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  • Tara Sonin 6:00 pm on 2019/08/14 Permalink
    Tags: americanah, brown girl in the ring, chandler baker, , christina dalcher, leni zumas, lisa taddeo, , meg ellison, nalo hopkinson, page and screen, paradise, , red clocks, rory power, the book of the unnamed midwife, , three women, , vox, whisper network, wilder girls   

    10 Books to Read After the Season Finale of The Handmaid’s Tale Season 3 

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    Once you’re recovered from the roller coaster of emotions that was the season three finale of The Handmaid’s Tale, the long wait until season 4 will start to set in. What will you do with your Wednesday nights without cheering on the fall of Gilead? Here are 10 books (plus a bonus) we recommend to get you through the post-season slump.

    Vox, by Christina Dalcher
    One of the creepiest parts of the new season was (mild spoiler alert!) the violent way Handmaids were silenced during the Waterford’s visit to D.C. Vox‘s entire premise is based on the silencing of women, literally: allotted only 100 words per day and violently punished if they exceed it, women in this version of America have been robbed of their voices, their careers, and their dignity. But when one former cognitive linguist (aka, a badass lady scientist of words) is recruited by the higher echelon of the government to work on a cure for a Very Important Person’s brain injury impacting their speech, she decides that this (and her added allotment of words per day) is her opportunity to seek justice. Not just for her, but for her young daughter, who has grown up being silent, and her teenage son, whom she watches becoming more indoctrinated into this toxic system each day. A gripping read with twists and turns I never saw coming!

    Red Clocks, by Leni Zumas
    Some of the most gorgeous and brutal writing I’ve ever read is in this book. Three POVs are followed throughout the story: a single teacher who is afraid that if she doesn’t get pregnant soon, she’ll miss her window to have a child—since in this patriarchy-defined version of America, adoption is only allowed for married couples; a teenage girl dealing with an unplanned pregnancy; and an outcast woman living beyond the confines of modern society who becomes the target of a smear campaign when rumors run wild that she performs abortions. As the ticking clock of when additional restrictions will be placed on women runs down, these stories intersect in powerful and unexpected ways, making the reader question what it means to be a woman, a mother, and a friend.

    Whisper Network, by Chandler Baker
    A novel with a ripped-from-the-headlines premise (and recent Reese Witherspoon bookclub pick!), Whisper Network is all over everyone’s TBR. Sloane, Ardie, Grace, and Rosalita are bound together by their work for Truviv, Inc. But they become even more united when the CEO dies and their boss, Ames, is set to ascend into the role. The problem? Ames is the subject of many, many whispers. When these women decide to bring those shadowy accusations into the light, none of their lives will ever be the same. Not a dystopia, but sometimes reality can be even eerier when we look at the relationships between men and women in corporate America, and the cost of speaking truth to power.

    Americanah, by Chimamanda Ngozi Adichie
    Another book where dystopia isn’t needed to show the impact of real toxic systems on real people, Americanah follows Ifemelu and Obinze, a couple in love, as they flee tyrannical Nigeria and attempt a life together in the West. But soon they are separated by forces beyond their control. Many years pass, and when they return to Nigeria— now democratized— they are different people, scarred by the ramifications of their individual lives in post 9/11 America and living undocumented in London. With searing, soaring prose and unforgettable characters, the harsh realities of being African, Black, Male, and Female are explored with great depth and authenticity.

    Paradise, by Toni Morrison
    One of the consistent critiques of The Handmaid’s Tale show is its handling of people of color, especially women. The great Toni Morrison is a necessary author to read to understand that for many PoC, this country is already a dystopia. Set in an all-black town in Oklahoma originally founded by former slaves, Paradise deals with events of harrowing violence, racism, abuse, and more. Like The Handmaid’s Tale, though, it focuses on the communities created by women, for women, in times of crisis, and with Morrison’s unforgettable, almost magical prose, its impact is indelible.

    Three Women, by Lisa Taddeo 
    A new non-fiction book thoroughly researched by author Lisa Taddeo (seriously, she talks in her introduction about how she moved to the towns as the women she was interviewing in order to become part of their communities!) Three Women has taken bookshelves by storm. It follows, as the title suggests, three individual women as they wrestle with sexual desire, trauma, the impact of sexism and misogyny, and more. Each of them feels trapped, in one way or another— usually because of the choices of men. The stories are true, but read like fiction: a woman who, as a teenager, had a Twilight-inspired affair with a married teacher; a restaurant owner who ‘swings’ with a dangerous partner; a mother unsatisfied with the lack of intimacy and sex with her husband. If nonfiction is usually a non-starter for you, consider giving this one a try.

