p.m Long Beach, CA

Pangs of Hunger

AN ONGOING FEATURES SERIES OF SHORT STORIES.

COURTESY OF PEXELS

ELIANA DE LA TORRE

Contributing Writer

The Thanksgiving morning of her nineteenth year, Lucinda took those first blessed steps onto the ledge of the train’s platform, hands trembling from the biting November air. Misty fog gathered at her exposed ankles while dew clung to the coiled strands of her dark hair. Standing there in the cold, feeling the powerful thrum of the engine beneath her, the uncertainty of the day palpitating in her chest, she had never felt more alive.

The body of the foreign town seemed to sprawl out before her. The buildings, animals, even the cars all seemed to be waking up around her in the glow of the morning light. Gold and reddish leaves littered the streets, crunching as she took tentative steps down the pavement that was still slick from last night’s rain. For once, the earth she tread was solid, capable of sustaining her weight. It was nothing like the vacuum of insecurity home had been.

Lucinda’s childhood existed in a kind of negative space, the kind punctuated by the painful sting of need. There had never been a place for her in the small shack of a home her family called their own. The more time went on, the less her parents could support the throng of growing and aging siblings she shared a cot with at night. Her portions at dinner had diminished consistently as the months went on, and soon she realized that within her family she had been the one selected to bear the brunt of the sacrifice. Still, the hunger never quieted.

It got to the point where Lucinda dreamt of food, the desire for it finding a way to puncture her subconscious. She saw in these visions lavish table settings, plates piled high with servings of roasted game and candied vegetables, flaky pastries and frosted cakes, only to be awoken by the humming growl of her empty stomach in the morning. had stowed away, she made her escape to the only train that could take her past the outskirts of town. She let herself be led by the voice inside her that spurred her to flight, convincing her that there was something worth seeing far past the expanse of brush and dying crops she had lived in her whole life.

It was that same instinct that drew her closer to an isolated stand on the sidewalk, where a heaping pile of browning pretzels sprinkled with salt rested behind a glass window. The warmth of the bread fogged the glass as the smell of the fresh batch seemed to waft down the stretch of empty apartment buildings for miles. Lucinda felt a surge in her chest at the sight of the food, so easily accessible, brimming over the stand’s counter. Like a beacon of hope, the lone cart seemed to designate the city as a haven of the plentiful.

Beside the stand, an older man in a worn workman’s jacket huddled beneath the stretch of a red umbrella. Tufts of white hair peeked from beneath the newsboy cap on his head, just as fixed as the scowl he wore across his face. He watched Lucinda, noticing her shining, pleading eyes staring into the glass. In her he recognized something he had seen too many times before in the city. It was the look of someone in need, a person the rest of the world would have preferred to let go on unseen. In all of his years on that block he had stood idly by, allowing those lost souls to carry on without extending a hand of compassion towards them. Maybe it was the holiday, maybe it was the splendid way the sun seemed to coat the streets with warm light, but something had undoubtedly changed in the old man. He wouldn’t allow himself to let someone carry on unseen today.

“Here,” the man grunted as he outstretched a steaming bundle of wax paper towards her, urging her to take it. Lucinda began to shake her head in refusal despite the gnawing feeling emanating from the pit of her stomach, begging her to accept.

“Just take it. Happy Thanksgiving.” No words could substantially express the wave of gratitude that seemed to wash over her at that moment. It was in the look exchanged between the two that said everything words could not.

Lucinda pressed the bread to her lips, eyes closed and blissful. It had been the first morsel of food to touch her tongue in days, and the pang of hunger she had welcomed like an old friend would finally cease. With the pain came a feeling of ecstasy, the first bite serving as a reminder of her early years when food was more scarce than it was now, but treasured that much more because of it. If her family could see her now they would marvel at the whopping serving of pretzel she had all to herself, they’d pick the rock salts off its surface and relish in the taste of it on their tongues. Long gone were the days of pulling apart rye loaves to distribute amongst herself and the flock of siblings that trailed her like ants. With the twisted limbs of her pretzel in hand, as holy as a palm on a bible, she vowed never to go back to that life again.

