Reviews Section, Nanyang Chronicle - Sample

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A colour of its own REINVENTING THE OLD: With an updated script, and a brand new cast and director, Purple aims to stay relevant and educate audiences on the themes of both unconditional and parental love.

2QH RI WKH PRVW JURXQG EUHDNLQJ SOD\V WR KDYH EHHQ VWDJHG ORFDOO\ UHWXUQV WKLV \HDU %HQMDPLQ /LP VSHDNV WR WZR PHPEHUV RI WKH FDVW DERXW WKH LVVXHV WKDW 3XUSOH WDFNOHV DV ZHOO DV WKHLU RZQ RQ VWDJH H[SHULHQFHV 17 YEARS ago, local playwright Goh Boon Teck read an article in a magazine about a transsexual and could not stop crying. It prompted him to write a play based on the story, one that takes audiences on an emotional journey of selfdiscovery, love and courage. After two phenomenal showings in 1995 and 1998, Purple marks its return with an updated script and an entirely new cast. This is also the first time the play is directed by a woman, with Skinned Knee Productions’ Rayann Condy taking over from Goh, who directed the past two shows. Taking centre stage as protagonist Maggie Lai is Shane Mardjuki, who has starred in past theatre performances including the awardwinning What The Butler Saw and more recently, Twelfth Night.

Joining Maggie in her lifechanging transformation is the trio of nurses played by Elizabeth Loh, Rebecca Spykerman and Matilda Chua. Incidentally, this is the second time Shane and Rebecca have performed together on stage, their previous encounter being Twelfth Night where the actress had also done her bit of cross-dressing for her male alter-ego role Cesario. This time however, Shane faces an even tougher challenge playing a man who desires to be a woman. Shane, describe to us the kind of person Maggie is and how you felt playing the character. Shane: Maggie is resilient, courageous and endearing. She is a colourful person with different sides to her too – loud and brash at one point, quiet and reflective at another. To play and understand Maggie and to be a reflection of her in itself is challenging yet a privilege. What went through your mind when you were initially called to play the role of Maggie? Shane: Will I have to shave my legs for this?

Rebecca, if you were really put in the position to aid in a patient’s life-changing decision as monumental as Maggie’s, how would you feel? Rebecca: I’d probably feel overwhelmed, willing to support and anxious all at the same time. It is still a very personal experience as I’ve learnt from Purple. Singapore in 1995 and 1998 was a totally different society. What is the magic of this year’s adaptation? Shane: We feel that society has developed and we have grown to be more receptive to the idea that transgender do exist but we may not necessarily be more accepting. Similar to the previous two shows, we still hope to educate audiences through the life of Maggie that transsexuals, like everyone else, deserve a place in society and should not be marginalized just because they are physically different. Did you face any challenges while training for the circus stunts? Shane: Rayann envisioned the circus setting as one that is not only fun for the audience but also

a ref lection of the way Maggie was treated by the nurses and the society – an animal or freak show. While practicing the pole-dancing stunt for one of the scenes, I fell on my head. I tried my best to make it look sexy but slamming your head into the floor is just not that hot. Rebecca: Circus training was a challenge for me – it was really mind over matter. I hung upside down on the aerial hoop, did not grip it tight enough with my knees and I just dropped head first onto the floor.

Purple also places a strong focus on parental love. Share with us your own relationships with your parents. Shane: I have an awesome relationship with my parents. They are fully supportive of what I do and for that, I am really blessed. My dad is pretty old-school and not too liberal about certain things regarding sexuality. But he went to a screening of a film in which I had a bedroom scene with another man. What he did just showed me his support and love for me, and more importantly gave me the courage to pursue the things I love like theatre.

PHOTO | TOY FACTORY PRODUCTIONS

Rebecca: I am very blessed to have my parents. They initially thought that my desire to be a “star� was just a phase, but they supported what I did nonetheless. I look up to my dad a lot. He may not be my biological father, but his undying love for me since I was born blows me away. It’s common these days to see Caucasian parents raising Asian children, but my dad’s special. He’s a hardworking and extremely committed Chinese man who has me, a curly haired Eurasian kid, as a daughter. I do not see him often because he’s been working overseas since I was a child, but he is an awesome dad and I wouldn’t trade that off for anything. What do you hope the audience would take away from Purple? Rebecca: Transsexuals are extremely courageous and selfembracing people, and we have come to respect and accept them for who they are. We hope the audience will be inspired by the life of Maggie and know that we have a responsibility to be accepting of all mankind, regardless of gender. There is a place for everyone in this world and nobody should be marginalized.