    The Power, by Naomi Alderman
    Have you ever heard a woman say she always knows where men are on any given street she’s walking on…like she has eyes in the back of her head? Well, this book imagines that men might be the ones who have something to fear when teenage girls can torture and kill if they want to. Follow four perspectives of people whose lives are irrevocably altered when this power emerges, and remember the metaphor that Handmaid’s Tale also drives home: that the power for evil is certainly within us, and if provoked, we can unleash it.

    Wilder Girls, by Rory Power
    Speaking of teenage girls with incredible power, while this YA dystopian “retelling” of sorts is inspired by Lord of the Flies, I like this book for Handmaid’s Tale fans, too. A mysterious illness called The Tox has taken out many people in Heddy’s life, to the point where she and her still-uninfected friends can’t venture beyond the walls of their school for risk of coming into contact with it. That is, until someone close to her goes missing. Then, Heddy will unleash the wildness within her and venture into the dangerous beyond, no matter the cost. If whip-smart writing and a bit of body horror is your thing, check out Wilder Girls.

    Brown Girl in the Ring, by Nalo Hopkinson
    Imagine this: unlike in The Handmaid’s Tale, where Canada is a haven…in this novel, Toronto has fallen. Ruled with a tyrannical fist by a ruthless crime lord and rendered uninhabitable by the rest of society, the city is mostly disconnected from the outside world. People like the Black main character, Ti-Jeanne, are left to fend for themselves. Described by reviewers as “horror fantasy”, this book puts a woman of color at the center of a dangerous dystopia, giving her the ability to fight against the elements—including the father of her child, who has taken up with the very same crime lord who has destroyed the home she loves.

    The Book of the Unnamed Midwife, by Meg Ellison
    Since the Handmaids who aren’t pregnant on the show seem to function as midwives for the ones who are, a book about a midwife seemed appropriate to add to this list. Of course, it’s also a dystopia: the midwife is rendered irrelevant after a fever causes childbirth to become harmful to both mother and infant. But she’s still in danger, forced to travel under false names and disguised like a man…all with the hope of someday contributing to the rebirth of human society.

    The Testaments, by Margaret Atwood
    I had to plug the highly anticipated sequel to the original The Handmaid’s Tale book, didn’t I? Not available until September, unfortunately, but if you breeze through this list, it will be here before you know it! The Testaments takes place 15 years after Offred’s final appearance in the book, and as Atwood says herself: everything you’ve ever wanted to know about Gilead is in it.

    What books are going to help tide you over until The Handmaid’s Tale returns?

    The post 10 Books to Read After the Season Finale of <i>The Handmaid’s Tale</i> Season 3 appeared first on Barnes & Noble Reads.

  • Tara Ariano 5:00 pm on 2019/07/17 Permalink
    Tags: cafe meetups, , hulu, , Ofmargaret, page and screen, , ,   

    What Hints Does Hulu’s The Handmaid’s Tale Give Us About Margaret Atwood’s The Testaments? 

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    Last month, Barnes & Noble stores across the country hosted the first in a series of Cafe Meetups where fans of Hulu’s  The Handmaid’s Tale met to discuss the show and the Margaret Atwood novel upon which it is based. Many of the discussions focused on the differences and similarities between the show and the book—which got us thinking about what that might mean for Margaret Atwood’s forthcoming sequel, The Testaments, which will be published on September 10 in a Barnes & Noble Exclusive Edition. (Our next Cafe Meetup is scheduled for July 25. Find a participating store near you.)

    Speculative fiction was a new genre for Margaret Atwood when she published The Handmaid’s Tale in 1985, but over the past three-and-a-half decades, the novel has become one of her most gripping and indelible. In recent years, it has also taken on new relevance, thanks both to the politics of our era and a television adaptation that has brought it to the forefront of pop culture.

