Themes in: Goblin Market by Christina Rossetti

Themes in: Goblin Market by Christina Rossetti

Goblin Market is a Victorian poem about two women, Lizzie and Laura, one of whom is tempted by the goblins that frequent their village to sell exotic fruits all year around. Laura becomes grievously ill after eating some of this fruit, and is saved by her sister’s bravery and heroism against the goblins.

To me, the most striking element in Goblin Market is its use of symbolism – of religion, of the patriarchy and, as an offshoot of this, the sexual oppression of women.

Firstly, Goblin Market’s religious imagery is overwhelmingly clear. The premise of the poem is that deceptive, supernatural creatures tempt a pure woman into eating a mysterious and forbidden fruit, which then has negative consequences. This is a direct parallel to the events in Genesis 3; the goblins symbolise Satan and Laura symbolises Eve.

However, there is a second layer to this religious imagery. Lizzie saves her sister by standing resolute in the face of the goblins’ horrid behaviour towards her, enduring suffering for the sake of Laura. She is described as ‘fruit-crown’d’ – an irony – because a crown is meant for royalty, highlighting Laura’s virtuous and honourable nature, yet it is made from fruit, the goblins’ “weapon” of attack. This may be a parallel to the ‘crown of thorns’ (Matthew 27:29) worn by Christ during the crucifixion, to mock him. Furthermore, during Lizzie’s attack from the goblins, she ‘utter’d not a word’, again imitating Christ’s behaviour when he was trialled by Herod:

  • ‘He [Jesus] was oppressed and afflicted, yet he did not open his mouth’ (Isaiah 53:7)
  • ‘He [Herod] plied him [Jesus] with many questions, but Jesus gave him no answer.’ (Luke 23:9)

Secondly, although the goblins are in some ways supernatural, they are also described as ‘goblin merchant men’. The significance of calling them ‘men’ suggests the poem can also be read as a poem about the male oppression of women within a patriarchal Victorian society. It is important that while the goblins are running their market and earning money, both Lizzie and Laura are confined to the home, undertaking stereotypically female tasks, such as sewing, baking cakes and talking like ‘modest maidens’. This highlights the separate spheres ideology which was rife in Victorian society, that encouraged men to leave the house and work to provide for the family (in the “public” sphere)  whilst women were to stay at home as housekeepers and mothers (in the “private” sphere).

Yet there is more. Rossetti also highlights that within a patriarchal society, not only were women confined to their domesticated “sphere” of life, but they were also victims of sexual abuse. This is evidenced by the goblins’ attack on Lizzie. The goblins, whilst ‘grunting and snarling’, ‘tore her gown’, ‘held her hands’, ‘kick’d’ and ‘maul’d’ her in order to force her to eat their fruits. The goblins’ fruit is a metaphor for sex, and thus this distressing scene symbolises one of rape and domestic abuse, a scenario sadly commonplace within Victorian relationships.*

*A harrowing statistic: marital rape wasn’t criminalised in the UK until 1991.

***

Of course, there’s so much more that could be said about the poem. I enjoyed reading Goblin Market; it’s beautifully written narrative poem with vivid imagery and multiple interpretations. There are many other offered readings of the poem, but I think Goblin Market’s parallels with the Christian faith, and the message of female oppression are its most significant undertones.

Thank you for reading this blog post.

Please click ‘Like’ and leave any responses you have in the comments below.

– Judith

NTL Review: Twelfth Night

NTL Review: Twelfth Night
  • Title: Twelfth Night
  • Director: Simon Godwin
  • Broadcast: 6th April 2017

I went to see Twelfth Night, broadcast by National Theatre Live on Thursday night.

Initially, I wasn’t sure whether to write this review or not, – theatre isn’t my forte – but once I left the cinema, I had so many thoughts about the production and I wanted to share them.

Godwin’s Twelfth Night is a play which, for the first time that I’ve seen, truly foregrounds the Malvolio subplot of Twelfth Night – or should I say, the Malvolia subplot.