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LIFESTYLE reviews

PLAY PURPLE 2—18 AUGUST 2012 JOYDEN HALL, BUGIS+

UNCONVENTIONAL is how one would describe Purple, the latest offering by Toy Factory Productions. From the choice of the script, venue and even stylistics, the play may strike audiences as unfamiliar at first and even evoke an uncomfortable feeling. But as they warm up to lead character Maggie Lai, audiences may realise that different is not necessarily bad after all. Shane Marjudki plays the transsexual protagonist, who recounts her experiences from atop a 360-degree stage and charts her transformation with vivid detail. From the character’s first infatuations with the male gender to the various occupations she was forced to undertake as a woman, Maggie lets audiences sympathise with her as she reveals the hardship she had gone through. Marjudki’s portrayal of Maggie deserves credit. The character struggles with her sense of identity throughout the whole play and the actor does a commendable job in bringing this conflicted state of Maggie to life. He deliver s a ver y conscious performance — it seems that every bit of movement is done w it h purpose, be it the coy shifting of his feet to the quiet sobs he makes while speaking. Fortunately these actions are not overdone. There is just a tiny hint of deliberate awkwardness in his acting,

enough to remind audiences that Maggie Lai is a man who has undergone a sex-change operation and was not born a real woman. Tthe suppor ting cast, comprising Elizabeth Loh, Rebecca Spyker man and Matilda Chua, is equally impressive. They take on a variety of roles, mostly as caricatures of oppressors t hat Maggie encounter s throughout her life. The three don the costumes and personae of characters like communist soldiers, circus trainers and old uncles, who all prey on Maggie as she struggles with her identity. Despite taking on so many roles, this ensemble does not compromise on quality. As the three pace around the stage and victimise Maggie, one cannot help but feel a sense of injustice. A particularly notable scene is the sex-change procedure, where the nurses recount the operation with e xc r uc i at i n g de t a i l . A horrified Maggie lies in the centre as the nurses surround her, complete with surgical gloves dripping blood onto the stage floor. Purple’s biggest strength lies in its accessibility. The play explores challenging id e a s t h at a r e s e ldom discussed openly. To ease the audience into the play, the play presents the themes with colloquial terms that people would instantly recognise. Hokkien swear words and distinctly Singaporean mannerisms feature prominently in the show, adding to its appeal. T h i s i s pa r t ic u la r l y impressive considering that Ca nad ia n-bor n d i rec tor Rayann Condy takes charge this time. The positioning of these familiar elements is well thought-out and always

ONE MAN, ONE WOMAN: Shane Mardjuki astonishes audiences with his portrayal of a troubled transsexual.

tastefully done to inject humour or emphasise the drama in the story. One major highlight in this iteration of Purple is the introduction of circus elements. The play’s set has been designed accordingly, and the first thing that catches the audiences’ attention is the hexagonal stage. With streamers overhead, the performance venue looks just like a circus tent. Given the initial set up, it would seem that the circus feel would be maintained quite consistently

MUSIC GOSSAMER Passion Pit Indie Pop

Passion Pit culled their name from a slang glossary used in Variety magazine.

PASSION Pit, the band that brought you the Billboard hit Sleepyheads, returns with their sophomore effort this year titled Gossamer. This second album sounds much like their acclaimed debut Manners (2009), which is good news for fans who expect more of the same from their beloved band. Blending together a toned down version of dubstep and the intelligent prose of lead singer Michael Angelakos,

Passion Pit will be coming to Singapore on August 21. PHOTO | INTERNET

Passion Pit sticks to what they know best and follows through with a great album. Gossamer starts off with “Take A Walk� which recounts the story of a financially struggling family — no doubt referring to the ongoing financial crisis in the United

