I always thought the ‘90’s were cool 

The cover shows a handheld landline phone with a beige stretchy spiral cord; since the casing is clear plastic, all the inner mechanical parts are visible, in shades of turquoise, pink, orange, and yellow.

By Eric L.

Although, I’ve become more confident recently.  

The Nineties: A Book by Chuck Klosterman is written in an extremely entertaining, journalistic style, a look back at the decade that has become so “in,” it’s “out.” Although, like Klosterman, I am almost a “caricature” of a “Gen X” caricature, so this book is a bit of an easy sell to someone like me. This is one of those time periods when something culturally progressive was happening, and to some extent, I’m a product of that. The art I experienced played a part, but perhaps I had a predilection for this sort of thing.  

However, this book is not just for aging hipsters like me. Klosterman successfully argues that what we remember from the decade, the stereotypes, may be quite different from the reality. He alludes to the fact that we always misremember things, or rely on the stereotypes of decades to classify them easily in our minds.  

Klosterman does an excellent job of highlighting all the things that I personally remember as positive for society, but the anecdotes and examples made me realize we have similar taste and beliefs. The films and the music were a considerable influence on my taste and my social awareness. He also mentions that art about the lives of Black people was consumed by white audiences like never before. The independent films and music were different than most things I had experienced before. Klosterman makes the remarkably interesting argument that the local video rental store, and later the chains, gave birth to the working-class auteur. In short, they could browse and watch films (e.g. Citizen Kane, Chinatown) multiple times which may have been only previously shown at an art house theatre. 

That said, Klosterman points out that Titanic was the biggest movie of the decade, and this hardly qualifies as progressive art. Moreover, Tupac sold more records than Nirvana, and Garth Brooks sold more than both put together (and really birthed new country). So why is it that balding guys with cowboy hats and tight jeans are not proffered as 1990’s stereotypes? 

The extremely high approval rating for a “liberal” President who was a serial philanderer and predator does not jibe with the ethos of 2020. Klosterman even asks the question many now ask: if the Democratic Party is worse off because of the Clintons. I was particularly interested in the discussion of the most successful third-party candidate in a century. The fact that Ross Perot received 19 percent of the vote almost seems unfathomable now. How the United States kind of “meddled” in the 1996 Russian democratic election is also an interesting sidebar. 

There are too many interesting sidebars to mention, but many are things we may have forgotten. For example, Michael Jordan, the most successful basketball player ever, decided to play minor league baseball, primarily because he was bored and tired. It came as a shock to America that baseball players and cyclists were using performance enhancing drugs to put on superhuman performances. 

These things may seem like minutiae to some, but I feel as though these events help us understand current America just a little bit better. 

One of the most important chapters is “CTRL + ALT + DELETE” – extremely interesting in that it describes the way people, mostly tech people or insiders, viewed the internet in the 1990s. It reads like people selling a dream that became a nightmare, sadly. Academic careers are, and will be, built on how computers and the internet altered society, as we have only begun to appreciate the changes in our behavior. One of the most salient points Klosterman makes in the book is to consider the differences in America from 1960 to 1990, and then consider the differences in America from 1990 until 2020. Imagine disembarking from a time machine in 2020 from the year 1990. He discusses how some of us recall how the world worked before widespread computer and internet use and I’m obviously among these folks. To be sure, I appreciate all the things that have improved in my life, but I do long for the good ol’ days, too! 

As a ‘90’s hipster, I do feel that the idea of physical place is something that is particularly important to a stable democratic society. And I want to let you know we offer this at the library. A young lady borrowing numerous films said “hey” to me as if she knew me, and I’d forgotten that we had a brief discussion about films. She is likely Gen Z, but had a very ‘90’s look. She was borrowing a stack again, including some Wes Anderson, and I said, “Have you ever seen his first film, Bottle Rocket?” She had not. I said, “I think it’s his best, or my favorite, we have it over there.” Borrow it. I had never seen another film like it in 1995. 

Lastly, The Nineties: A Book is on our adult summer reading list (and also available in eBook and eAudiobook format via OverDrive/Libby). Another great reason to come by the branch and see us for our complete adult summer reading suggestions!

Eric is a DIY Instructor and Research Specialist at the Elkridge branch. He enjoys reading, films, music, doing nearly anything outside, and people.

Film Femme Phenoms

An Oscar award statuette.

by Cherise T.

