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The Regulars author Georgia Clark writes in to tell us about her favorite magic realism novels and why this genre is so compelling.

About ‘The Regulars’ by Georgia Clark

Best friends Evie, Krista, and Willow are just trying to make it through their mid-twenties in New York. They’re regular girls, with average looks and typical quarter-life crises: making it up the corporate ladder, making sense of online dating, and making rent.

Until they come across Pretty, a magic tincture that makes them, well…gorgeous. Like, supermodel gorgeous. And it’s certainly not their fault if the sudden gift of beauty causes unexpected doors to open for them.

But there’s a dark side to Pretty, too, and as the gloss fades for these modern-day Cinderellas, there’s just one question left:

What would you sacrifice to be Pretty?

The Regulars Georgia Clark Cover

Everyday magic: My 4 favorite magic realist novels by Georgia Clark

I adore magic realism. What is more entertaining, more playful, more challenging than those two little words: what if…? For me, literature is a fine platform for such a question. Magic realism affords the writer the ability to tug at the strings of the world as we know it and play God for a few hundred pages. Often associated with Latin American writers like Gabriel Garcia Márquez and Jorge Luis Borges, the term was actually born from art criticism in the 1920s to describe the German New Objectivity. These paintings accurately portrayed the rational world, with a magic twist. Now a fully fledged genre in all forms of art, magic realist stories tend to take place in a world we do and do not recognize, layering magic over the domestic, the surreal over the ordinary. Here are some titles worth taking the trip for:

‘The Particular Sadness of Lemon Cake’ by Aimee Bender (Doubleday)

The Particular Sadness of Lemon Cake Cover

Beautiful, poignant, elegantly composed, and with one cracker of a reveal (don’t worry, I won’t give it away!), this crisp yet dreamy novel packs a tasty punch. Rose Edelstein has been able to taste feelings ever since her mother’s lemon cake gave away the woman’s inner sorrow. This simple yet extraordinarily powerful conceit allows Ms. Bender to tell a closely observed story of family secrets, hidden agendas, and the awkward transition out of youth. The story meanders at its own pace, and while the lack of tension might not please some readers looking for more of a page-turner, I found the gentle pacing quite soothing (and I am a plot junkie!). And trust me, the final twist had my jaw on the floor: an utterly unique literary experience.

Sounds like: “I could absolutely taste the chocolate, but in drifts and traces, in an unfurling, or an opening, it seemed that my mouth was also filling with the taste of smallness, the sensation of shrinking, of upset, tasting a distance I somehow knew was connected to my mother, tasting a crowded sense in her thinking, a spiral, like I could almost even taste the grit in her jaw that had created the headache that meant she had to take as many aspirins as were necessary, a white dotted line of them in a row on the nightstand like an ellipsis to her comment: I’m just going to lie down…”

‘St. Lucy’s Home for Girls Raised by Wolves’ by Karen Russell (Vintage Contemporaries)

St. Lucy's Home for Girls Raised by Wolves

I discovered Ms. Russell through her powerhouse of a debut, Swamplandia!, a sprawling, compulsively readable novel about a nine-year-old girl who works on her parent’s ‘gator theme park. Her collections of short stories precede and seed this fantastic book, and my favorite is St. Lucy’s Home for Girls Raised by Wolves. Ten atmospheric, whimsical stories will sear into your imagination through Ms. Russell’s fearless, comically dark pen: ghosts and wolf girls, freaks and geeks, inhabit this swampy, enchanted world. Her characters will haunt you: these lines stayed with me for weeks, from ZZ’s Sleep-Away Camp for Disordered Dreamers: “There’s Espalda and Espina, the reverend’s adopted daughters. They are hunchback twins who giggle at everything and rub their humps together in their sleep.”

Sounds like: “Our mothers and fathers were werewolves. They lived an outsider’s existence in caves at the edge of the forest, threatened by frost and pitchforks. They had been ostracized by the local farmers for eating their silled fruit pies and terrorizing the heifers. They had ostracized the local wolves by having sometimes-thumbs, and regrets, and human children. (Their condition skips a generation.) Our pack grew up in a green purgatory. We couldn’t keep up with the purebred wolves, but we never stopped crawling. We spoke a slab-tongued pidgin in the cave, inflected with frequent howls. Our parents wanted something better for us.”