    Though the novel was earlier adapted as a film in 1990 (with a screenplay by Harold Pinter and a cast including Faye Dunaway, Robert Duvall, and the late Natasha Richardson), a standard movie runtime wasn’t sufficient to dramatize all the events and ideas it contains. In 2017, the TV series adaptation arrived on Hulu, with multiple Emmy-nominee Elisabeth Moss as its protagonist. Critical acclaim soon followed. But since, in our day, the content engines must be constantly stoked with new material lest the networks and platforms and streaming services stall out on the tracks, just covering the events of The Handmaid’s Tale wouldn’t do; the book didn’t supply enough events and ideas to fill multiple seasons of the show.

    For the first season, the plot of the series follows the novel’s with a great deal of fidelity: the U.S. government has been toppled in a theocratic coup, and while war continues between the Americans and Gilead, it’s happening far away from June (Moss). A fertile woman in a time when those are in short supply, she has been forced into the Gilead caste of Handmaid. She lives in the home of a Commander named Fred Waterford (Joseph Fiennes) and his wife Serena (Yvonne Strahovski); once a month, she submits to The Ceremony, as procreative rape is euphemistically known. Since female literacy has been outlawed, she has little to do with the rest of her time but shop for food, take short walks around her neighborhood (both in the company of her walking partner, a fellow Handmaid), and worry about her loved ones, whose fates she doesn’t know: her daughter Hannah (Jordana Blake) and her husband Luke (O-T Fagbenle).

    After a time, Commander Waterford invites her for clandestine hangouts in his study, where they scandalously play Scrabble and leaf through antique fashion magazines. Once Waterford is fairly sure June won’t snitch, he brings her with him to Jezebel’s, a brothel, where she has a chance reunion with her college friend Moira (Samira Wiley), who washed out as a Handmaid and ended up as a sex worker, a life she finds far more palatable.

    Back home, Serena is pretty sure June isn’t getting pregnant—because the Commander is sterile—and arranges for June to copulate with the household’s driver, Nick (Max Minghella); the two end up enjoying each other’s company (to say they fall in love would be kind of a reach), and June does get pregnant. She is shocked to find out that her pious walking partner, Ofglen (Alexis Bledel), is involved with a resistance movement known as Mayday, which recruits her to run ops.

    One thing leads to another, and both the book and the show’s first season end with Nick—not only a driver, but also an Eye (an officer of Gilead’s secret intelligence service)—telling June to trust him while two other Eyes remove her from the Waterfords’ house. For a novel, it’s an ambiguous ending; for a TV series, it’s a cliffhanger.

    June/Offred (her Handmaid name, based on that of her head of household) is the book’s narrator, so while she can report to the reader some of the stories she hears from other characters, the novel formally echoes the claustrophobic restrictions of her new life. Where the first season of the TV series diverges from the book is largely through showing us perspectives of other characters that June doesn’t know about.

    Emily/Ofglen, for instance, was married to a woman; the rise of Gilead meant their marriage was invalidated, but her Canadian wife was permitted to flee with their son. In the meantime, Emily started a relationship with a Martha (a domestic worker in her Commander’s household). When they were discovered, her partner was executed on the spot, and Emily was forced to watch. Emily’s fertility makes her, in the official Gilead estimation, more valuable, so her punishment is a cliterodectomy.

    Serena was a conservative pundit whose theories provided some of the basis for the founding fathers of Gilead. She was passionately in love with her husband and now must live each day knowing she helped define the laws currently oppressing all Gilead women, herself included, and wonder if it was worth it to assist a husband who now has no interest in sex with her if it’s non-procreative.

    Nick was a disaffected young man who saw blue-collar jobs leaving his community and was too angry to get hired for one of the few that remained, making him a prime target for recruitment by a radical anti-government militia that actually ended up achieving its treasonous mission. And Luke and Moira? They both make it out, crossing the border into Canada to start their lives over as refugees. They eventually find each other, and start working together to try to get June out.

    The second and third seasons have continued what the first started, building out the world of Gilead, proceeding from the glimpses afforded the Junes of both the novel and the series.

    There are the Colonies—territories ravaged by environmental and nuclear disasters, where “Unwomen” (those who can’t or or aren’t permitted to occupy any of the few castes available to them) work without protection to clean up the sites, subsisting on contaminated water and food until radiation sickness kills them.

    There’s an episode set in an Econo-household (disappointingly, we see the show’s Econowives’ uniforms are just gray, like the Marthas’, and not striped as in the book) in which June does end up being spirited away from the Waterfords’ household and goes on the run.