Tamsin Greig played Malvolia, a female representation of everybody’s favourite self-righteous and controlling steward. Although characters’ teasing comments about her Quaker-like behaviour were still included, Malvolia was less pious and more of a narcissistic control freak, which made for good humour for a contemporary audience. The infamous scene with Malvolia’s yellow stockings now included a musical number, and watching Greig flaunt about the stage to musical accompaniment, as well as the horror of the other characters, was wonderful comedy.

NTL 1 [Malvolia].jpg
Photo by Marc Brenner via Twelfth Night Production Images.

This gender swap is one of a few changes made to the original Shakespeare play and spotlights contemporary issues surrounding gender roles and sexuality; Antonio’s implicit homosexual love for Sebastian is given more prominence (the two share on onstage kiss), the Malvolia / Olivia narrative suggests Olivia’s potential bisexuality, and Feste is now a woman.

Doon Mackichan played Feste, although I thought her portrayal fairly standard. She was a comical enough ‘fool’, but I felt her humour was at its peak when in interaction with Sir Toby Belch, played by Tim McMullan, and Sir Andrew Aguecheek, played by Daniel Rigby.

Every aspect of Rigby’s Aguecheek was absolutely hilarious; his body language, his line delivery, his costume was all spot-on. Aguecheek, for once, finally had his own style and personality, which was such a refreshing change from other productions of Twelfth Night, in which Aguecheek is simply ridiculed, rather than developed as a character.

NTL 2 [Aguecheek and Belch].jpg
Left to Right: Rigby as Sir Andrew Aguecheek and McMullan as Sir Toby Belch. Photo by Marc Brenner via Twelfth Night Production Images.

However, I think the relationship between cruel mocker and light-hearted comedy is incredibly important in this production of Twelfth Night.

Before the screening, Greig said in a VT that Twelfth Night is a witty play with a continuously melancholic undercurrent, and I wholeheartedly agree with this.

Viola and Sebastian are torn apart from one another. Olivia falls in love with someone she thinks she knows, who turns out to be somebody different. Antonio admits his feelings for “Sebastian”, who in reality was Cesario, and is left rejected and crushed. Sir Andrew is repeatedly humiliated by Toby Belch’s manipulative schemes as well as repeatedly heartbroken because he knows he stands no chance at winning Olivia.  Malvolia comes to terms with her own sexuality and openly expresses her feelings for Olivia in front of the entire household, only to be laughed at, imprisoned and treated like a madwoman. Thus, Greig’s final line: ‘I’ll be reveng’d on the whole pack of you’, had such poignancy, that I felt more sympathetic for the plight of Malvolia then I ever had before.

Godwin’s Twelfth Night was thoroughly enjoyable, brilliantly comedic, but also cleverly melancholic and thought-provoking.

In short, when can I see it again?

– Judith

If you’d like to read about more this production of Twelfth Night, you can click this link to go the National Theatre Live website, or read this article by Susannah Clapp in The Guardian.

Read and Review: The Wife’s Lament

Read and Review: The Wife’s Lament

This is a slightly more unconventional book review, or should I say, manuscript review.

As a university student, I recently went exam season, which meant it was really hard to read (and finish) any new books, so I thought I’d talk about some literature we studied on the course instead.

The Wife’s Lament is an anonymous poem, in the form of a lament, written in Old English. The edition I read was published in The Anglo-Saxon World: An Anthology by Kevin Crossley-Holland.

The Wife’s Lament is quite a short poem, which was refreshing for me – poetry isn’t my favourite form anyway, and I already worked my way through the entirety of Milton’s Paradise Lost earlier in 2016.

This poem is primarily about love and loss, but what I find so fascinating is the variety of interpretations that can be drawn from the poem.

Some like to read the poem as a message from a retainer to their lord. Anglo-Saxon England, loyalty to leaders was hugely important and lords and retainers had a special relationship. This interpretation also works well when considering the poem uses terms such as ‘lord’ and ‘master’ frequently.

