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Reyna Grande wants her new novel to help us rethink the term ‘invasion’

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“The Ballad of Love and Glory” is a novel Reyna Grande by no means deliberate to put in writing.

After a studying in 2013, an viewers member had approached Grande with a guide concept: “Have you ever heard concerning the St. Patrick’s Battalion?”

Grande brushed it off. “Typically at occasions, individuals come as much as me to speak and so they inform me, ‘You must write a guide about this, you need to write a guide about that,’” she stated. “It typically occurs to writers, and this was the identical factor.”

However the dialog piqued Grande’s curiosity. Again house, she turned to Google and realized that the battalion was a army unit of principally Irish immigrants who enlisted within the U.S. Military, solely to abandon and combat with Mexico through the Mexican-American Struggle. Their chief was named John Riley.

The extra she realized, the extra fascinated she turned, and Grande says she spent seven years researching and writing the story. The bestselling creator of “The Distance Between Us” and “A Dream Known as Dwelling,” Grande will be part of the Los Angeles Instances E-book Membership on March 29 for a digital dialog about her new novel, “The Ballad of Love and Glory.”

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E-book cowl for “A Ballad of Love and Glory” by Reyna Grande.

(Atria Books)

Set through the Mexican-American Struggle, the guide transports readers to 1846 because the U.S. Military marches south to the Rio Grande to wage warfare with Mexico. Because the warfare escalates, a passionate relationship grows between Ximena, a gifted Mexican curandera, and Riley, an Irish immigrant main the battalion.

The foray into historic fiction, politics and warfare marks new artistic territory for Grande, who has written extensively about her experiences as an immigrant. Born in Guerrero, Mexico, she was 9 when her household introduced her throughout the border to California with no visa. Her first guide, “Throughout a Hundred Mountains,” gained an American E-book Award in 2007.

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In a current video interview from a Sacramento cafe, Grande spoke about U.S-Mexico relations, what she realized researching the novel and what she hopes readers take away from her story.

Take me again to that day as an undergraduate scholar at UC Santa Cruz if you first realized concerning the Mexican-American Struggle in school. How did you are feeling?
Studying about it was stunning, as a result of society had been telling me I wasn’t alleged to be right here as a Mexican immigrant, as a Spanish speaker. Once I discovered that California had as soon as been part of Mexico and that Spanish was spoken right here earlier than English, it startled me as a result of I spotted that perhaps I wasn’t the outsider.

How did that historical past reshape your understanding of Mexico and the U.S.?
I realized concerning the U.S. as an invader, which isn’t the story we inform of this nation. It’s one thing to consider proper now with Russia’s invasion of Ukraine. We’re staying away from speaking about how the U.S. has been an invader, starting with the Mexican-American Struggle — that was the primary time the U.S. invaded a international nation. However we don’t study this in class. It doesn’t match into the narrative and the nationwide mythology we’ve created about this nation.

What has it been like following Russia’s invasion of Ukraine after writing a couple of equally violent second in historical past?
I’m seeing the injustice of an invasion carried out by a strong nation in opposition to a weaker nation. It’s the identical factor that occurred with the U.S. They tried to justify this warfare based mostly on lies and half truths, so I’m seeing a parallel to that. Additionally, the photographs that we’re seeing of the cities in Ukraine, the devastation, the violence, the useless and the wounded — I take into consideration that too with the U.S. invasion of Mexico. That’s why it was vital to me to not shrink back from violence within the guide. You see a whole lot of very vivid battle scenes, all of the blood and all of the gore.

If I used to be going to put in writing concerning the warfare and the invasion, I needed to immerse the reader in that second — to have them see what that appears and looks like.

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Did writing these scenes take a toll?
It was emotionally tough as a result of I felt that I used to be there with my characters. I wrote a whole lot of these scenes through the pandemic, and it helped me as a result of the uncertainty that COVID-19 created in all of us — the nervousness, the melancholy, the stress — I channeled all of these feelings into the writing. My characters had been experiencing their world being upended in the same approach. I used to be apprehensive, I had a whole lot of concern concerning the future, and I put all of these issues into the novel. That was my type of remedy.

What was it like switching backwards and forwards between truth and fiction?
I actually needed it to be traditionally correct. I didn’t wish to take too many liberties with the story and danger having the reader query its authenticity. So I attempted to remain true to the timeline, the best way the occasions unfolded.