‘The Scorpio Races’ By Maggie Stiefvater

The Scorpio Races

This is more than just one of my favorite magic realist novels, it is one of my favorite novels of all time. Vicious and beautiful, thrilling and quiet, The Scorpio Races is heart-wrenching, unforgettable Young Adult fiction. On the windswept island of Thisby, locals risk their lives racing the capaill uisce (CAP-ul ISH-kuh); flesh-eating water horses borne from mythology and spun into snorting, stomping real life. Puck Connolly and Sean Kendrick both have pressing reasons to win the annual race: the stakes are as high as the race is dangerous, satisfyingly claiming victims in the lead-up to race day. While life-threatening games are not a new idea, everything else about this novel feels unique and extraordinary, thanks to Ms. Stiefvater’s master plotting and lovely lyrical style. I could feel the horses breathing on my neck, I was riding bareback with Sean, I loved Thisby as much as Puck did, even while I felt its limitations. The ending is PERFECT: surprising yet inevitable, as the textbooks tell us. You better believe I was weeping; not just tearing up: bawling. Fantastic stuff.

Sounds like: “It is the first day of November and so, today, someone will die.

Even under the brightest sun, the frigid autumn sea is all the colors of the night: dark blue and black and brown. I watch the ever-changing patterns in the sand as it’s pummeled by countless hooves.

They run the horses on the beach, a pale road between the black water and the chalk cliffs. It is never safe, but it’s never so dangerous as today, race day.”

‘The Bone Clocks’ by David Mitchell

The Bone Clocks

This might not technically be magic realism (sci-fi?), but who the hell cares: it’s Mitchell and it’s marvelous. Like Cloud Atlas, this epic novel boldly leaps through time, space and character to tell six united sweeping stories about… well… I’m not entirely sure. In typical form, Mr. Mitchell writes a mad mash of story starting with young Holly Sykes, who has heard otherworldly voices, the “Radio People,” since she was born. When her little brother Jacko goes missing, Holly suspects foul fantasy play… and she’s right. Holly reappears throughout the novel as the cohesive narrative thread, now a barmaid having a fling, now a single mother, now a successful writer. Joining her is a cast of sharp-tongued characters, such as the insufferably hilarious novelist Crispen Hershey and the privileged Hugo Lamb, who first appeared in Mitchell’s Black Swan Green. Woven into the six stories is the war between two immortal groups, the Anchorites and Horologists. When they’re bought into the spotlight, the fine print on these groups is dull, but the joy for me in a Mitchell story is less plot and more character, mood, and prose, which is always poetically playful, confidently chaotic. And his dystopia ending is typically terrifying: more real than the best sci-fi writers around. If the emphasis on style over substance bothers you, this might be a hair-scratching read. I say, give in, and let it take you away.

Sounds like: “I put my hand on the altar rail. ‘What if … what if Heaven is real, but only in moments? Like a glass of water on a hot day when you’re dying of thirst, or when someone’s nice to you for no reason, or …’ Mam’s pancakes with Toblerone sauce; Dad dashing up from the bar just to tell me, ‘Sleep tight, don’t let the bedbugs bite’; or Jacko and Sharon singing ‘For She’s A Squishy Marshmallow’ instead of ‘For She’s A Jolly Good Fellow’ every single birthday and wetting themselves even though it’s not at all funny; and Brendan giving his old record player to me instead of one of his mates. ‘S’pose Heaven’s not like a painting that’s just hanging there for ever, but more like … Like the best song anyone ever wrote, but a song you only catch in snatches, while you’re alive, from passing cars, or … upstairs windows when you’re lost …”

These are but the tip of a wonderful iceberg: I certainly haven’t read everything in the canon. Share your recommendations in the comments!

About the author

Georgia Clark

Website | Instagram | Twitter | Facebook | Amazon

Georgia Clark is an author, screenwriter and performer currently living in New York City. She has been performing improv in New York for seven years. Trained at the Upright Citizen’s Brigade Theater, she’s a former UCB house team member. She appeared in The Untitled Web Series That Morgan Evans Is Doing For MTV (MTV). Georgia is enthusiastically vegetarian, proudly queer, definitely a city-dweller, and a long-time lover and supporter of the arts, such as New York and Sydney’s indie theater scenes and Australia’s Erotic Fan Fiction community (of which Eddie Sharp kindly credits her as a co-creator). She loves beach days, group dinners, and her beautiful girlfriend.

Here are the 2017 Oscars winners and losers

8:25 pm EST, February 26, 2017

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Read full article

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Related: We asked our parents to describe the 2017 Oscar nominees

Below is a complete list of Oscar winner and losers.

2017 Oscar winner list

Note: The final winner of the night was originally announced to be La La Land, but the announcement was actually an error — Moonlight won Best Picture. Awkward.