However, translators have assigned this poem The Wife’s Lament – suggesting a female author, and thus not a retainer, but a wife longing for her husband. Again, this could be evidenced in the text as it uses words such as ‘family’, ‘lovers’ and the phrase ‘dearest loved one’.

It has even been suggested that The Wife’s Lament symbolises the relationship between Christ and his people, longing for them to turn from their pagan ways and embrace Christianity. I’m not sure how convincing I find this argument.

Instead, I prefer the interpretation that the narrator in question is actually… dead!

What I find so favourable about this idea is how it fits with the elusive word ‘earth-cave’ in the poem – nobody really seems to know what it means. Of course, with a Gothic head on my shoulders, I’d love to think that her ‘earth-cave’ means her grave. This seems particularly convincing, when she goes on to refer to the those who are still alive and present on Earth, and can enjoy love and happiness.

All in all, it doesn’t matter which interpretation you pick, or whether you come up with another idea of your own.

The Wife’s Lament is a short poem packed with emotions, and it is my favourite Old English text I’ve read so far. It really doesn’t take long to read (a whopping 2 pages) so if you can get access to it, I strongly recommend you read it.

Thank you for reading this slightly unconventional book review! Please click ‘Like’ if you enjoyed, or click ‘Follow’ to read slightly more conventional book-related blog posts in future.

That’s all for now!

– Judith

From One Blogger To Another: Trainspotting Discussion With The Blog from Another World

From One Blogger To Another: Trainspotting Discussion With The Blog from Another World

With the release of Trainspotting 2, the long-awaited sequel to Danny Boyle’s 1996 black-comedy film, I sat down with Patrick, from The Blog from Another World to discuss Trainspotting.

I read Trainspotting, the book on which the film is based, by Irvine Welsh last year and wrote a review of it here. Overall, the gritty Scottish social realism failed to captivate me, but I appreciated Welsh’s inclusion of Scottish slang and dialect. When I watched the film however, I felt much more engaged.

I asked Patrick if enjoyed watching Trainspotting. He said: “I think that ‘enjoy’ is a difficult term to use to describe this film. I think it’s is a British classic and a milestone for British cinema.”

He continued, “Many films have tried to emulate the anarchic and twisted style of this film (such as Jon S. Baird’s Filth in 2013 – based on another novel by Irvine Welsh) but nobody has ever really come close. I love Danny Boyle’s direction and he makes the film palatable for the audience.”

However, what I found unpalatable in Trainspotting was how every social situation was punctuated by, hard drug use aside, cigarettes and alcohol. Whilst Trainspotting is by no means the only film to feature heavy drinking and smoking, it’s something in film that irritates me every time; excessive consumption makes me feel physically sick. I also found it ironic that the characters who frequently binged on these “socially acceptable” drugs were the same characters berating Renton and his friends for their heroin addictions.

Yet the constant smoking and drinking was certainly not the most shocking part of Trainspotting. To say the film includes crude scenes is an understatement.

 “It is a tough film to watch in places, so I understand why people can’t enjoy it for that reason.” Patrick said. However, he argued that these disgusting scenes are purposeful, and contrasted with moments of beauty and perfection.

“For example, when Renton dives down the worst toilet in Scotland, he lands in clear, serene water –  brilliant juxtaposition; I really admire the sheer invention of it.”

Speaking of whom, Ewan McGregor’s Renton was my favourite character in Trainspotting: the protagonist and heroin addict, who provides a voice of relative reason and is capable of blending into “normal” society.

Renton is the central narrator of the film, which made the plot easier to follow and helped me put names to faces. It was also a nice change from the book, which frequently changed between different narrative perspectives, making for tough reading. The fact Renton’s narration helped me understand the plot better made me appreciate the voice-overs – a technique I normally dislike within film –  and I thought they matched the style of Trainspotting well.

Patrick’s favourite character was Francis Begbie, a psychopath with violent tendencies, played by Robert Carlyle.

“Carlyle gives such a ferocious and frightening portrayal of a psychopath” he said.

