live "open the gates and set them free..."

Eventually the use of the respirator takes its toll on Robin as his lungs suffer abrasions and begin to suffer from bleeds. These bleeds he is told will only get worse and eventually they will kill him; he will drown in his own blood. Robin decides with the help of Teddy that he will euthanize himself. To this end he has a series of parties and makes arrangements to have his respirator turned off. Although Diana is at first angered, she comes to accept his decision. Robin Cavendish passes away


Breathe brings to life the extraordinary journey of Robin Cavendish, who after being stricken with the paralytic form of polio faces a shortened life confined to an institution. Instead with the determination and love of his wife, Robin is able to live a fulfilling and rich life the next thirty-six years, In that time he challenges how the medical profession and society as a whole view the severely disabled.

It was Robin and Diana's son John Cavendish, a successful British film producer who believed his father's story would make a good movie. To that end he enlisted William Nicholson who wrote the screenplay for the movies, Gladiators and Nell. Nicholson whose services would be quite costly, asked not to be paid until the film was actually made.

Robin (Andrew Garfield) and Diana (Claire Foy) in Breathe
Cavendish had formed a new studio, Imaginarium Studios which specializes in motion-capture filmmaking, with motion capture actor Andy Serkis. Serkis, probably best known for his work as Gollum in the Lord of the Rings films, was interested in making a movie and this seemed the ideal vehicle. Like Cavendish he too had a vested interest in the movie as his sister has multiple sclerosis and his mother has worked with the disabled.

Cavendish wanted to make sure the film about his father's life was not dark and depressing but uplifting. He wanted to portray the fact that his father's quality of life was good and that he led a life full of joy and adventure, sending the message that the severely disabled could have a life worth living. In this respect, Breathe is very successful. Serkis shows a very depressed Robin who is intent on dying during the period immediately following his illness. However, his wife Diana refuses to allow this but with some help, manages to remove him from the hospital setting. For Robin the choice is clear: he would rather live a fuller life with the risk of dying should his respirator fail than be bedridden in a hospital hidden away from family and friends. Once home his transformation is immediate and Robin is filled with ideas that might make his life better.

Breathe highlights the reality that the severely disabled can have a good quality of life with support from family, health care professionals and society. This is especially evident in the scenes where Robin and Dr. Aitken attend a conference in Germany in the early 1970's. The scene where Robin and Dr. Aitken are shown Dr. Langdorf's progress in treating polio victims is both shocking and heartbreaking. Breathe also serves as a reminder to a generation, which has never known the ravages of "childhood diseases" like polio, measles and whooping cough, just how dangerous these illnesses can be.

Claire Foy gives a captivating performance as Diana Cavendish; Andrew Garfield's job of portraying Robin Cavendish was much more challenging but he captures the range of emotions Robin experienced throughout the early years following his illness. The film has a solid cast of supporting actors as well.

Like The Theory of Everything which portrayed the remarkable life of Stephen Hawkings, Breathe challenges viewers to view the severely disabled differently, to recognize that though their bodies may be broken, inside are minds and hearts with dreams, desires and capabilities. We have a duty to give them the best life possible.