■H

Features

THE PERFECT PUMPKIN BREAD

Fall is never complete without the delicious taste of pumpkin. So when it comes to fall dinners and potlucks, the go to dish to bring is my pumpkin bread. It’s not too sweet, it’s easy to make and tastes wonderful every time.

By: Brandyn Guerra, CW

Ingredients:

• 3 1/2 cups all-purpose flour • 3 cups sugar • 2 teaspoons fine salt • 2 teaspoons baking soda • 1 teaspoon baking powder • 1 teaspoon ground nutmeg • 1 teaspoon ground cinnamon • 1 cup of unsweetened pumpkin puree • 1 cup vegetable oil • 4 large eggs, lightly beaten • 2/3 cup water

Prep Time: 1 hours and 20 minutes Serving Size: 10 people

Intructions: Start by preheating your oven to 350 degrees and prepping your pans with either a nonstick cooking spray or unsalted butter. I like to use two 9-by-5 inch pans. You can find easy, disposable tin ones from the grocery store for easier clean up. In one bowl, whisk together the sugar and oil, and then add in the eggs and pumpkin until it’s all combined and smooth. Combine the flour, salt, baking soda, baking powder, nutmeg, allspice, cinnamon and cloves in a medium bowl and whisk until well combined. Slowly incorporate the dry mixture into the wet ingredients bowl, along with a little bit of the water at a time, stirring in-between to ensure there are no clumps. Bake for about one hour. The loaves should look nice and golden brown and a cake tester should come out clean.. Let the loaves cool in the pans on a wire rack for 10 minutes. Remove from the pans and let cool completely for about another hour. Best served while they’re still warm! Enjoy! It’s straightforward, simple, and tastes amazing! It’s a perfect fall treat for any occasion!

THE PERFECT PALESTINIAN HUMMUS

Grocery store hummus often falls short, lacking the flavor and depth of the dish. Here is a quick and easy authentic Palestinian Hummus recipe you should try at home.

Ingredients:

• (all ingredient measurements are approximations and can be altered for taste and preferences) • 1 can of garbanzo beans • 2 tablespoons of tahini (sesame puree; can be purchased at local Arabic market) • 1 lemon (squeezed) • 1 tablespoon of olive oil • 1 clove of garlic • Salt to taste Prep time: 10 minutes Serving Size: 4 servings

Instructions:

Open a can of garbanzo beans and rinse with water. Add rinsed garbanzo beans, tahini, garlic, lemon juice, salt, and olive oil into a blender or food processor and pulse till smooth. Spread hummus onto a plate, top with olive oil, and serve. You can enjoy this dish with various vegetables, pita chips, and pita bread. Bon appetite and happy hummus making!

RadaR

Homecoming Odyssey 2022 was a celebration of Highlander spirit THE EVENT ENDS HOMECOMING WEEK WITH A NEW LOOK AND CAPTIVATING ARTISTS THAT KEPT THE CROWD DANCING FOR

BRENDA JOVEL

Radar Editor HOURS.

In celebration of Homecoming at UCR, ASPB hosted its second annual concert. Originally branded as Homecoming Bonfire, the night was transformed with hypnotic beats and fluorescent lights that welcomed UCR students to Homecoming Odyssey 2022.

Unlike previous events where lines were scattered across campus grounds, Odyssey was efficiently organized from the entrance to the lines at every booth and attraction. There was also a line for community members as people around the neighborhood were invited as well. Jordan Nevin, a 2020 graduate from UCSC, expressed their excitement when they saw that the Riverside community was invited to Odyssey. “I was able to enter a separate community line and get a wristband which was really nice! ASPB members were very helpful as well. I will definitely be coming to more events like this,” said Nevin.

Guests were then directed to the merch tents where various promo items were given. Hoodies with a simple yet eye-catching design were passed around while bracelets, blankets and enamel pins also served as pieces of memorabilia.