“I can’t help but feel that Heath Ledger’s Joker and Andrew Scott’s Moriarty share DNA with Begbie’s pint-glass-throwing-chaos. True, Renton, Spud and Sick Boy are iconic characters, but Begbie is the character who sticks in my mind.

When Begbie starts a fight at the pub, it’s horrible. His callous violent bloodlust is frightening and his whim to have a fight is portrayed excellently.”

Patrick described to me another memorable Trainspotting scene, where Renton is forced by his parents to give up his heroin use, going through withdrawal symptoms, including vivid hallucinations. “It’s a horrific and surreal scene.” Patrick said, and I have to agree. McGregor’s acting here was fantastic; his screams really emphasised the suffering he was going through, and it was conflicting to watch.

Personally, I found the scene where Allison’s baby dies unsurprising but incredibly emotional. Allison, played by Susan Vidler, had an incredibly blasé attitude to drugs and promiscuous sex, resulting in a neglected baby surrounded by drugs and filth. When baby Dawn, inevitably died from poor health and neglect, it was such a raw and emotional scene – I could really sense Allison’s pain. However, what disturbed and angered me was that although Allison was in such pain, she still turned back to drugs – highlighting the vicious and destructive cycle of drug addiction.

It is scenes such as these that give Trainspotting a much darker tone, to juxtapose with its comedic elements.

Patrick said, “I think Trainspotting’s tone is very complex. It’s a film which is hyperactive but sombre, crass but frightening. The tone works because it’s about the ‘highs and lows’ of drug addiction; the tone wildly fluctuates to expertly capture and reflect what life is like for a heroin addict.”

“Many drugs films such as Requiem For A Dream (Darren Aronofsky, 2000) show only the horrific parts of drug addiction. Trainspotting is the best portrayal of addiction since The Lost Weekend (Billy Wilder, 1945). It gives a balanced but unflinching view of addiction – it’s as euphoric as it is disgusting. It is better to understand what drugs give you, before you see what they take away.”

Trainspotting 2 was released today in the UK, and will be released in March in the USA.

***

Thank you for reading! If you enjoyed this article, please give it a ‘Like’.

This is part of another collaborative series with The Blog from Another World, and again, the focus seems to have been on trains! You can read our previous posts, talking about Paula Hawkin’s The Girl On The Train, here and here.

This is also the first post in my new series, From One Blogger To Another, where I will interview a different blogger / writer each month. I wanted to write some longer pieces for my blog that are more journalistic in style, and hopefully this series will allow me to do that.

That’s all for now!

– Judith and Patrick

Film Review: The Hollow Crown V Shakespeare’s Globe

Film Review: The Hollow Crown V Shakespeare’s Globe

Image via BBC

English student + January = exam season!

One of my modules has been about Shakespeare’s History plays – hence why I wrote a little review of The Hollow Crown’s Richard II. I wanted to discuss The Hollow Crown’s adaptations – directed by Richard Eyre and Thea Sharrock –  of the other plays I’m studying (Henry IV Part1, Henry IV Part 2 and Henry V) and how I think these compare with the Shakespeare’s Globe productions, directed by Dominic Dromgoole. Does this count as revision?

This is a slightly different “film review”. It’s not meant to be an essay, but simply an exploration of some opinions I’ve had circling round my head.

I’ve watched each version a few times to reinforce my knowledge of the plots. It was also handy because I could see how different directors chose to emphasise or minimise certain themes within each of the plays.

I liked the filming of the Shakespeare’s Globe productions; it was a truly theatrical experience, despite the fact I was watching it on a screen.

I also found the Shakespeare’s Globe productions more helpful in familiarising myself with Shakespeare’s original plays, because they kept most of the dialogue and, most importantly, highlighted how important an actor’s performance is in conveying a certain message or tone. I always knew performance affected meaning, but I’d never really “seen” it implemented before.

In contrast, The Hollow Crown created a cycle of films, not plays, meaning that the original plays were heavily edited in places, and this is completely understandable. In order to fit a 3 hour play into a 2 hour film, some scenes have to go.