You may Google something I write within the guide and also you’ll see that it’s true. The warfare befell over two years, in order that was my timeline, beginning in March 1846 and till proper after the Treaty of Guadalupe Hidalgo was ratified in 1848.

You’ll discover that the final chapter doesn’t have a date on it; that was the one time after I did use artistic license as a result of no one is aware of what occurred to John Riley after he was launched from jail. There’s a number of army data of him nonetheless being within the Mexican military till he was discharged, however after that he disappeared from the data. So I left that final chapter undated, as a result of I needed to level out that that was not a part of the historic timeline. That was me imagining how his story ends, with him going again to Eire.

In your opening letter to readers, you point out that not a lot is thought about Riley’s private life as a result of parish data had been destroyed in a hearth, and all you knew about Ximena — a widowed healer and Riley’s eventual love curiosity — got here from John Greenleaf Whittier’s “The Angels of Buena Vista.” How did you deliver them to life?
With Riley, I knew stuff about him. I knew he had come from Eire, that he had been within the British military earlier than that, that he had a son. I knew when he enlisted within the U.S. Military, when he abandoned, what battles he had participated in, what occurred to him when he and the opposite San Patricios acquired caught.

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The problem for me then was to get inside his head, to know his motivations and discover his wound, as a result of what haunts him is that he had joined the British military and had been a traitor to his individuals [in Ireland]. In my interpretation of Riley, I feel that’s why he joined the Mexican military, to redeem himself.

I additionally gave him my very own experiences as an immigrant. I do know first hand what it’s wish to not be needed by U.S. society, to really feel the discrimination and the micro aggressions. I gave him that internal turmoil of eager to belong on this society, to be accepted, to be loyal to this nation and to attempt to show that he deserves to be right here, all whereas the discrimination, the abuse, the insults begin to get to him, till he realizes that no, there’s one thing for him right here.

I fell in love with John Riley (laughs). A buddy learn the manuscript and stated, “John Riley is just too good, he wants flaws,” and I responded: “Can his flaw be that he’s good?”

What of your self did you give to Ximena?
I gave her my love of nature. I’m a gardener, and Ximena observes and actually appreciates the items that Mom Nature offers us. I additionally gave her my grandmother. My Abuelita Chinta impressed the character of Nana Hortencia. My grandmother died a very long time in the past, however after I was writing these scenes with Nana Hortencia, I actually felt that I may hear my grandma speak to me. I miss her. That’s one of many issues I misplaced after I immigrated to the US — my relationship with my grandma. Each time I wrote these scenes between Ximena and her grandma, I think about that is the form of relationship I’d’ve had if I hadn’t immigrated.

What analysis did you do to put in writing the dialogue between the Irish troopers?
I needed them to sound actual, particularly the best way they talked within the 1840s. I learn books about Irish peasants within the 1840s and developed an ear for the best way they converse, the diction, for Irish sayings, after which I made a listing of phrases that they used. I needed to have an Irish reader verify my work, so I emailed the top of the historical past division at a college in Galway and advised them I used to be searching for anyone to assist me with my novel.

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He put me in contact with certainly one of his former college students who’s now a historian. He learn the manuscript twice, and he was very impressed with my Irish dialect. He corrected a number of issues and helped me add some Irish Gaelic.

I paid a lot consideration to John Riley however not a lot to Ximena. After studying the manuscript, a buddy stated, “Your Irishmen sound extra Irish than your Mexicans sound Mexican.” So I went again and added a bit extra Spanish and phrases which can be each in English and Spanish.

What do you hope readers take away from the novel?
For my Mexican and Mexican American readers, I hope they really feel empowered, as a result of it’s reclaiming our historical past and providing a brand new perspective and a corrective. For different readers, I hope it helps them perceive why U.S.-Mexico relations are so complicated and provides them a special understanding of the southern border.

And I hope it helps them rethink the phrase “invasion” that anti-immigrant individuals use to speak about immigrants coming to this nation. As a result of who’s the invader? Who invaded whom?

E-book Membership: If You Go

What: Reyna Grande discusses “A Ballad of Love and Glory” with Instances editor Steve Padilla on the L.A. Instances E-book Membership.

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When: 6 p.m. March 29.