The lines for food vendors began to form, but Baba’s Chicken stole the show as many students enjoyed their free chicken sandwiches. While conversing at the various tables to eat their meals, student DJ, Digital Twin, began their set. Garett Geesink, a fifth-year majoring in computer science, along with his brother Aaron Geesink, make up Digital Twin. As Aaron stood offstage playing the live visuals for the show, Garett performed onstage with their VR headset. “One of my friends thought it would be funny if I wore the headset during my set. I’m actually using the built-in cameras so I can see the audience and my mixer in VR. It did make performing a bit difficult, but I thought it looked pretty cool, so I went with it,” said Geesink when asked about their headset. an amazing one where they got the chance to connect with the backstage visuals team. Both Geesink and their brother created their own visuals that swirled on the screen as they performed, creating an animated experience of music and colors. As for other UCR students who wish to perform at similar events, Geesink said, “If you want to be a DJ, then just play the music you believe in. I’ve been going to UCR’s DJ club for a year now and they’ve given me so much support to help me as an artist. I never would have gotten where I am without the support from my brother and friends, so I’m really grateful to all of them.”

Soon after, the cries of various students who were anticipating the arrival of Weston Estate were heard as the young boy band scampered onto the stage. Based in North Carolina and self-branded as “ya aunty’s favorite boy band” from an interview with Monsoon, the young group was quick to engage with the audience. They were playful in their mannerisms and displayed contagious dancing as they began their set with their song, “Sixty.” With the crowd cheering and jumping along to their beats, the group flourished with energy and smiles as they spoke to the audience. Tanmay Joshi even took the chance to take a fan’s BeReal as they prepared for their next song. The energy between Joshi, Panchavati and Luka as they sang songs like “Daisies,” “Saturday Nights” and “Cotton Candy” made audience members sing along and wave their arms.

As the young group greeted and signed hoodies and even shoes for fans at the side gate, a video by UCR Athletics played onscreen as it congratulated the men’s soccer team’s win. UCR Collective Faction went onstage and delivered a fast-paced and sharp dance routine before Scotty grabbed the spotlight. Scotty and ASPB members threw light sticks and plastic basketballs into the crowd, and we were quickly mesmerized by the firework show that blew into the night sky while bagpipes played in the background.

When asked about their thoughts on the rebranding of Homecoming during the event, Mustafa Hassan, an ASPB Concerts Division Intern, said, “I definitely think it embodies our student-athletes and it brings the entire student body together.”

Alex Ha, a second-year majoring in computer science said, “The event was great! ASPB did an amazing job choosing artists that cater to the school’s environment.” Tomin Kappiarumalayil, a third-year computer engineering student said, “My favorite part was the organization of the venue and how they accommodated everyone and handled the long lines. I also appreciate how the event took place on concrete instead of grass because you don’t risk slipping with the pushy, energetic crowd.”

The rebranding of Homecoming allows a new set of traditions to flourish on our Riverside campus, yet many were confused about the meaning of ‘Odyssey’ and why it was rebranded in the first place. ASPB briefly described on their Instagram that the rebranding would “emphasize the journey to becoming a Highlander.” Though the meaning was a bit foggy for students, it was a thrilling experience that brought everyone together for one night. ■ H

Geesink described their experience at Odyssey as As Headliner, ARMNHMR made everyone in the crowd dance and jump to their heavy beats of remixes. It was a sensory overload of joy as people climbed on each other’s shoulders to watch the duo perform. Popular songs such as “Do It To It” and “Satisfaction” vibrated against the stage and flew in techno beats that the crowd moved along with. Joseph Chung continuously spoke to the audience, reminding us to stay in school with awkward jokes or to wave and jump to their sounds. The duo even had Scotty showing off their best dance moves in the crowd. They ended their set with an electrifying remix of “Dynamite,” causing students to sing along to the popular song before the duo said goodbye.

VERDICT:

WITH SLEEKER ORGANIZATION AND ARTISTS THAT ENLIGHTENED HOMECOMING WITH CELEBRATION, HOMECOMING ODYSSEY 2022 SERVED ITS PURPOSE TO BRING THE HIGHLANDER COMMUNITY AND SPIRIT TOGETHER.