States. Angelakos’s gritty l y r ic s a nd bac k g r ou nd synthesisers, coupled with a catchy chorus, provide a very compelling first track. For instance, “I watch my little children, as I’m putting in the kitchen, and I see them pray they never feel

throughout the play. Therefore, it is regrettable that after the initial surprise, the theme does not come through as strongly as f irst hoped. These elements are largely absent and only resurface in a jaw-dropping final scene where the supporting cast engages in acrobatic stunts. There is a slight sense of wasted potential after the play concludes with that impressive spectacle. The placement of songs in the play was awkwardly

timed, and often the purpose of these songs became quite a mystery. Even Spykerman’s beautiful voice could not take away the uneasiness when the ensemble crept up from the sides and started singing for reasons not quite clear. These are however small issues that do not deter Purple from achieving the emotional highs the script has been known for. Maggie’s heartwarming tale of filial piety drives home the very fundamental point of how everyone is capable of love

my strife,� allows audiences to connect with his daily struggles and sympathise with him. What keeps the album f resh and interesting is Passion Pit’s ability to get out of their comfort zone and inject some R&B elements. This is particularly evident in “Constant Conversations� with a catchy beat and Angelakos’s falsetto that is reminiscent of Justin Timberlake. In an inter view with Stereoboard, the frontman revealed that the band’s ability to experiment is “some form of maturation� and “certainly growth, hopefully in the right direction�. Unfortunately, the second half of the album falls slightly short and feels like a missed opportunity. The lyrics are just not as sophisticated as the first half of the album; instead they feel amteurish, like a teenager declaring his love to his first sweetheart.

L i nes l i ke “Let’s get mar r ied, I’ll buy a r ing and then we’ll consecrate this messy love� in “On My Way� and “Come and play my h ideaway, some day everything will be okay� in “Hideaway� sound superficial and idea list ic. Given Angelakos’s past brilliance, these songs unfortunately do not accurately reflect his lyrical flair. The singer also reveals his doubts about relationships in “Love Is Greed�. He sings, “Love has always been a mockery, a vision of those scared to be near.� Gossamer would have felt much more focused if Angelakos not confused us with conflicting points of view on love. Furthermore, while the decision to include love songs on the album increases its appeal to a wider audience, it loses that level of depth which made “Take A Walk� or “Cry like a Ghost� so special.

PHOTO | TOY FACTORY PRODUCTIONS

and deserves to be loved unconditionally as well, regardless of their identity. Pur ple remains an important and relevant piece of local theatre, 17 years after its first staging. The play’s ability to shed light onto a misunderstood group of people gives it a timeless qualit y that anyone can appreciate. This updated and stylised interpretation by Toy Factory Productions is one that you definitely do not want to miss.

-HARIZ BAHARUDIN In addition, the band tries to exude a 70’s disco feel in the second half. Songs like “Carried Away� and “On My Way� prominently feature the electric keyboard and upbeat tempo but do not contrast well with the electronic feel of the first half. Nonetheless, the album ends on a good note with “Where We Belong�. The use of violin adds a classical touch to this memorable song and the lead singer’s falsetto shines once again. Overall, Gossamer is a very successful follow up to the band’s debut album. Despite a hiccup in the second half, a stellar line-up of the first six songs more than make up for that shortcoming. T h e a l b u m’s e a s i l y relatable tunes should catapult them to mainstream success, and it is a well-deserved outcome for the American indie pop band.

-HUGO BART

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FILMS

MOONRISE KINGDOM COMEDY DRAMA Bruce Willis, Edward Norton 94min

KNOWN for his quirky style and characterisation in previous films like The Royal Tenenbaums and The Darjeeling Limited, Wes Anderson delivers yet again in Moonrise Kingdom, which opened the prestigious Cannes Film Festival this year. Set in 1965 on the fictional New England island of ‘New Penzance’, this coming of age romance between two young children, Suzy Bishop (Kara Hayward) and Sam Shakusky (Jared Gilman) weaves a tale of bravery, freedom and adventure. The love story begins as a coincidental attraction at a church play. Sam singles out Suzy in the changing room and pointedly asks her, “What type of bird are you?�, to which she hesitantly replies, “I’m a raven�. This promising scene sparks their attraction for each other. Soon after, their romance blossoms through a series of letter exchanges and they eventually decide to elope. During their journey through the wilderness, Sam’s resourcefulness and clever use of his camp gadgets make up for Suzy’s more frivolous choice of belongings— her record player, fantasy storybooks and her cat. Together, they are a precocious and persistent pair of rebels running away from their parents and societal convention.

ATTENTION TO DETAIL: Actual maps were drawn out to make the world more believable.

The young talents are accompanied by an experienced supporting cast who contribute substantially to the quirkiness of the movie. Bill Murray and Frances McDormand, who play Suzy’s dysfunctional parents, deliver an amusing performance. In a warped expression of their failing marriage, they call each other ‘Counsellor’, sleep on separate beds and speak to each other with loud hailers. The marital unhappiness opens up a subplot involving the adults. Mrs Bishop tries

A BIG SURPRISE: Under the direction of Soderbergh, Channing Tatum and Co. put in a splendid performance oozing much hilarity and sexiness.