The place: Free digital occasion will livestream on Twitter, Fb and YouTube. Get tickets and signed books on Eventbrite.

E-book membership publication: Be a part of our neighborhood guide membership: latimes.com/bookclub

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Movie Reviews

Film Review: The Garfield Movie – SLUG Magazine

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Film Review: The Garfield Movie – SLUG Magazine

Film Reviews

The Garfield Movie
Director: Mark Dindal 

Alcon Entertainment and DNEG Animation
In Theaters: 05. 24

As a kid growing up in the early ‘80s, there was little that got me giggling harder than a Garfield comic strip. While most of them don’t necessarily hold up very well as an adult, I still have a fondness for the orange tabby,  and it brings back a strong nostalgia for childhood. The Garfield Movie didn’t have to be a great film to win me over. It just had to live up to its title.

As the movie begins, we meet young Garfield as a cuddly kitten on a dark, rainy night. Garfield’s father, Vic (voiced by Samuel L Jackson, Pulp Fiction) leaves him at a shelter, promising to return. Cold, scared and hungry, Garfield waits and waits, until he sees a human, Jon Arbuckle (Nicholas Hoult, Mad Max: Fury Road, The Great) dining alone in an Italian restaurant. The two bond, and Jon adopts Garfield. Years later, Jon’s dog Odie, runs into Vic, who needs his son’s help to get him out of hot water with his vengeful ex-girlfriend, a cat named Jinx (Hannah Waddingham, Ted Lasso, The Fall Guy), who used to be in gang with Vic until a dairy heist went wrong and she was sent to the pound, while Vic escaped, leaving her behind. To settle his debt, Vic must complete the original mission: steal thousands of milk bottles from a dairy called Lactose Farms. Garfield, Vic, and Odie must infiltrate the heavily guarded location. Their only ally is Otto (Ving Rhames, Mission: Impossible), a bull who was on the face of Lactose Farms, along with the love of his life, a cow named Ethel, until they were separated. The menagerie of animals must work together, and father and son must learn to trust one another gain, if this high stakes mission is going to succeed.

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It’s understandable that the makers of The Garfield Movie felt that they needed to have a plot that kept audiences engaged, and that making a good movie was more important to them than taking a purist approach to the material. The plot certainly didn’t need to be nearly this convoluted, however, and it’s shamelessly derivative of Chicken Run and is hard to escape, right down to the character design of Marge, an animal control officer voiced by Saturday Night Live’s Cecily Strong. In general, the design is all over the place, with Garfield, Jon, and Odie following the look established by Jim Davis, the original cartoonist, but many of the other characters look like they have just been pulled from various mismatched existing movies. If you’re going in as a fan, be prepared that for the most part, The Garfield Movie is so far from getting the basic attitude of the lead character or the simple dynamic that it feels like a peripheral connection to the source material at best. All of this would be more easily forgivable if it was a lot more entertaining, but sadly, it falls flat more often than not. There’s a certain amount of physical comedy that may appeal to kids, but the sly, cynical sarcasm of the title character has largely been neutered. The narcissistic edge is kept carefully in check, and is completely gone from his interactions with Jon and Odie, the heart of the original material. The feline villains and Vic’s past as a thief suggests that the screenwriters got Garfield and Heathcliff confused and didn’t bother to do enough research to correct the error, and very little of this plot thread works at all. The film really only succeeds on any tangible level when it’s milking the relationships between Garfield and his two dads, the absentee father Vic, and the adoptive father, Jon, for emotional warm fuzzies. The final action sequence aboard a train is fast moving and fun, if completely out of place. 

Much has been made out of the casting of Chris Pratt as Garfield, and while it’s not ideal casting, he does a capable enough job, and the shortcomings in the portrayal of the character can’t be blamed on him. Jackson is energetic as Vic, and the two try to inject some heart into the proceedings despite a lack of chemistry. Hoult is trying too hard to do a goofy cartoon voice as Jon, and while Rhames does have one of the most memorable voices in the movies, the character of Otto simply never clicked for me. The rest of the voice cast isn’t even worth mentioning, with the villain characters being so annoying and out of place that even the presence of talented voice actors couldn’t make me enjoy them.