For me though, the most striking difference between The Hollow Crown and Shakespeare’s Globe is the differing focuses on tone.

The Hollow Crown’s Henry IV Part 1 is sombre from the beginning – emphasised by a particularly dark colour palette choice, low lighting and a grimy, realistic medieval setting. Hal (Tom Hiddleston) is always aware of the serious duties of kingship that await him following the death of his father, King Henry IV (Jeremy Irons) and this  dwells on his mind. Of course, this is stressed to us within the dialogue Shakespeare’s Henry IV anyway, but I feel it’s especially clear in this adaptation, as the use of voice-overs allows the audience to literally get inside Hal’s head.

Hal is also clearly the central character, as opposed to the conventionally more favoured Falstaff (Simon Russell Beale). While he provides some comic relief, it’s undeniable that Falstaff and his motley crew are merely temporary distractions.

In comparison, Roger Allam’s Falstaff and Jamie Parker’s Hal in Shakespeare’s Globe are constantly exchanging witty remarks and have such a visible close friendship. I felt like I was watching a sit-com, with King Henry IV (Oliver Cotton) occasionally complaining from the side-lines about Hal’s behaviour. The tone is light-hearted – even the sombre scenes were given a comic twist – and I think the actors’ interaction with the audience was superb. Considering Shakespeare as a work of theatre, I found this production much more enjoyable because it is, after all, a theatre production, as opposed to a film.

However, whilst this light-hearted tone continued into Henry IV Part 2, I feel like this jarred with sudden scenes of seriousness – like King Henry’s death, Hal’s imminent ascension and Falstaff’s rejection. In these scenes, I thought the sombre tone of The Hollow Crown production conveyed the right emotions more effectively. For example, in The Hollow Crown, I understood and supported completely why Falstaff had to be cast out by the newly crowned King Henry V – he is a drunk, a thief and a criminal. In the Shakespeare’s Globe production, I felt so much sympathy, as if Falstaff had simply been written out of the sit-com for no apparent reason.

By Henry V, I’d struggle to pick a favourite adaptation. Tom Hiddleston’s portrayal of King Henry V was amazing, as if Hiddleston himself had grown and developed into the role of Henry, just as Henry himself grew and developed into the role of a king. I also thought the way it was filmed was brilliant – there were lots of well done, gritty and gory battle scenes and in these scenes, I really appreciated The Hollow Crown’s choice to consistently maintain a dark and gloomy colour palette, costumes and settings.

In the Shakespeare’s Globe production, whilst the battle scenes were understandably less action-packed and dark, I enjoyed so many other aspects of this play. The comedic and light-hearted tone was carried through to this play too, which I really appreciated. After Falstaff’s death (I find it interesting how Shakespeare almost glosses over his death, despite him playing such a large part), Brendan O’Hea’s Captain Fluellen provided some much comic relief in the midst of the battles. In comparison, The Hollow Crown’s Owen Teale was definitely not designed to be funny, but more intimidating and gruff (but in a good way).

Overall, I found all 6 of these films really entertaining in different ways, and that’s absolutely fine. I’d recommend all 6 of them to you, if you have a spare few days with nothing to watch. Watching The Shakespeare Globe productions has made me more interested in theatre and other Shakespeare – I’ve since watched The Taming of the Shrew and A Midsummer Night’s Dream for sheer enjoyment.

Basically, if anybody wants to buy me The Hollow Crown or The Shakespeare Globe box-sets, I wouldn’t complain 😉

If you have any opinions on any of these plays or these adaptations, I’d love to hear them.

If you enjoyed reading this slightly different “film review” then please click ‘Like’ or share it around.

As it is exam season, there won’t be any new blog posts from me until February, so click ‘Follow’ to stay updated!

– Judith

12 Days of Blogmas Day #2: Naughty & Nice Book Characters

12 Days of Blogmas Day #2: Naughty & Nice Book Characters

Happy Blogmas! This is Day 2 of my 12 Days of Blogmas!