MAGIC MIKE COMEDY DRAMA Channing Tatum, Alex Pettyfer

110min

SEX sells and Magic Mike, with its cast of male strippers, has proven that, having grossed over US$110M at the US box office. However, underneath the low-slung sex appeal and comedy, Magic Mike also contains a charm driven mostly by Channing Tatum’s impressive performance. Magic Mike is loosely based on the actor’s life as a stripper before he became an

actor. Tatum plays Mike Lane, a builder and budding entrepreneur who becomes “Magic Mike� in a strip club at night in Tampa, Florida. He chances upon Adam (Alex Pettyfer) outside the strip club where he works, and through a mixture of luck and reflexive thinking, initiates the young man into the stripper trade. Eventually, Adam grows into the job and strikes up a friendship with Mike. However, their relationship gets complicated by Mike’s own feelings for Adam’s sister Brooke (Cody Horn) and his own disappointment at not being able to realise his entrepreneur dream by starting his own furniture business. Much of what is right about Magic Mike is to Tatum’s credit— aside from being the lead, he is also one of the four producers on

PHOTO | INTERNET

to have an affair with the state policeman, Captain Sharp (Bruce Willis), but the obligations and responsibilities of the adults seem to bog down the possibility and regularity of their relationship. This is ironically contrasted with the freedom and adventure of the young lovers who find comfort in each other without any worries for the world. Perhaps, this could also be Anderson’s intention of conveying the simple beauty of childhood adventures that we have all

PHOTO | INTERNET

the film. Tatum gives Magic Mike emotional depth by delivering a heartfelt performance which he can relate to himself, using his own experiences to bring out Mike’s mixed feelings as he tries to start his career amidst his difficult relationship with Brooke. This brings a level of credibility to his character. Pettyfer gives a believable and funny performance as a 19-year-old who struggles to adjust to being a stripper. His discomfort is apparent; especially in an amusing scene he has to come clean with his sister after she discovers a box of thongs at home and sees him shaving his legs. Matthew McConaughey’s powerhouse performance as Dallas, the promoter at the strip club, also deserves honourable mention. So often seen in romantic comedies,

forgotten in our pursuit for stability and orderliness. Interestingly, the director follows up on this theme by diagrammatically depicting the children’s exploration and trail routes. He also uses a series of primary hues— reds, blues, and khaki browns— to visually align costumes with backgrounds. All these add to the spectacular visual feast offered in the film and evoke a sense of childhood nostalgia. It becomes one of the most powerful themes that lend credibility to the love between Sam and Suzy. On the downside, Anderson’s directorial techniques may seem over the top and even disconcerting at times. Some scenes are largely exaggerated— in one scene Sam almost electrocutes himself with lightning to save himself from the pack of adults hot on his heels. Nonetheless these moments are still consistent with Anderson’s attention to dramatic detail and characterization. Another characteristic of the director is the use of exaggerated irony to inject humor in the most serious situations. Most of his characters maintain expressions of seriousness and sincerity in their roles despite the incredulity of the situations. Edward Norton puts in a noteworthy performance as Randy Ward, a meticulous camp chief who runs his camp with strict routines for breakfast, camp conduct and attire. Yet, he patiently answers all the ridiculous questions of his cadets even during the crisis of Sam’s disappearance. Overall, Moonrise Kingdom is a lighthearted film that takes audiences on a unique exploration and discovery of young love. Coupled with a dedicated cast, Anderson’s unconventional style of subverting the notions of conflict with comedy and adventure makes this film a hugely refreshing and humorous film to catch.

-TAAHIRA AYOOB McConaughey lets himself loose in Magic Mike to great success, dancing and entertaining with raunchy hilarity. In one scene, he teaches Adam the basics of dancing like a stripper, wearing a tight-fitting top and telling Adam to be “the husband that they never had�, while both men gyrate their hips in front of a mirror. The highlight of Magic Mike is undoubtedly the strippers’ performances. These scenes are flashy, cheeky and sexy all at once. The actors playing the strippers do not hold back and perform their raunchy acts with good choreography. One memorable sequence has Mike leading the group in a dance choreographed to the popular tune “It’s Raining Men�, when almost everything comes off and the audience goes wild. Director Steven Soderbergh ensures the strippers dance in their full glory by keeping camera angles simple, letting their slick moves dominate the screen. The one flaw that nearly robs Magic Mike of its charm is its less than satisfying character development. While the dancing may have impressed, more time could have been spent on beefing up the story instead. For example, Adam’s trouble with drug dealers is a subplot that falls flat because it was never clearly explained. In a film lasting close to two hours, a few characters could have been better developed. Brooke faded away as quickly as she appeared, and her romance with Mike seemed forced, mostly due to the actress’s deadpan facial expressions and unconvincing delivery of her lines. The other strippers had so much potential to be fascinating supporting characters too but ultimately their roles were limited to just a few lines of dialogue. Still, the highlights of Magic Mike outweigh the weaker parts. The stripper scenes dazzle and the male leads deliver largely impressive performances. Magic Mike is raunchy but at the same time sentimental; an original film that outgrows its superficial premise and shows some heart along with the exposed skin.