Best Picture:
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land

Lion
Manchester By the Sea
Moonlight

Best Actress:
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Best Actor:
Casey Affleck – Manchester By the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Best Director:
Damien Chazelle – La La Land
Mel Gibson – Hacksaw Ridge
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester By the Sea
Denis Villeneuve – Arrival

Best Adapted Screenplay:
Arrival – Eric Heisserer
Fences – August Wilson
Hidden Figures – Allison Schroeder, Theodore Melfi
Lion – Luke Davies
Moonlight – Barry Jenkins

Best Original Screenplay:
20th Century Women – Mike Mills
Hell or High Water – Taylor Sheridan
La La Land – Damien Chazelle
The Lobster – Yorgos Lanthimos, Efthymis Filippou
Manchester By the Sea – Kenneth Lonergan

Best Original Song:
“Audition” – La La Land
“Can’t Stop the Feeling” – Trolls
“City of Stars” – La La Land
“The Empty Chair” – Jim: The James Foley Story
“How Far I’ll Go” – Moana

Best Score:
Jackie
La La Land
Lion
Moonlight
Passengers

Best Cinematography:
Bradford Young – Arrival
Linus Sandgren – La La Land
Grieg Fraser – Lion
James Laxton – Moonlight
Rodrigo Prieto – Silence

Best Live Action Short Film
Timecode
Sing
Silent Nights
Ennemis Interieurs
La Femme et le TGV

Best Documentary, Short Subject:
4.1 Miles
Extremis
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Editing:
Arrival
Hacksaw Ridge
Hell or High Water
La La Land
Moonlight

Best Visual Effects:
Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story

Best Production Design:
Arrival
Hail, Caesar!
La La Land
Passengers
Fantastic Beasts and Where to Find Them

Best Animated Feature:
Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Best Animated Short:
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
Piper

Best Foreign Language Film:
Land of Mine, Denmark
The Salesman, Iran
A Man Called Ove, Sweden
Tanna, Australia
Toni Erdmann, Germany

Best Supporting Actress:
Viola Davis – Fences
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester By the Sea

Best Sound Mixing:
Arrival
Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours

Best Sound Editing:
Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Best Documentary Feature:
Fire at Sea
I Am Not Your Negro
Life Animated
O.J.: Made in America
13th

Best Costume Design:
Allied
Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land

Best Makeup and Hairstyling
Star Trek Beyond
Suicide Squad
A Man Called Ove

Best Supporting Actor:
Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Tags: 2017 Oscars

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

Read full article

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

It should come as no surprise that Arrival is being considered for Best Picture in the upcoming Academy Awards. Director Denis Villeneuve has made a name for himself with movies such as Prisoners and Sicario, known for combining raw humanity with breakneck intensity. But although Villeneuve is an extremely talented director, and is accompanied by an excellent cast, it’s Arrival’s score that succeeds in bringing all the delicate pieces of the film together in one cohesive whole… and drawing the audience in.

Jóhann Jóhannsson is an Icelandic composer that has collaborated with Villeneuve repeatedly, and received Academy Award nominations for his work on movies such as The Theory of Everything and Sicario. Unfortunately, Arrival’s score, although arguably his best work yet, is not eligible for nomination this year. In an exclusive report, Variety explained:

“The Academy’s music branch ruled unanimously that voters would be influenced by the use of borrowed material in determining the value of Johann Jóhannsson’s original contributions to Denis Villeneuve’s alien invasion psychodrama.

“Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score ‘shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer’”

With the director choosing to place Max Richter’s “On the Nature of Daylight” in the beginning and ending sequences of the film (a song which was also a part of Shutter Island’s score), Jóhannsson’s work sadly lost its chance at an Oscar nomination. According to Variety, “it was determined that there would be no way for the audience to distinguish those cues, which bookend the film, from Jóhannsson’s score cues.”

In an interview with Slash Film, Jóhannsson said that he initially wrote his own alternative to the track, while knowing that Villaneuve was considering “On the Nature of Daylight” as well, although it was very different, as he didn’t “really want to do a knock-off of the music.” Ultimately, Jóhannsson says that he supports the choice, because it “works beautifully and it supplies a very strong contrast to the rest of the score.” But it’s a pity that artistic decisions like this one can cost an exceptional composer an Oscar.

For Arrival, his ability to grip the listener with only a few sounds and rhythms, gradually building up to something of massive proportions, was perfectly harnessed once again to create something truly new. The composer told the Guardian: “People are hungry for new sounds, and for the experience of listening to unfamiliar music that you don’t hear on commercials and in every TV show.”