    In a particularly shocking episode, June and the Waterfords travel to D.C., where the Washington Monument has been turned into an enormous crucifix, the Lincoln Memorial has been destroyed, and, under tight collars that cover their mouths and necks, Handmaids’ lips are closed with metal rings.

    We also learn more about the world around Gilead: the other sovereign nations whose diplomats are now working out whether and how to recognize a government brutally abrogating the civil rights of half its residents; and see what life is like in Canada for the former Americans who’ve escaped but are still processing their traumas.

    Some scenes created for the show echo current events of our day: June holes up in the former offices of the Boston Globe, where evidence remains of staffers’ brutal executions; the episode aired just two months before the shooting at Annapolis’s Capital Gazette last year. In another episode, Emily and her wife Sylvia (Clea DuVall), try to escape and are detained at the airport by a power-tripping ICE agent who tells them their legal immigration protections have disappeared, as occurred when President Trump’s “Muslim ban” executive order was first signed in 2017.

    Though June’s story in the novel ends with her being marched out of the Waterfords’ house, there does follow a section of “Historical Notes,” transcribed from an academic symposium on Gileadean Studies held in 2195, that hint at the future that awaits her. A Prof. James Darcy Pieixoto, an archivist at Cambridge, speaks about reassembling a text—which he and a colleague have dubbed “The Handmaid’s Tale”—from voice recordings made on ’80s-era audio cassettes; he speaks about the details Offred may have changed or elided for safety’s sake, and what she couldn’t know about Gilead due to her limited vantage point.

    This 13-page epilogue condenses a huge amount of data the show has mined for plot and worldbuilding: this season, we’ve seen June record her voice to send to Luke, perhaps creating the account the archivists will pore over in more than a hundred years’ time (the idea that this story is being told via whatever audio storage media is available would explain some of the more egregious needle drops this season. “Que Sera Sera”?).

    In the book, Prof. Pieixoto refers to Gilead’s “racist policies”; the show has been criticized for ignoring race, and given our current political moment, it’s impossible to imagine that the theocratic movement that created Gilead wouldn’t also be white supremacist—though we did get a moment in a recent episode in which Lydia (Ann Dowd) and two fellow Aunts are considering Handmaid assignments and indicate that one won’t be acceptable to a couple who’ve refused to take a “Handmaid of color.”

    Prof. Pieixoto singles the Aunts out for special note, calling them a “crack female control agency” and citing an architect of Gilead who believed “that the best and most cost-effective way to control women for reproductive and other purposes was through women themselves”—a notion that just played out on the show in an episode flashing back to Lydia’s origin story as a kindly elementary school teacher who, after a romantic rejection, turned her rage against a student’s single mother by exploiting newly restrictive laws to get the child sent to foster care for spurious reasons.

    The Handmaid’s Tale is about to end its third season, with the finale dropping on Hulu July 24. The imminent publication of Atwood’s sequel, The Testaments, will bring a whole new vein of material to be mined in potential future seasons. As a critic of the show, I have sometimes been frustrated by moments when characters seemed to be making decisions for the sake of the plot; the idea that June would, in the Season 2 finale, be on the verge of escaping Gilead with her baby and decide to give up her chance on the groundless hope that she might also someday free Hannah from her new family is preposterous. But even in moments like these, characters’ essential natures have remained true to their portrayal in Atwood’s novel. That, paired with the fact that Atwood has been a consulting producer throughout the run of the show thus far, would lead one to believe that, while The Testaments will vault us 15 years past the end of June’s story in The Handmaid’s Tale, she and her fellow Gileadean narrators will still be recognizable to those of us who’ve been watching her on Hulu for the past three seasons. It also seems likely that we shouldn’t be too optimistic about where Atwood will leave June this time.

    Do you have opinions to share about the similarities and differences between Hulu’s The Handmaid’s Tale and Margaret Atwood’s novel? Do you want to speculate about what readers might discover in The Testaments? On July 25, many Barnes & Noble stores are hosting Handmaid’s Tale Cafe Meetups where fans can come together to discuss the show, book, and more. Find a participating store near you.

    The post What Hints Does Hulu’s <i>The Handmaid’s Tale</i> Give Us About Margaret Atwood’s <i>The Testaments</i>? appeared first on Barnes & Noble Reads.