Today I’ll be thinking over some of the books I’ve read this year, and choose three characters have been Naughty and three characters have been Nice. My judgements were formed based on how deplorable (or not) their actions were, and how much I like them (either as protagonists or antagonists).

Nice

Forrest Gump from Forrest Gump (Winston Groom, 1986)

Forrest Gump is one of my favourite stories, and I think Forrest is well-deserving of being on Santa’s Nice list. He’s such a caring, thoughtful, and lovable character who tries to do right by as many people as he can, despite his limited intelligence. Of course, he’s not perfect – he is easily lead, struggles with addiction, and hurts Jenny deeply – but then again, nobody is. Forrest learns from his mistakes however, and I think this is his redeeming quality.

Colonel Brandon in Sense and Sensibility (Jane Austen, 1811)

Colonel Brandon is an absolute gentleman in Sense and Sensibility, and is particularly contrasted with the seemingly brilliant, but deceptive, John Willoughby. Both men fall in love with Marianne Dashwood and while Willoughby leads Marianne to believe they are in a loving, courting relationship and then breaks her heart, Brandon behaves with nothing but grace, generosity and kindness towards the entire Dashwood family. Safe to say, I am very glad that by the end of the novel, I am very glad that by the end of the novel, Marianne returns Brandon’s affections.

Sir John Falstaff from Henry IV Part 1 and Henry IV Part 2 (William Shakespeare, 1597)

Falstaff is a kind of father figure to Hal, particularly in Henry IV Part 1, and provides much comic relief, through his exaggerated recounting of events, over-exuberant lifestyle and use of language. I particularly enjoyed Roger Allam’s portrayal of Falstaff in the Globe on Screen productions, directed by Dominic Dromgoole. However, ultimately, Falstaff is flawed. He is fat, vain, arrogant and cowardly, spending most of his time with prostitutes and drinking away stolen money, and thus is cast out when Hal becomes King. However, annoyingly, I still really like the character of Falstaff, which is why I’ve placed him on my “Nice” list!

Naughty

Heathcliff from Wuthering Heights (Charlotte Bronte, 1847)

For anyone who has read Wuthering Heights, this is an obvious choice. Heathcliff is vengeful, calculated and seemingly takes pleasure from others’ misery. However, as a character, I am still drawn to him; Heathcliff fascinates me. He seems capable of love, particularly towards Cathy, but it is an all-consuming passion which is ultimately destructive and dangerous. He strikes up a special bond with Nelly, and is a subverted father figure for numerous characters, such as Hareton, Linton and young Catherine. In short, Heathcliff is a complex and “fun” character to read about and talk about, despite his antagonism and he’s my favourite character from Wuthering Heights.

Brady Hartfield from Mr Mercedes (Stephen King, 2014)

Brady is a heartless killer from King’s thriller and murder mystery novel. He slaughters a queue of people at a job fair by driving into them with a stolen Mercedes and leaves clues for the police for the next year and especially taunting retired detective Bill Hodges with notes and possible evidence. I really enjoyed this plot and I thought Hartfield was really well-written. He simultaneously sounds like a petulant child and a dangerous killer, a dumb criminal and a calculated genius. I found him very creepy and naturally, given the events of the book, a horrific character.

Amy and Nick Dunne from Gone Girl (Gillian Flynn, 2012)

After speaking of horrific and evil characters, how could I not mention the Dunne family from Flynn’s thriller Gone Girl? Amy is such a powerful character; she is manipulative, clever but scarily violent too. I was also fascinated by her “pregnancy” storyline too – I really like it when creators explore this subject for some reason, be it in books. films or television. Nick is equally flawed – he is an unfaithful liar and uses some pretty creepy language such as:

‘I picture opening her skull, unspooling her brain and sifting through it, trying to catch and pin down her thoughts.’

And that’s only on the first page!

Amy and Nick are a scary, subverted form of the ideal middle-class idea of marriage and I really like how Flynn played around with this. The Dunne family are certainly worthy of being on the “Naughty” list.