-ER QI JIAN

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LIFESTYLE reviews

TOTAL RECALL SCIENCE FICTION / ACTION Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston 121min

THE Hollywood remake of 1990’s Total Recall is unabashedly a prettier and flashier film than the original. Monumental explosions and exhilarating car chases dominate the screen decorated by a vividly detailed futuristic city. Drawing inspiration once again from the Philip K. Dick story We Can Remember It For You Wholesale, this adaptation curiously forgoes the complexity of the plot for a more straightforward story. The result is unfortunately a generic and forgettable sci-fi thriller which lacks the magic that made the original an instant classic. The film is set in the year 2084, when the world has been split into two blocs after World War III – the United Federation of Britain (UFB) and The Colony. Douglas Quaid (Colin Farrell) is a factory worker who is discontented with his life and keeps experiencing a queer dream. The recurring violent escapes with a mysterious woman reinforces his belief that he is meant for greater things. This spurs Douglas to visit Rekall, a company specializing in implanting artificial memories, where he opts to be implanted with memories of a spy to make his dream a reality. This sets the plot in motion, as

AN UNNECESSARY REMAKE: 2012’s Total Recall is simply not as memorable the 1990 classic.

PHOTO | INTERNET

Douglas recalls being an ex-UFB superagent who changed sides to The Colony before his memories were erased. With UFB agents hot on his trail, he has to race against time to foil a conspiracy to destroy The Colony and recover his true identity. Director Len Wiseman’s tamer approach to the movie is unexpected, considering the 1990 version helmed by Paul Verhoeven was darker, more vulgar and excessively violent. It is evident that he intends for his rendition of the movie to appeal to the masses, put-

ting the brakes on what could potentially be another gory R-rated film. Unfortunately, by watering down the tone of the film, Wiseman has also made his version of Total Recall much less distinct. Without the absurd humour of the original and any new ideas, it is hard to define the film’s identity — a case of irony given the film’s own narrative theme. While visually pleasing, the excessive use of panning camera shots and heavy focus on extravagant explosions seem to distract

the world to find the answers. Along the way he meets both strangers and old friends. Representing the differing viewpoints of time, they provide Hector with valuable insight on the true definition and value of time. The novel is punctuated with excerpts from Hector’s notebook as he interacts with people from all around the world. Whenever he has an epiphany, Hector jots them down in the form of a “Time Exercise� for his patients to try out. One interesting example is number 13, which instructs, “Whenever you meet an elderly person, always imagine what they are like when they were young.� One cannot help but feel enlightened as they read these exercises, as though they have gone through one of Hector’s therapy sessions. Even at the book’s conclusion, Hector still does not find a concrete answer. However, this does not upset him. The psychiatrist meets a wise monk who tells him, “Change the things that can be changed, accept the things that can’t, and know the difference,� — this is a valuable lesson for those who constantly worry about time. Written in a descriptive tone with short sentences, it is remarkable that Lelord manages to encapsulate the key philosophical arguments in just 225 pages. He also makes it easy for the reader to understand the concept of time by using simple analogies to break down complex concepts. For example, he uses trains to explain Einstein’s theory of relativity, and horseriding to explain existentialism. The vivid imagery enables all readers to have a clearer visualisation of philosophical concepts. Hector And The Search For Lost Time is more than just an entertaining read—it pushes one to question time himself. Instead of imposing a specific definition, Lelord reminds us that the meaning of time is malleable, allowing the reader to find his own answer to the age-old question.