  • Jeff Somers 3:00 pm on 2017/08/04 Permalink
    Tags: , , page and screen, , shocker, , , the sinner book, the sinner ending, the sinner spoilers, , twist ending   

    Why The Sinner Is This Year’s Biggest Surprise Hit 

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    The social media hills are alive with the sound of people discussing USA Network’s adaptation of Petra Hammesfahr’s The Sinner, leading a lot of folks to wonder how executive producer and star Jessica Biel knew this twisty, tension factory of a story would be a massive hit. We know Biel’s secret: she read the book, which is—you guessed it—a twisty, tension factory of a story with a surprise ending you’ll never see coming. While the world might be surprised The Sinner is a fantastic bit of television, we’re not—because we read the book, too. Here’s why we knew The Sinner was going to be a hot topic of conversation this summer.

    The Hook

    First and foremost, The Sinner is one of those “elevator-pitch” novels that can be summarized in a few words without giving a single plot twist away. Cora Tannetti (Cora Bender in the book) is with her family on a public beach for a picnic when she abruptly picks up a knife and murders a stranger. There are dozens of witnesses, and Cora doesn’t make any attempt to run or deny what she’s done. When questioned, she simply states that she doesn’t know why she murdered him. A detective, Harry Ambrose (Rudolf Grovian in the novel), thinks there’s more to the story than temporary insanity, and he starts pushing Cora in the interrogation room. That kind of brutal, inexplicable crime and Cora’s numb lack of affect afterwards tell the viewer (and reader) that there is a whole hidden iceberg of story hiding below the chilly surface—and that’s an irresistible hook.

    Cora Herself

    Cora is an instantly fascinating character—and an incredibly unreliable narrator. And who doesn’t love an unreliable narrator? The detective’s patient approach provides a slow burn of tension as he gently pushes Cora to tell her story again and again—and each time she does, there are new details, new revelations, and new hints. Cora’s not devious in the way of, say, Amy Dunne in Gone Girl. Instead, she’s damaged, and the interrogation turns into something akin to therapy. Hammesfahr’s great achievement with the character is how she starts off as a monster, a woman who commits a senseless murder, and slowly evolves into an incredibly sympathetic person.

    The Twist Derby

    That sympathy is earned, too, as the true story of Cora slowly emerges. The book is almost like a long conversation between the detective and Cora, a back-and-forth that teases out twist after twist. Hammesfahr totally gets how to use an unreliable narrator, as Cora lets things slip—accidentally or unintentionally at first, offering intrigue, then in a rising tumult of revelation that even surprises her. And Cora’s story isn’t cheap—there’s an emotional gut punch behind every gruesome moment of discovery. That emotional weight is glimpsed in the early episodes of the TV adaptation—another reason it’s been instantly compelling for viewers.

    The Feels

    You can tell that a book has been thoughtfully assembled when you realize the distinct plot strands could each be a novel on their own. The story of a woman who mysteriously assaults and kills someone on a beach is one whole novel. The story of Cora and her family, slowly revealed over the course of the book, could be another, equally compelling. Cora’s younger sister, Magdalena, suffered from a terrible disease that should have seen her dead at a very young age—but Cora’s mother literally devotes all her energies to keeping Magdalena alive. This single-minded obsession leaves Cora and her father adrift, pushed together figuratively and literally in ways that are uncomfortable and borderline inappropriate, yet Cora and Magdalena manage to forge an affectionate relationship despite the suffocating dysfunction of their family. Both girls are suppressed and broken by their situation, and the way this dysfunctional family drama plays out both breaks your heart and links directly to the shocking murder that opens the book.

    Petra Hammesfahr

    Expect to hear a lot more about Petra Hammesfahr in the wake of The Sinner’s success. Although she only has one other book in English at the moment—The Lie, equally great—she’s a prolific and award-winning novelist in her native Germany. The woman knows how to write a twisting crime thriller, is what we’re saying, and we expect that if you enjoy The Sinner you’ll have a lot of freshly-translated Hammesfahr books to read soon enough.

    So, color us not surprised at all The Sinner is the water cooler TV show of the summer. If you’ve watched the first few episodes and you’re hooked, all we can say is: strap yourself in, because the ride is going to get all kinds of crazy—in a very good way. (And if you’re impatient, just read the book, which will give you all the spoilers you could ever ask for.)

    The post Why The Sinner Is This Year’s Biggest Surprise Hit appeared first on Barnes & Noble Reads.