The Oscars. The Super Bowl for film lovers and stargazers. Since the 94th Academy Awards and Women’s History Month converge this year, let’s highlight Oscar-winning women. The accomplishments of women in the film industry grow each year as crews’ diversity increases and acting roles encompass a broadened range of realistic characters.

Front and center for many a bibliophile is screenwriting. In 2021 with Promising Young Woman, Emerald Fennell (also known as Camilla in The Crown) became the first woman in 13 years to win for Best Original Screenplay. Fennell also produced and directed. Then travel back to 2007 when Diablo Cody won for Juno. To date, nine women have won in this category, but only five as solo writers; the other three being Sofia Coppola, Lost in Translation; Jane Campion, The Piano; and Callie Khouri, Thelma & Louise.

For Best Director, 2021 also brought an Oscar to a woman, Chloé Zhao, for Nomadland (also a book). Only one other woman has won in this category, Kathryn Bigelow, for The Hurt Locker. Only seven women in total have even been nominated.

Best Costume Design boasts many female winners. Edith Head was nominated 35 times and won eight. For total Oscar nominations and victories, she is surpassed only by Walt Disney. Her winning films are The Heiress, Samson and Delilah, All About Eve, A Place in the Sun, Roman Holiday, Sabrina, Facts of Life (not available), and The Sting. For more recent winners in 2018 and 2019, check out the work of Ruth E. Carter in Black Panther and Jacqueline Durran in Little Women.

Best Supporting Actress has been won more than once by only two women: Dianne Wiest for Hannah and Her Sisters and Bullets over Broadway (not available) and Shelley Winters for The Diary of Anne Frank and A Patch of Blue (available through interlibrary loan). Last year’s winner was the first for a Korean actress, Youn Yuh-jung, in Minari.

Now for the star power that is Best Actress. Katherine Hepburn was nominated 12 times and won a record-setting four: Morning Glory (available through interlibrary loan), Guess Who’s Coming to Dinner, The Lion in Winter, and On Golden Pond. Meryl Streep has been nominated a record-setting 17 times for Best Actress, winning twice for Sophie’s Choice (available with an HCLS library card on Kanopy) and The Iron Lady, and nominated four times for Best Supporting Actress, winning for Kramer vs. Kramer. Frances McDormand became a triple champion in 2021 for Nomadland. She also won for Fargo and Three Billboards Outside Ebbing, Missouri.

If you’re a fan of the Academy Awards, enjoy, and be sure to check out these and other noteworthy Oscar winners in the HCLS catalog.

Cherise Tasker is an Adult Instructor and Research Specialist at the Central Branch. When not immersed in literary fiction, Cherise can be found singing along to musical theater soundtracks.

Dune by Frank Herbert

Orange and yellow waves of color suggest sand dunes. Title appears in bright white type vertically in the center, with a silhouetted figure within the "U". A black space sky is across the top, with stars.

By Eric L.

There has been quite a lot of buzz concerning the new Dune film, especially since with the new trailers being released. Frankly I’m a bit excited, too, although the theatre release has been delayed repeatedly (now scheduled for Oct 22, 2021). However, I can’t say that I’m a Dune fan from way back, since I had never read any of the 18 books in the series until recently.  

I host the HCLS book discussion group Read. Think. Talk. on the first Monday of the month. More often than not, we read and discuss classic, social, and philosophical sci-fi. Several members of the group wanted to read Dune (the original). Although I had a desire to read it, and with the new movie and an HBO series on the way, it seemed like a great time to familiarize myself with the source material. However, I was a bit reluctant, as it’s not a great idea to suggest a 600-plus page book, with three appendices and a glossary of terms, for a book discussion group. Moreover, I’ll concede I’m still a bit intimidated by long books!  

The plot centers around young Paul Atreides whose world is upturned when his family/house must relocate to the desert planet Arrakis, colloquially called Dune. A rival house, Harkonnen, was governing Dune and wants to wrest back control because of the planet’s valuable natural resource melange (also called spice). House Atreides is the more admirable of the two rival houses for a variety of reasons, not the least of which is the Harkonnen leader is a despicable person.

Melange enables interplanetary travel both via the pilot and as a fuel. It possesses a psychedelic effect, and people also ingest it as a mind-altering substance. Melange is only found in the sands of Dune, and harvesting it is a very dangerous endeavor because of the giant sandworms (the worms were really all I knew about Dune). The indigenous Fremen are the only folks who are able to survive in the desert with its extreme climate and dearth of water. 