‘Interview with the Vampire’ is a modern masterpiece of an adaptation

RAMITA SETTY Contributing Writer

On Nov. 6, the series finale for AMC’s “Interview with the Vampire” was released, ending the first part of the twisted saga of love and gothic horror. With the full story of the season released, it became much easier to understand the angle the writers were going for and how it would all end.

In modern-day Dubai, Louis du Pointe du Lac (Jacob Anderson) invites investigative journalist Daniel Molloy (Eric Bogosian) to hear the story of his life. The story begins with his life in early 20th century New Orleans as the wealthy owner of several brothels where he meets and is made a vampire by the charismatic Lestat de Lioncourt (Sam Reid), who then becomes Louis’ lover. Further complications arise when the duo takes in teenage vampire Claudia (Bailey Bass) into their home. Louis narrates the story of his turbulent and volatile affair with Lestat for thirty years, filled with love, jealousy, possessiveness, parenthood, domestic violence and murder.

Based on Anne Rice’s famous “Vampire Chronicles” books, the show does not hesitate to make radical changes. Chief among them concerning the character of Louis, who is transformed from a white slave plantation owner to a closeted Black Creole man whose wealth comes from the chain of brothels he owns. The period of the novel is also changed from the mid-1700s to the early 20th century. The series also embraces the queer elements of the novel, in particular with the relationship between Lestat and Louis, which the 1994 adaptation did not.

Changes of this magnitude in an adaptation can often go poorly because it’s often an ill-thought attempt on the part of the studio to put their spin on the work. In this case, the changes work because the writers understood the themes of the original novel intimately and served to reinforce those themes.

The series uses the changes made to lean further into Louis’ internal struggle over the morality of vampiric existence. In the very first episode, Louis, a relapsed Catholic, has a mental breakdown in a church over the morally dubious nature of being a brothel owner. Then, after confessing his sins in a box, he goes right back to it. He’s aware of the nature of the work, but he isn’t willing to do the work to change. Eventually, it does get taken away from him. It serves as a wonderful human parallel to his more vampiric struggle over the ethics of feeding on and killing humans. This aspect highlights how out of all the vampires we meet, Louis remains the most human. He is both self-aware and in denial, which gives him greater depth and complexity.

Other elements that deserve praise are the extensive costumery, which more than anything makes the period of the series. Some standouts are a shot of Claudia, clad in a girlish dress with flowers stained red with the blood of her victim and Lestat in the final episode clad in garish 18th-century drag.

But the series is not without its problems. Several critics have noted that there are much more scenes of gratuitous violence against the series’ Black characters that their white book counterparts never faced. Between a sexual assault attempt on Claudia and a particularly brutal domestic violence scene against Louis, it can feel like the show plays into the same gratuitous Black trauma countless other pieces of Hollywood media have in the past. It is also an example of the series’ need to be rather heavy-handed with its themes. Instead of Lestat remaining just emotionally and mentally abusive with Claudia and Louis like he was in the novels, the series makes him physically abusive as well, perhaps because they did not trust their audience to understand his abusive nature otherwise.

Ultimately, it depends on the direction the writer takes the show in, which has already been renewed for season 2. The novels end with Louis and Lestat as a couple, despite all of their past toxicity and backstabbing. If this is what the series intends, it will be more difficult to resolve the issues between Louis and Lestat, especially with the more extreme elements of domestic violence and the added racial dichotomy that exists between the two. In several interviews, the cast and showrunner have said that domestic violence will not be ignored or swept under the rug which we’ll have to wait until the next season to see. ■ H

ANNE RICE’S IMMORTAL TALE HAS BEEN REVITALIZED FOR A NEW GENERATION.

VERDICT: “INTERVIEW WITH THE VAMPIRE” IS A GORGEOUSLY DARK, GOTHIC HORROR AND ROMANCE THAT MANAGES TO STAND ON ITS OWN NEXT TO THE NOVEL. IT IS ONE OF RECENT YEARS’ BEST FANTASY SERIES THAT EMBRACES THE LONGEXISTING LINK BETWEEN QUEERNESS AND VAMPIRISM IMPLICITLY.

