Oscar movie season!

Welcome to the new class of Oscar nominees! The nominations for the 94th annual Academy Awards were announced on Feb. 8 and this year there are 10 contenders for best picture (the Oscar winners will be announced on March 27). If you’re still looking to catch up on the films of 2021, the list of nominees is an excellent place to start. Here are the best picture nominees and where to find them:


• Belfast (PG-13) Kenneth Branagh wrote and directed this semi-autobiographical tale of a boyhood amid the unrest of Northern Ireland in the 1960s. It is available for rent at home and it is still in theaters, including Red River Theatres in Concord, where it returns starting Friday, Feb. 11.
• CODA (PG-13) This excellent story about a teen who discovers her singing talent and her changing relationship with her parents might be my favorite of this group. It is available on Apple TV+.
Don’t Look Up (R) Adam McKay directed and wrote the screenplay for this satire, which you can find on Netflix, that stars Leonardo DiCaprio and Jennifer Lawrence.
• Drive My Car (NR) This Japanese film also nabbed a Best International Film nomination as well as nominations in other categories and is the one movie of this group I haven’t seen yet. It is currently in theaters in the Boston area.
• Dune (PG-13) Not surprisingly, this beautiful-to-look-at adaptation also nabbed several nominations for the look and sound of the film. It is currently available for rent or purchase and will return to HBO Max on March 10.
• King Richard (PG-13) Will Smith also got a Best Actor in a Lead Role nod for this movie about Richard Williams, the father of Venus and Serena Williams. The movie is available for purchase.
• Licorice Pizza (R) For me, the San Fernando Valley of the 1970s was this real star of this Paul Thomas Anderson story about a precocious 15-year-old and the twentysomething girl he falls for. The movie is currently in theaters.
Nightmare Alley (R) This movie from director Guillermo del Toro was another one that wowed me more for its aesthetics. It is currently playing in theaters in the Boston area and available via HBO Max.
The Power of the Dog (R) This Jane Campion-directed movie nabbed a slew of nominations, including nods in three acting categories and for Campion in the director category (making her the only woman nominated in that category this year). Find it on Netflix.
• West Side Story (PG-13) Steven Spielberg’s very good adaptation of the musical got Ariana DeBose a much deserved nomination in the Best Actress in a Supporting Role category for Anita, among its many nominations. It is currently in theaters.

Dust off the Discman

Latest from Donaher a throwback time capsule

There’s a clear ’90s vibe to Donaher’s second long-player. The Manchester quartet signals its intentions with leadoff track “Fixer Upper” — with its angsty lyrics, floor-shaking guitar and a vocal that straddles the line between an angry growl and a heart-wrecked moan, it’s something Nirvana might have done had Kurt Cobain walked out of his Seattle garage.

That’s no accident.

“Kurt’s the reason why I picked up a guitar when I was 15 years old,” singer and main songwriter Nick Lavallee said recently. Though adulthood, sobriety and a bit of therapy have mellowed him, “I remind myself that I need to continuously do things that would make my 15-year-old-self smile.

The mood of Gravity And The Stars Above veers from their sunny 2017 debut I Swear My Love Is True, though it shares its sheen — and then some. There’s “Lights Out,” a hook-tastic breakup song brimming with pain, and “Sleepless in New England,” with a protagonist who needs “to remind [his] lungs to keep on breathing.”

The latter track paraphrases a line from the movie Castaway — “tomorrow the sun will rise and who knows what the tide could bring?” — that Lavallee feels could reach the shipwrecked or the dumped.

“I think in many ways the character in that Tom Hanks movie was put on that island to almost slow down time… he had to learn how to be grateful for the things he had,” he said. “There’s some running themes like that on a couple of the songs.”

While there is more than a little romantic misery, a few moments of hope peek through.

“Worth The Wait” is a duet with Noelle Leblanc of the Boston band Damone that recalls both Iggy Pop’s “Candy” and the Foo Fighters’ wall of sound. Lavallee said he was reaching for layers of meaning in songs like Semisonic’s “Closing Time” when he wrote it.

“It sounds like a couple singing about each other, but it’s about [them] having a baby,” he said. “I was like, can I write a song that might be about one thing to me, and mean something totally different to the listener?”

Sweet and wholesome, “Circle Yes Or No” is another highlight, a grade-school romance laid atop a brisk power pop beat. “I basically envisioned, what if The Descendants covered The Lemonheads?” Lavallee said. “They actually backed up Evan Dando on a record once … that’s what I was going for.”

Another throwback move was how the new record dropped. One week prior to hitting streaming services, it came out as an oh-so-retro compact disc.

“I love vinyl, but we weren’t listening to records in the ’90s, we were listening to CDs and tapes,” Lavallee said. “I wanted the first image of this album to be a shrink-wrapped CD, and those feelings of ’90s nostalgia to hit hard.”

Donaher — Lavallee, lead guitarist Tristan Omand, bass player Adam Wood and drummer Nick Lee — will celebrate the new disc with three area shows. The first is Feb. 11 at Newmarket’s Stone Church, followed a week later at Shaskeen Pub, the band’s home court. Opening there is Colleen Green, a singer-songwriter signed to original Nirvana label Subpop’s affiliate Hardly Art. The final show happens Feb. 26 at Lowell’s Thirsty First Tavern.

A self-described “obsessive creative” who’s also a lapsed standup comic and creator of the Wicked Joyful line of pop culture action figures, Lavallee said the presence of two other songwriters in the band, Wood and Omand, helped steady him.