Paul has an interest in the Fremen from the outset, even before a series of events place him in contact with them. I don’t want give away too many details concerning the drama and intrigue that lead to House Atreides losing control of the planet, but they make for a good read. The Fremen believe Paul to be their chosen leader and they have a common interest in defeating the Harkonnens.

This sort of story should all seem familiar, with revenge, an oppressive greedy regime, and the oft-repeated white male savior trope. However, Dune has some interesting differences. Paul is accompanied on his journey by his mother, Jessica, the unmarried concubine of his father and a member of the “Bene Gesserit.” One of the shadowy organization’s key tenets is controlling one’s thoughts to control how the body reacts. The members are taught to hone their intellect and possess the ability to persuade people using their words. They are not popular in the largely patriarchal society and are often and pejoratively referred to as “witches.” Jessica, against the rules of the Bene Gesserit, taught young Paul their ways. This skill set is the reason that some of the Fremen think he may fulfill their prophecy. 

There are interesting power dynamics between Jessica and Paul, their feelings about each other, and how individual goals change throughout the story. Other strong female characters exist as well, including Paul’s love interest. Author Frank Herbert was apparently also interested in Zen and peyote, and the book is very much a product of the late 1960s. It is undeniably long but moves quickly. The action scenes are not drawn out, in fact I found their brevity interesting. I liked that the political buildup was described more, which seems closer to reality to me. 

Dune has drama, intriguing characters, some philosophical issues, and an interesting environmental message. I half-read the appendices but found them rather dry without getting a feel for the characters first. That’s just me; perhaps you may like to have a complete understanding of the “world” before getting into the story. 

On the continuum of science fiction and fantasy (if there is one), I lean to the former. I’d argue this is more fantasy, although it’s debatable. At any rate, the book contains new words, lots of new names, worlds, and families, all of which are difficult to pronounce. This is a book that’s worth your time and great source material for a film. The new film will tell the story in two parts, unlike the 1984 David Lynch film, which is an interesting story in and of itself (I’d recommend it). 

In sum, one can get lost in another world and time in this book, and perhaps it’s nice to take a respite from current affairs for a bit. 

While you have to reserve the book right now because others are enjoying all of our copies, it is worth the wait to read. Also available as an eBook and an eAudiobook from Libby/Overdrive.

Eric is a DIY Instructor and Research Specialist at the Elkridge branch. He enjoys reading, films, music, doing nearly anything outside, and people.

Bon Appetit

The DVD cover for the movie with Meryl Streep as Julia Child at the top in a green kitchen and Amy Adams licking her finger and holding a fork at the bottom.

By Peter N.

2020 was a difficult year, and we all know it. In difficult times, we often turn to things that bring us comfort such as books, music, movies, or food, and oftentimes our favorites are the ones we turn to many times over and never get tired of. What brings me comfort? The movie Julie & Julia. This 2009 film is based on Julie Powell’s 2005 book and intertwines the story of Julia Child as she grows into a chef extraordinaire with the life of government worker Julie Powell as she cooks her way through all of the recipes in Child’s Mastering the Art of French Cooking. This is a favorite film of mine for many reasons: Meryl Streep as Julia Child, Stanley Tucci, comedy, and last but not least…FOOD. Seriously, I could watch this movie once a week for forever.

As a child we didn’t have cable so I had to rely on watching whatever our TV antenna was able to pick up and most often it was PBS. I remember seeing Julia Child and Jacques Pépin cook dish after dish, and they (along with many other PBS cooking shows) are one of the reasons I became the foodie I am today.

But back to Julie & Julia: as I mentioned before, there are many reasons why I love this movie, but what I didn’t mention was that it has one of the best soundtracks I have ever heard. It’s…relaxing, for lack of a better term. When I turn on this movie, it is often just in the background as I cook, clean, or when I just want to free my mind of all the clutter. Don’t believe me? Well, check it out – it is available to stream and download from Freegal through Howard County Library System. All you’ll need is your library card number and PIN. It’s that easy!

Meryl Streep shines as Julia Child accompanied by Stanley Tucci as her husband Paul. Their onscreen chemistry makes you believe in love and triumph through hard work and determination, and I love every single scene with them. Amy Adams, however, is no slouch, and her portrayal of Julie Powell perfectly conveys how arduous the task was to cook more than 500 of Julia Child’s recipes, all while enjoying most of it, despite a few burnouts and tantrums along the way. When she describes her childhood memory of the magic of Julia’s bœuf bourguignon I am sorely tempted to make the recipe myself (but would end up eating by myself thanks to my vegetarian partner).