RADAR REPLAY: ‘Where the hell have you been loca?’ — The ‘Twilight Saga’ celebrates its 14th anniversary

AMARAY ALVAREZ

Opinions Editor

DESPITE ‘TWILIGHT’S’ LONG-STANDING GLOBAL FAME, THE PLOT IS PROBLEMATIC AND FAILS TO ACCURATELY REPRESENT INDIGENOUS GROUPS.

COURTESY OF SUMMIT ENTERTAINMENT

Nov. 21 marks the 14th anniversary of a movie that started a global franchise and caused a cultural shift in how we perceive vampires. The movie “Twilight,” however angsty and problematic it may be, was a monumental occasion that created several pop culture references still used today. The first installment of the four movie franchise, based on the novels written by Stephenie Meyer and directed by Catherine Hardwicke, started our obsession with vampires and the love triangle rivalry that would become known as team Edward or team Jacob.

Before the “Twilight Saga” gained popularity, vampires were typically portrayed as dark and pale characters that lurked in the night, slept in coffins and were sometimes able to transform into bats. Meyer put an end to this tired-out image, inventing a vampire that was lust-worthy and someone to root for regardless of their villainous background. She made vampires hot despite them being cold-blooded. The new persona Meyer gave vampires launched an obsession for them with several other vampire-centered shows and books following; most notably “The Vampire Diaries.”

The love triangle created is also one of the most memorable and popular components of the movie. In the first film, we are introduced to “the not like other girls” character Bella Swan, played by Kristen Stewart, and the 100-year-old vampire Edward Cullen, played by Robert Pattinson. Edward becomes infatuated with Bella, stating that her blood is just too alluring to him and starts a relationship with her. Their dynamic is questionable, due to the age difference and power struggle, but Bella is pulled in by Edward’s vampire charm and is unable to resist. Even though Edward is disliked by Bella’s father, as well as her close friend/love interest Jacob Black, played by Taylor Lautner, she is drawn to him and everything it means to be a vampire.

Although the first “Twilight” movie started an international craze, it has not all been received positively. Meyer has been largely criticized for her writing style as well as her portrayal of indigenous peoples, like the Quileute tribe referenced throughout the series. Meyer took an already existing group and exploited them by recreating their culture and the narrative surrounding them. The werewolf folklore that accompanies Jacob, who is played by a nonindigenous actor, and his tribe is disrespectful to the real Quileute who were never paid for the use of their image. They are written to seem animalistic and feral while the mainly white vampires are portrayed as proper and good in Bella’s eyes. Jacob’s character is always second and never as worthy as the white man. Many of the actors who make up the wolf pack are also not indigenous due to them needing to cut their hair as part of their transformation. The actors that play Jacob’s friends, who are seen at the beach, do not return for this reason.

The “Twilight Saga” is constantly replayed on television, bounced from one streaming provider to another and the infamous love song “A Thousand Years,” by Christina Perri, is still played at weddings today, but it is important to criticize it when watching. The series does attract people with its romance and nostalgia, but it is equally cringy and hilarious — especially when being rewatched for the 100th time. Celebrate this 14th anniversary of the movie by wearing old merch and making Bella’s mushroom ravioli, but be sure to catch the subtle missteps, like when Bella fails to use the ketchup bottle correctly or when Anna Kendrick’s character is on screen. Meyer recently published a new version of the first book in 2020 from the perspective of Edward titled “Midnight Sun.” The impact this movie and the saga have had is immeasurable and will only continue to grow.

‘Bardo, False Chronicle of a Handful of Truths’: A chimeric, sentient glimpse at the human condition

LUKE LIAO

Contributing Writer ALEJANDRO GONZÁLEZ IÑÁRRITU TACKLES AN ARRAY OF UNIVERSAL DILEMMAS IN A DECADENT FASHION.