Composers for sci-fi movies tend to favor epic soundtracks to draw audiences into the scene and make them feel the full blow of the story’s emotions. Jóhannsson, however, entirely avoided using orchestras and sounds in the way that we’re familiar with. His quiet buildup is much more powerful. The track “First Encounter,” for example, is mysterious, ominous, and ultimately overwhelming when the sound suddenly comes to life.

“In mainstream cinema, there’s usually too much music,” he said. “In Arrival, the use of space and silence is extremely important. When music is needed, it’s really there and it serves a purpose.”

The music fits in so well that it becomes hard to know when you’re listening to the score, and when you’re listening to the scene. Both elements mesh so well together that they become nearly indistinguishable. And the quietness that is the underlying current of most tracks is a marvelous replica of human emotion — in the case of First Encounter, of what a mind in shock feels like when faced with an experience it can’t understand.

To achieve the unfamiliar sounds that surround Arrival’s alien ships and their mysterious passengers, Jóhannsson brought together vocalists and choirs, to experiment with what could be done with voices, and combining them with cellos, horns, and wood sounds. He explained to Slash Film:

“The reason I wanted voices was really motivated by the script and the story. It’s a story about communication. It’s a story about language. It’s a story about communicating with an alien species. How do we communicate with an intelligent species with who we have no common point of reference? It was this anthropological aspect, this linguistic aspect, that really influences my choice of orchestration and instrumentation.”

It makes for a truly fascinating combination of sounds. Jóhannsson somehow manages to make simple vocal exercises into music that can be anywhere between heartbreaking and heart-wrenchingly hopeful, turning vocal harmony into something almost tangible, and shedding a small ray of light into the mystery of achieving unity in diversity.

This isn’t a horror-movie score — it’s something transporting, yet ambiguous; a difficult task to achieve nowadays. With decades of listening to scores with similar patterns, it takes a lot to leave audience members in the dark about what is about to happen. We’ve become used to screeching violins meaning impending terror, to drums meaning action scenes, to lengthy orchestra pieces surrounding the climax of the film.

We’re used to hearing Hans Zimmer and John William’s epic orchestras, and while beloved and immortalized for their loveliness, they are no longer as revolutionary. We know the swelling sound of strings and the beating of drums, and we have learned to associate certain sounds with victory, and other sounds with fear.

With Jóhannsson, on the other hand, we don’t know what to expect — is the thrumming noise and the horns in the distance leading us to a scene of horror and destruction, or are we about to discover something beautiful? The score leads us into the ship itself, into the arrival, and poses the same questions with music that the movie does with words and breathtaking cinematography.

And yet, despite the unfamiliarity and ambiguity, the result is still something that feels inherently personal. It’s an emotional experience, even in the silences — a difficult task to achieve with such a minimalist style as Jóhannsson’s — and it’s marvelously memorable. It manages to do exactly what Arrival did for us as a film: draw us in with the promise of alien appearances on Earth, and then steal our hearts with the uniquely human experience of choice, trust, love and death.

Interstellar has tried to do this before — melding human vulnerability with world-defining stakes — but critics are split on whether or not it was a success. With Arrival, however, there’s no doubt that the balance between the intimate and the epic was perfectly reached; and it was because of Johann Jóhannsson.

Arrival has been nominated for Best Sound Mixing and Best Sound Mixing – the closest we’ll get to a soundtrack Academy Award — as well as Best Picture, and many others.

Jóhannsson is currently working on the score for Blade Runner 2049 (also directed by Villeneuve), which is expected to premiere this October.

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

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Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

No word on if the U.K. will be seeing the same air date but it’s more than likely they will since it’s been like that in years past.

This will be Peter Capaldi’s last season as the Doctor, along with Steven Moffat’s last season running the show. After this we’ll be seeing Chris Chibnall taking the reins with a clean slate, and we’re so curious about how the series will go. How will the Doctor regenerate? Will this be Bill’s first and last season on the show as well? Who’s going to be the next Doctor? We’ve got so many questions! But they’ll all be answered in due time… we hope.

And that’s not all! Fans in the U.K. have already had the chance to enjoy the brand new spinoff series, Class, and after Doctor Who premieres on April 15 Americans will finally witness it as well.

Set to air directly after Doctor Who at 10/9c, Class is helmed by award-winning YA writer and executive producer, Patrick Ness. The series follows a group of students at Coal Hill School as they deal aliens, invasions and awkward social dilemmas.

Having seen Class in its entirety we can tell you that it’s got the perfect Doctor Who vibe and should fit in perfectly after you watch the season 10 premiere. Although not everyone loved the premiere, the series as whole definitely grows on you. You’ll just have to check it out for yourself!

Are you excited for ‘Doctor Who’ season 10?