The Garfield Movie gets some mileage out of moments of cuteness, and enough manic energy to keep kids watching, particularly in the second half. In terms of keeping parents – the ones who are more likely to be attached to Garfield as an intellectual property – engaged, this is a bit of a slog, and I’d recommend it only as a discount night family excursion, or something to wait and let the kids watch on video. –Patrick Gibbs

Read More Movie Reviews For The Kiddies:
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Pixar layoffs are underway. About 175 jobs are being cut

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Pixar layoffs are underway. About 175 jobs are being cut

Walt Disney Co.-owned computer animation studio Pixar is laying off 14% of its staff, as it cuts back on the number of streaming series it produces.

The layoffs, which will affect about 175 employees, were signaled as far back as January. Reports then suggested that the studio could cut up to 20% of its staff. However, a person familiar with the matter, who was not authorized to comment, said at the time that those estimates were too high.

The cutbacks at Pixar come as the Walt Disney Co. has embarked on a major, company-wide cost-cutting effort stemming from the Burbank media and entertainment giant’s plan to stem losses from its streaming business and save money.

Emeryville, Calif.-based Pixar, in particular, has also struggled to break out of a pandemic-induced slump at the box office. While the storied computer animation studio known for “Toy Story,” “Finding Nemo” and “Up” once churned out hit after hit, its recent performance has been mediocre.

Animated films such as “Toy Story” spinoff “Lightyear,” released in 2022, was a disappointment at the box office, as was 2020’s “Onward.” Last year’s “Elemental” opened with weak ticket sales but managed to recover thanks to strong word-of-mouth reviews.

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The studio has high hopes for “Inside Out 2,” a sequel to the 2015 hit that will come out this summer.

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No Such Person: identity theft scams in Hong Kong mystery thriller

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No Such Person: identity theft scams in Hong Kong mystery thriller

3/5 stars

No Such Person is a rarity in Hong Kong cinema nowadays: a low-budget, purely commercial production with a no-name ensemble cast and minimal artistic flair whose producers nevertheless believe it can attract an audience with its attentive storytelling.

Revolving around the nefarious activities that take place in an illegally-run subdivided apartment, the mystery drama marks the latest stab at fashioning a twisty thriller by Christopher Sun Lap-key (Deception of the Novelist), who remains best known to many as the director of the 2011 travesty 3D Sex and Zen: Extreme Ecstasy.

The film opens with a brief scene in which two people, purporting to be church officials, take over a vacant space in an old tenement building. It then jumps nine months ahead to follow young woman Amber (Kaylee Yu Hoi-ki) as she begins renting a furnished room in a property owned by Ray (Terry Zou Wenzheng), who claims to be a veterinary surgeon.

In the next scene, police are notifying the parents of a woman whose body has been found under a cliff along a hiking trail in a Hong Kong country park.

And then we’re back to learn more about those occupying the rooms next to Amber’s: Sisi (Winnie Chan Wing-nei), a live-streamer who produces sexually charged content for her audience; Ming (Himmy Wong Ting-him), a stock market speculator in deep financial trouble; and Ping (May Leong Cheok-mei), a creepy old lady who sells second-hand items on the streets.

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From there, No Such Person gradually reveals the predicament of Amber, a former yoga teacher who appears to be in some emotional distress; the mystery surrounding Ray’s premises and the characters’ ulterior motives provide much of the intrigue.

Himmy Wong as Ming, a stock market speculator, in a still from No Such Person.

Despite the film being set in a subdivided flat – a mainstay of Hong Kong social realist dramas – and having as its subject matter the prevalent social phenomenon of identity theft scams, Sun and his screenwriter Chen Hang have no ambitions beyond serving up a modest slice of B-movie entertainment.

Their film drip-feeds just enough information to keep the viewer engaged, before an escalation in the final act reveals the ungodly nature of the whole enterprise.

Even then, the visual depictions of sex and gore remain tame – which is probably more a reflection of the production’s limited scale than of a penchant for restraint on the part of Sun.

Its story is not as clever as the filmmakers intend it to be, and the sleazy nature of its revelations betrays Sun’s roots as a director and producer of erotic movies. Yet No Such Person is diverting enough for those who watch it with an open mind.

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Terry Zou (left) as Ray and Kaylee Yu as Amber in a still from No Such Person.

At the risk of damning it with faint praise, the film feels different from most Hong Kong productions we’re getting to see these days – and that does make No Such Person a welcome addition to the canon in spite of its many flaws.

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