Alejandro González Iñárritu has a lot on his mind. Iñárritu’s newest film, “Bardo, False Chronicle of a Handful of Truths,” marks his return to the director’s helm, nearly seven years after the 2015 film “The Revenant.” In “Bardo,” maestro journalist and documentary filmmaker Silverio Gama (Daniel Giménez Cacho) returns to Mexico, his homeland. Shortly after he arrives, personal, creative and existential pillars come crashing down.

From the start, it is evident that Silverio is a vessel for Iñárritu. Physically, Silverio resembles the auteur — both men even don the same hairstyle. Silverio’s return to Mexico can be juxtaposed with Iñárritu’s return to filmmaking in his motherland. The filmmaker’s last Mexican feature was in 2000 with “Amores Perros.” “Bardo” works as a fictionalized autobiography, a way for Iñárritu to let the audience know everything that he has been ruminating about during his hiatus.

“Bardo” feels like a summation of Iñárritu’s work for better or worse. The zaniness and self-reflexiveness of “Birdman” is put into sixth gear in “Bardo.” A comically indulgent party with David Bowie’s “Let’s Dance” playing and not one, but two sequences where a newborn reenters the womb, illustrates Bardo’s absurdist, bohemian sensibilities. The film is also aware of its acceptance of grandeur and abundance yet it holds an inconsistent critical lens toward these same themes. Many lines and conversations that are clearly meant to elicit a sense of self-awareness come off as strangely inoculated, almost like an unsubtle reminder.

Whether it was through the tribulation and emotional impasses of the Death Trilogy and “Biutiful,” or the identity crisis in “Birdman,” Iñárritu has always been fixated on the human condition. “Bardo” synthesizes many of these themes, touching upon family, birth, death, grief and identity. On paper, the melange of these ideas seems compelling, but a front-loaded plot and the sheer extravagance of concepts “Bardo” tries to undertake causes certain aspects to be watered down. Fortunately, the narrative is supple enough to keep the larger storyline at stake engrossing.

Due to Bardo’s deep connection to heritage, the film finds Iñárritu at his most intimate, an artist becoming inseparable from their art. Through Silverio, the audience can see that Iñárritu views himself as ostracized between realms, stranded between Mexico and the US. Silverio’s work documents Mexican people and issues, such as immigration, but he found acclaim in an American audience. Silverio’s friends and critics from Mexico taunt or dislike him for assimilating with the “gringos”, and in the U.S, Silverio feels guilt for the success he receives. Additionally, Silverio despises when outsiders attack his culture, but he catches himself doing the same frequently. The disconnect and confusion between cultures becomes a complicated portrait of isolation and a state of limbo, which is what the title “Bardo” broaches.

The surreal, Fellinesque sequences and visuals are the show-stealer. Although it’s easy to get lost in the eye candy or feel hazy from the etherealness, these dream scenes reveal a deceptively large amount of information in a script that doesn’t always say much. In one sequence, Silveiro walks down a dreamscape, an abandoned city with lifeless blue skies and gaunt buildings. He sees a mound of dead Mexican natives and climbs it. At the top, he meets a resting Hernán Cortés, and talks with him. The conversation that unfolds reveals Silverio and Iñárritu’s views on Mexico’s history, further pushing the crisis of selfhood.

VERDICT: ALEJANDRO GONZÁLEZ IÑÁRRITU CRAFTS A ZANY AND SURREAL EXAMINATION OF AN EXISTENTIAL CRISIS BUT ITS MULTIPLICITY OF FOCI HINDERS THE PROJECT FROM GREATNESS.

To capture the decadence in or out of dream states, cinematographer Darius Khondji uses a wide angle to capture one of best-looking films of the year and the best in Iñárritu’s catalog of already highly stylized films. Low shots are incessantly used to construct a childlike sense of awe around Silverio’s surroundings. The fervid dance sequence and a notional battle at the Chapultepec castle see Khondji flexing his bravado, weaving in and out of the action. Everything from stained glass, disco balls, strobe lights and even sunsets have never looked better.