SURVIVOR: THE SHOCKING AND INSPIRING STORY OF A TRUE CHAMPION (NON-FICTION)

the audience from the story. Chase scenes and special effects steal the limelight from the actors, who attempt to make the best out of the lacklustre script. As a result, the movie fails to explore the science fiction story, and audiences are never led to question the reality in Douglas’s post-Rekall life. Fortunately one of Total Recall’s few saving graces is Colin Farrell’s performance. Despite the bland and shallow script, the actor still manages to bring humanity and vulnerability to his character. Kate Beckinsale also adds more depth as both Douglas’s wife and one of the main antagonists, due to her character’s extended role as compared to her early death in the original film. As tribute to the original film, Wiseman pays a considerable amount of fan service by including a good number of cameos by characters from the old movie, including Schwarzenegger’s famous red-haired disguise and the iconic three-breasted woman. Given the drastic changes in the plot, there is at least some familiarity in the new Total Recall for fans to rejoice about. While completely lacking in the entertaining cheesiness and geographic variety of its predecessor, 2012’s Total Recall still makes itself relevant as a platform to showcase cutting-edge CGI. More importantly it serves as a political snapshot of how our world might look like in the near future. Unfortunately, the mundane script and the overemphasis on fast-paced action overshadow Philip K. Dick’s underlying philosophical message of the fragility of personal identity. This results in an overtly feel-good and unmemorabe sci-fi thriller that does not live up to its potential.

-ALOYSIUS BOH

BOOKS HECTOR AND THE SEARCH FOR LOST TIME (FICTION) Francis Lelord $14.35 at Kinokuniya Published by Penguin Group USA

DO YOU constantly feel that time is not on your side? Or have you ever wished you could find a way to turn back time? These are questions that mankind has been trying to answer for centuries. French author and psychiatrist Francois Lelord raises this age-old philosophical debate in his new book, Hector And The Search For Lost Time. The third book in the bestselling Hector series sees the psychiatrist interacting with his interesting patients again. There is the man who measures his life in the number of dogs he could have owned, the boy who wants to grow up quickly, and the lady who consumes anti-ageing pills to stay young. Through the curious sessions with his patients, Hector is reminded of his own personal battle with time as he struggles to settle down with his lover Clara. Inspired to find a solution for both his patients and himself, he proceeds on a soul-searching journey around

-JEMIMAH SEOW

Fatima Whitbread $17.90 at Kinokuniya Published by Ebury Press

MANY world champions in the sporting arena share a similar story. They start out as amateurs, train hard and overcome all odds before standing at the top of the podium with a medal around their neck. Former UK javelin thrower and Olympic medalist Fatima Whitbread shares the same journey as many athletes, but it is her darker past that is not known to many. In Survivor: The Shocking and Inspiring Story of a True Champion, Whitbread shares a personal and honest account of her life from her childhood to post-retirement from the sport. She digs deep into the most painful of memories and holds nothing back as she shares what moulded her into the strong, determined javelin thrower she was more than 20 years ago. As a child, Whitbread was constantly abused, and in one particularly heartwrenching chapter, the author reveals being raped by her birth mother’s boyfriend.

Whitbread’s no-holds-barred description of the tragic incident allows readers to feel the fear and helplessness that her younger self went through. Just like any other girl, winning the attention of boys became one of the more important issues in Whitbread’s teenage life. Her crush on a ‘blond, well-muscled’ javelin thrower drove her to take up the sport as well, but it would prove to be her turning point in life. Picking up the javelin got her a ticket to meeting the strict, no-nonsense coach Margaret Whitbread. While the two did not have the best of starts getting acquainted, they soon came to discover the passion that they both shared for the sport. More crucially, a special bond developed between the two and before long, Fatima was officially adopted as a foster daughter, Whitbread then proceeds to share how she overcame the difficulties presented to a malnourished teenager, whose dream is to become a world-class javelin thrower. From stories of hunger to her famous celebratory wiggle after the 1986 European Championships in Athletics, readers are able to feel the former champion’s sorrow and joy in her sporting career. Unfortunately, Whitbread’s life is not all that rosy after her retirement from the sport. She talks about her broken marriage and her consequential struggle to raise her son as a single mother. While her stories may be heartbreaking, the author does not seek sympathy from her readers. Rather she simply wishes to prove that it is possible to break free from memories and circumstances that haunt them. Survivor: The Shocking and Inspiring Story of a True Champion is more than a narration of Whitbread’s life story; it is an inspiration. The display of strength and grace shown in the Olympics broadcast may have us transfixed, but Whitbread’s autobiography may be the closest we can get to actually knowing a world champion.

-LIU KAIYING BOOKS FROM KINOKUNIYA

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