  • Ross Johnson 9:01 pm on 2016/01/05 Permalink
    Tags: , great adaptations, page and screen, , , the big short,   

    Adaptations Take Center Stage at the 2016 Golden Globes 

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    The 73rd Golden Globe Awards are upon us, and the nominated films include adaptations of some of our favorite books of the last few years (and, in one case, one of our favorites of the last 50). Books have always made great source material for films, and these five Golden Globe-nominated pictures manage to avoid all of the traps of adaptation, turning great stories into great movies, sometimes by faithful translation, and sometimes by spinning off into new directions. In either case, these five works are as brilliant onscreen as they are on the page.

    Carol, based on The Price of Saltby Patricia Highsmith
    There have been a number of memorable motion pictures made from the works of Patricia Highsmith, Strangers on a Train and The Talented Mr. Ripley among them. Known for her psychological thrillers, the notoriously prickly author published her second novel, The Price of Salt, under the pseudonym “Claire Morgan” because she was concerned about reaction to the book’s lesbian themes. Homosexuality wasn’t unheard of in books of the 1950s, but Salt was unusual because it wasn’t written for shock value or to make a point about the doomed and tragic nature of lesbian romance. Fast-forward to 2015, and the long-in-the-works film from director Todd Haynes (Far from Heaven, I’m Not There) is the most nominated movie at this year’s Golden Globes, vying for five statues, including Best Motion Picture in the Drama category. The story of a young photographer (Rooney Mara) and her slow-burning romance with an older woman (Cate Blanchett) has made a glittering transition to film.

    The Revenant, by Michael Punke
    Director Alejandro Iñárritu wasted no time in the wake of the awards success of 2014’s Birdman or (The Unexpected Virtue of Ignorance), which took home a Golden Globe for its screenplay (and, incidentally, an Academy Award for Best Picture). He’s back with one of the year’s most talked-about films, The Revenant, starring the always-reliable Leonardo DiCaprio and Tom Hardy. It’s based on Michael Punke’s 2002 novel, an almost-true story of real-life trapper Hugh Glass, who is mauled by a bear and left for dead in the unsettled American west of 1823. It’s a harrowing story of survival and revenge, as Glass seeks vengeance against the companions who abandoned him. Alongside the Best Picture—Drama nod, DiCaprio and Iñárritu earned individual nominations.

    Room, by Emma Donoghue
    Based on Emma Donoghue’s harrowing and deeply felt 2010 novel, Room stars Brie Larson as Joy Newsome, who has been held captive for seven years in a small, squalid room—the same room in which she gave birth to her son, Jack, a product of rape by her kidnapper, and in which she now raises that beloved son. When Joy and Jack mount a successful escape attempt, the wider world presents a host of new challenges. While Joy is traumatized and resentful of the time she’s lost, her son is disconnected and struggles to understand the reality of a world outside the confined space he knew so well. Donoghue wrote the screenplay, which has been nominated for a Best Screenplay award, and the film is a favorite to win Best Motion Picture—Drama.

    The Big Short, by Michael Lewis
    They’re not all quite so heavy. The Golden Globes splits Best Motion Picture awards into separate Drama and Musical or Comedy categories. The Big Short is nominated in the Musical or Comedy category, though not everyone is likely to find the subject matter funny. The film is based on Michael Lewis’ 2012 book, which tells the behind-the-scenes story of the credit and housing bubble that developed in the 2000s. You know—the one that burst so dramatically around 2008, and took your 401K with it. The film focuses on three sets of people who get wind of the gathering storm and manage to, with varying motives, make a ton of money from the situation. Director Adam McKay is mostly known for comedies like Anchorman, so this is a real departure; his success in turning an acclaimed nonfiction bestseller into a highly nominated film is even more impressive.

    The Martian, by Andy Weir
    It’s a bit surprising that The Martian is nominated as a Musical or Comedy in the Best Picture category, but Mark Watney is probably one of the funniest film characters of 2015. Director Ridley Scott and star Matt Damon made for an impeccable team, translating the danger, adventure, and sly sense of humor of Andy Weir’s hard sci-fi novel to the big screen. As in the movie, the book follows an astronaut stranded on Mars in a very believable near-future as he fights to survive a decidedly inhospitable world. Watney leaps off the page, bringing a sense of humanity to the science fiction premise, and the film maintains the carefully measured blend of humor, drama, and suspense. Damon and Scott are nominated alongside the film.

    Which books are you cheering for at the Golden Globes?

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