From the palatial set pieces to the ambitious breadth of concepts, it is evident that Netflix, the producers of the film, gave Iñárritu close to, if not total creative control and a hefty budget. Lavish sequences and many visual effects would not be possible without these freedoms, but this autonomy is likely responsible for the scopic, unrestrained nature of the film, which diminishes the already sparse intimate moments and overarching gravitas. Bardo’s ambition is ultimately its achilles heel, and one can only wonder what untapped potential a more focused, restricted cut could yield. ■ H

Book Nook: The Cycle continues in Tracy Deonn’s second book in the ‘Legendborn Cycle,’ ‘Bloodmarked’

LAVERK HARPER

Contributing Writer TRACY DEONN DELIVERS AN EMOTIONALLY HEAVY SEQUEL TO HER DEBUT YOUNG ADULT NOVEL ‘LEGENDBORN’ THAT EXPANDS ON THE WORLD SHE CREATED.

If there was ever a perfect sequel to a book series, Tracy Deonn’s “Bloodmarked” is it. Deonn delivers all of her promises of the previous book in this heartbreaking action-packed adventure. “Bloodmarked,” released on Nov. 8, 2022, follows Bree as she navigates the ancient secret order of the round table. “Legendborn” introduced us to the strong-willed Bree as she grieves the death of her mother. The instant New York Times Bestseller for young adults hit number one.

When we last saw Bree, she has just been given the keys to a kingdom she never wanted and barely understands, but “Bloodmarked” goes much deeper into the inner workings of the round table Bree now sits as the head of. Where “Legendborn” focused on Bree’s grief of her mother and how she came to terms with it, “Bloodmarked” has Bree and her friends grieving the death of their friends in “Legendborn.” Bree additionally has to hold onto the grief of her ancestors through the gifts that her root craft gives her.

Black girl magic is the literal name of the game in this Arthurian retelling. Within the book, Bree is stuck between two worlds of magic and the narrative explores both. Rootcraft, the magic of asking to borrow power from one’s ancestors and bloodcraft, using the powers of one’s ancestors as their own. This book plays with the idea of power; who gets it, who already has it and how to use it responsibly. Very early in the book, we are introduced to the regents who rule over the Legendborn, characters who were alluded to in the previous books but were not encountered until now. Here we see the full reach of their power and how they use it.

Being a descendant of a slave, Bree is already wrapped with a lot of heavy feelings towards the world and how she looks at it. She sees that not everyone is going to treat her with the respect and kindness that she deserves, but hatred and animosity for the color of her skin. From “Legendborn” to “Bloodmarked,” racism is a recurring obstacle Bree is forced to face along her journeys. Some say that depictions of racism are not something that should be in the media, but clearly, Tracy Deonn thinks otherwise. Racism is what makes this book a little more believable and places it closer to our world. Despite how many people attempt to forget it, racism is a part of a lot of POC lives, so it seems right that Deonn decided to depict it in her works. Thanks to her blood-walking abilities, Bree doesn’t just have to deal with her own racist experiences — she also has to deal with those of her ancestors who came before her. This story will resonate especially well with those who have dealt with great grief in their life or have been the only BIPOC in a room full of non-BIPOC.

Scion of Arthur, blood-crafter and medium between all of these abilities, Bree carries a heavy burden that is made no easier by her ancestors. Because her bloodcraft abilities allow her to experience her ancestors’ lives through blood walking, Bree is forced to carry around their trauma as well as the trauma she has dealt with throughout her life. From the rape of her enslaved greatgreat grandmother Vera to the racism her grandmother Jessie experienced; all of these things culminate as something no one person should be forced to carry. Bree is made to bear the full force of this generational trauma. She goes through the book trying to figure out how to deal with it – eventually coming to terms with it on her own.

Bree has always been surrounded by people that love her whether it be her father or her best friend Alice Chen who stole readers’ hearts in “Legendborn.” Here she gets more time to shine as she and Bree go on this journey together along with the merlin, Sel, and the scion, William. They are all put in a position where they are forced to understand each other and build relationships in new ways. These four make up the main group and are the best part of the story. Their banter and conversations make even the worst situations better.