I leave you with a quote from Julia Child:

People who love to eat are always the best people.

Peter is an Instructor and Research Specialist at the Miller Branch where he is one of the nerdiest people you could meet.

The Farewell

Movie poster image of 8 multigenerational family members, 3 sitting on the couch, 5 standing behind the couch. The film title, "The Farewell" is noted as is a subheading, "Based on an Actual Lie." The seal for 2019 Sundance Film Festival official selection is displayed.

Review by Cherise T.

Continents apart, but only a cell phone call away, Billi, a New Yorker, and Nai Nai, her paternal grandmother in China, enjoy a close relationship. As The Farewell begins, we fall into the humor, complexities, and challenges of cross-cultural families. Viewing the film from the perspective of Billi, played by the versatile actor Awkwafina, we soon learn that Nai Nai has been diagnosed with terminal lung cancer. Most of the family believes traditional Chinese wisdom that it is best to allow a family member to live out her life unburdened by the knowledge she is about to die. Billi strongly disagrees. Little Nai Nai, the grandmother’s sister, has been Nai Nai’s caretaker and takes charge of covering the truth. Together, the family creates a contrived family celebration so that everyone may be together in China to secretly say goodbye to Nai Nai. 

The Farewell feels authentic because the screenwriter and director, Lulu Wang, has recreated a beautiful journey from the truths of her own life. Little Nai Nai is played by Lulu Wang’s real-life aunt. When the family visits their deceased grandfather’s grave, the scene is filmed at the actual gravesite. We recognize the roles played out in most families – the responsible son, the guilty son, the matriarch, the awkward cousin, the daughter-in-law, the granddaughter who has yet to bring a spouse and grandchild into the family.

I highly recommend the film for its emotional depth, at turns both sad and optimistic, excellent performances, and solid script. Please also consider listening to Lulu Wang telling her family’s story on This American Life, but save the “What You Don’t Know” podcast episode for later if you don’t want to know the film’s ending.

The film is rated PG and would be appreciated by viewers aged 13+. Watch as many as 10 films per month, including The Farewell, on kanopy, one of the HCLS streaming service subscriptions.

Cherise T. is an Adult Instructor and Research Specialist at the Central Branch. When not immersed in literary fiction, Cherise can be found singing along to musical theater soundtracks.

20th Century Women

review by Eric L.

A group of people stand on a beach with the ocean behind them. 20th Century Women is in basic type above their heads. A gold banner at the top announces that the movie has been nominated for an Academy Award

The story centers around a middle-aged single mother, Dorothea (Annette Bening), raising a fifteen-year-old son, Jamie (Lucas Jade Zumann). Dorothea owns a large old house (under slow renovation) wherein she rents rooms to Abbie (Greta Gerwig) and William (Billy Crudup). Abbie is a twenty-something, artistic, feminist photographer interested in the nascent punk rock scene; William is a forty-something hippie and handyman mechanic. The other character often in the house is Jamie’s seventeen-year-old female friend Julie (Elle Fanning), with whom he has a complicated relationship.

The thrust of the film is that the overly analytical Dorothea decides to enlist Abbie and Julie to help raise Jamie, in lieu of another man. The different ages and experiences of the characters in the film create the tension. People of different ages and backgrounds attempting to understand and relate to each other is always fraught with problems, irrespective of the setting. Different characters narrate the background of each character as they are introduced and understood, which is very well done with dialogue and images.

The washed out, sunny Southern California setting and the wardrobe selection create a strong visual aesthetic for the film. There are also wonderful scenes of a punk rock club and a seemingly out of place, psychedelic style to the car travel scenes.

I enjoyed the film very much, but perhaps that’s because it “reflected” aspects of me back. However, it’s my opinion that many people will feel the same about it. It’s “indie” and “artsy,” but has a mass appeal due to the characters deftly portrayed in the film. I would describe it as feel-good, but not overly sentimental or trite.

The film is rated R and does include some sexual content.

DVD Fiction. Available to view through Kanopy.

Eric is a DIY Instructor and Research Specialist at HCLS Elkridge Branch. He enjoys reading, films, music, doing nearly anything outside, and people.