Consumption Diary: November 2024

MUSIC

BOOKS

Pet by Catherine Chidgey (novel, audiobook, NZ, 2023) - Eighties nostalgia + creepy teacher + dead mother = a winning combo.

The Bone People by Keri Hulme (novel, audiobook, NZ, 1984) - Audiobook made it both easier (faster) and harder (more superficial) to get into this classic. Ruby Solly's narration was great.

The Yield by Tara June Winch (novel, audiobook, Australia, 2019) - Really great. At certain points it felt like it was becoming a large social novel (think Jonathan Franzen without the forced jokes), only to move on to other modes, other things.

A Very Short History of the Israel-Palestine Conflict by Ilan Pappe (non-fiction, audiobook, Israel, 2024) - Don't worry, this Israeli historian really doesn't like Settler Colonial Israel either (but it fairly clear headed and concise about it all).

The Lazy Boys by Carl Shuker (novel, physical book, NZ, 2006) - Thought I should finally read this book about a particular kind of student experience at Otago University in the 1990s, which is and isn't that different to today. Unpleasant to sit with Richey for so long (which is the point). Weird to know exactly which flats and dairies are being mentioned. 

Womb City by Tlotlo Tsamaase (novel, audiobook, Botswana, 2024) - Took forever to get to the crime fiction plot that was prominent on the cover blurb, which unfortunately made all the world-building feel like throat-clearing.

Aisle Nine by Ian X Cho (novel, audiobook, Australia, 2024) - YA set in the US after portals to a nightmare world start to open up. A bit paint by numbers.

Intermezzo by Sally Rooney (novel, audiobook, Ireland, 2024) - Hard not to read Rooney's latest in light of her previous work. This is and feels longer, but not necessarily bigger. It's less thrilling (feels like the author has more sympathy for her characters, which means there's less cravenness), more measured... kinda like a game of chess. 

Ghost Bus by Anna Kirtlan (short stories, audiobook, NZ, 2020) - Far be it from me to critique an author-with-a-day-job's creative work on the basis of their day job, but you know how sometimes fiction feels false, like it was written by a journalist or a comms professional...? Like, how sometimes the title is enough for you to know exactly what you'll get? Stories aren't peanut butter - at least, I'd prefer them not to be shelf stable commodities.

Plus I read / assessed an MA in Creative Writing thesis, which I won't include in my reading stats for the year.

Statistical interlude

With one month to go (86 books & counting), here's how I'm tracking against the semi-random reading targets I set for 2024:

At least ten single-author poetry collections: 7/10... Should be easy enough to slip 3 more into December's reading IF I rememberAt least one book from every continent: 6/6 (achieved by July)At least four books in translation: 6/4At least four books by Australians: 6/4 At least five different genres of novel: ∞/5  (this was a stupidly vague target)

FILM & TV

Slow Horses Seasons 3 & 4

Rebel Ridge

Killers of the Flower Moon

Woman of the Hour