Those are my thoughts: do you agree or disagree with them? Would you place anyone else on the “Naughty” or “Nice” lists?

Happy Blogmas!

– Judith

12 Days of Blogmas 2016 Day #1: Christmas Cracker Book Tag

12 Days of Blogmas 2016 Day #1: Christmas Cracker Book Tag

Happy Blogmas! This is Day 1 of my 12 Days of Blogmas.

I decided I didn’t want to blog every single day of December because I was worried I wouldn’t get posts written in time so instead, I’ve chosen to blog continuously in the 12 days running up to Christmas.

December is essentially the month of Christmas, so what better book tag to do than a festive themed one? I found the Christmas Cracker Book Tag on Pretty Book’s blog and thought it looked fun.

Let’s get cracking (see what I did there?)!

1. Pick a book with a wintry cover

Although I don’t own this copy, I saw this beautiful cover of A Christmas Carol in Waterstones. I don’t buy books just for their covers though – as much as the idea of having shelves full of stunning books appeals to me, I just don’t have the money for that. You can find A Christmas Carol in Waterstones here:

my-photo-a-christmas-carol

2. Pick a book you’re likely to buy as a present

This really depends on who I’d be buying for. I’d be more likely to buy someone a book I know they love but their own copy has seen better days and they’re in need of a new one, or perhaps they never had a copy anyway.  For my mum*, I’d probably get her a pretty copy of Jane Eyre by Charlotte Bronte (1847), which I know is one of her favourite books. For my dad*, I’d probably get him something The Phantom of the Opera themed (Gaston Leroux, 1910) because he really likes the musical.

* Mum and Dad, if you’re reading this, these answers are hypothetical only 😛

3. Pick a festive themed book

A Christmas Carol by Charles Dickens (1843), obviously. If I had to choose more childhood classics, I’d pick A Nightmare Before Christmas (2007), a beautiful book by Tim Burton, based on the 1993 film of the same name.

4. Pick a book you can curl up with by the fireplace

I do this with almost every book! My favourite books to curl up with are lengthy novels I can savour for longest. For length, I’d say Tolstoy’s War and Peace (1869) but I don’t think I’ll ever read it again! My next instinct is probably Harry Potter and the Deathly Hallows (2007) because it’s sufficiently chunky, and is one of my favourite Harry Potter books.

5. Pick a book you want to read over the festive period

I have so many I want to read! I want to finish all the fiction books on my “currently reading” list – I measure this by how many books are on my bedside table – which are It by Stephen King (1986), The Rover by Aphra Behn (1677) and The Picture of Dorian Gray by Oscar Wilde (1890).

6. Pick a book so good it gives you chills

I feel like I’m repeating myself when it comes to talking about favourite books (!). I would say Sharp Objects (2006) by Gillian Flynn (I regularly cycle through her novels and love them every time) or anything written by Stephen King.

7. Pick a book going on your Christmas wishlist

I don’t think it’s a good idea for me to ask for any more books for Christmas, as I already have plenty I still haven’t got around to reading yet! However, I want to read more of C.S. Lewis’ books, and I want to collect and read more Stephen King (once I finish It, I plan on reading 11.22.63). I also want to read and watch some more Shakespeare. As you can see, I’ve made a lot of plans, but it’s finding time to carry out these plans that’s the issue!


Have you read any of the books on my list? If you enjoyed this post, please click ‘Like’ or leave a lovely comment below.

I haven’t tagged people to do book tags in ages, so I’m going to tag 5 bloggers to do the Christmas Cracker Book Tag too. They are:

  1. Cait @ bathtimereads.wordpress.com
  2. Vicki @ vickgoodwin.wordpress.com
  3. Sophie @ purrpale.wordpress.com
  4. Sasha @ downthereadingholeblog.wordpress.com
  5. Inspired Teen @ lifeofaninspiredteen.wordpress.com

Happy Blogmas!

– Judith