“I’m challenged by them. They don’t let anything slip by,” he said. “I’m doing some stuff that’s very different compared to the first record lyrically, and that’s definitely Tristan pushing me to not just repeat myself.”

As with the first record and last summer’s Angus Soundtrack 2 EP, a favorite band from the decade still influences him.

“This album sounds like it could have been recorded between the Blue Album and Pinkerton,” he said, referring to a pair of Weezer CDs. “It’s no secret that I’m a big fan of Rivers Cuomo and his songwriting, and people would expect our take on Pinkerton, but a little darker, a little louder, little messier. … I think some of those elements are definitely there.”

Donaher w/ The Graniteers

When: Friday, Feb. 11, 9 p.m.
Where: Stone Church Music Club, 5 Granite St., Newmarket
Tickets: $12 in advance, $15 day of show at stonechurchrocks.com
Also Feb. 18 at 9 p.m. at Shaskeen Pub, 909 Elm St., Manchester with Colleen Green & Monica Grasso ($10 at door)

Featured photo: Donaher. Photo courtesy of Jessica Arnold.

The Music Roundup 22/02/10

Local music news & events

Big stage: One of last year’s highlights was Phosphorescent Snack, the debut LP from Andrew North & The Rangers, an eclectic mix of jazz rock fusion and disciplined jam band sound, the latter exemplified by the Phish-adjacent “Aditi.” The group is a fixture on the local club scene, lately hosting the midweek open mic at Concord’s Area 23, but listening room evenings like this one upcoming are a special treat. Thursday, Feb. 10, 8 p.m., Bank of NH Stage, 16 S. Main St., Concord. Tickets $15 in advance, $17 day of show at ccanh.com.

Good deed: Homies Helping Homies benefits a venue employee and her friends recovering from a house fire. A long list of area artists will appear gratis, including DJ Closed Loop and Fermented Beats, hippie/funk bands Nicky O and Danny Berm, rappers Livid and Kinetic, metal acts Doomsayer and Infinite Sin, and acoustic sets from Brian Munger and Madison West, and several others. Friday, Feb. 11, 5:30 p.m., Jewel Music Venue, 61 Canal St., Manchester, facebook.com/jewlnh.

Double play: A throwback evening features Panorama: A Tribute To The Cars and a set of Black Crowes music from The Amoricans. Inducted into the Rock & Roll Hall of Fame in 2018, The Cars were at the forefront of the emerging New Wave in the late ’70s; sadly, two of the original members have passed, so a reunion won’t happen. Saturday, Feb. 12, 9 p.m., Stumble Inn, 20 Rockingham Road, Londonderry, panorama.rocks.

No thanks: Guests are encouraged to wear all black at the 12th Annual Anti-Valentine’s Day Party, a gathering for those who turn up their noses at the season’s Hallmark and Whitman’s Sampler displays. Featuring a curated playlist of ’80s mope rock like Smiths, New Order, Psychedelic Furs and non-optimistic Cure, it’s a celebration of bitterness, an ode to burning greeting cards while deleting the OK Cupid app. Monday, Feb. 14, 8 p.m., Shaskeen Pub, 909 Elm. St., Manchester, facebook.com/theshaskeenpub.

Groove thang: Formed onstage at the New Orleans Jazz & Heritage Festival, Dumpstaphunk is descended from that city’s royal bloodlines. Over nearly two decades together, the band has had guest appearances from Carlos Santana, Bob Weir, George Clinton and others. Their latest album is 2021’s Where Do We Go From Here; its title track marked the 15th anniversary of Hurricane Katrina. Wednesday, Feb. 16, 8 p.m., Jimmy’s Jazz & Blues Club, 135 Congress St., Portsmouth, tickets $25 to $55 at ticketmaster.com.

At the Sofaplex 22/02/10

Flee (PG-13)

This animated documentary (nominated in for Oscars in the animated feature, documentary and international film categories) tells the tale of Amin Nawabi — not, according to a story in Variety, the man’s real name, even though I believe it is the real “Amin’s” voice that we hear in the movie and he has a co-writing credit along with the director, Jonas Poher Rasmussen (whose voice is also featured). Amin is the identity created to protect the man who is now happily married — to Kaspar, who I think we also hear (I’m not sure if that’s his real name, though I suspect it is his real voice) — and living in Denmark. Amin was born in Afghanistan in the 1980s and the story of how he and his family tried (occasionally failing) to escape the country when the Soviet occupation ended and the civil war began is the story Amin is telling Jonas, a little at a time, with increasing veracity the more Amin comes to trust Jonas.

Rendered mostly in a spare but beautiful color sketch-style of animation, Amin’s story follows his family as they flee — first to Russia and then attempting to go further west, perhaps to Sweden, where his adult oldest brother already lives. Along the way, the family’s legal situation grows ever more precarious — they only ever have tourist visas in Russia — and the weight of hiding and being at the mercy of unscrupulous traffickers and even more unscrupulous Russian police drags at all of the family members, particularly Amin’s close-in-age older brother Saif.

As Amin ages, he is also coming to a better understanding of himself and his sexuality. His struggles with his fears about how his family might receive this information and struggles with the balance between living the life that might do his family the most good (one largely dedicated to work) and one that makes him feel safe and happy.

Similar to Persepolis, the animation allows you to experience Amin’s story as though you are inside his mind, with images that focus on the emotions of a moment — fear, sorrow, loneliness, excitement. It’s an engrossing way to absorb this story, while occasional archival newsclips help to ground it in a past that feels particularly relevant to this moment in world history. A Available for rent or purchase.

Ice Age: The Adventures of Buck Wild (PG)

Simon Pegg, Justina Machado.

In the grand tradition of TV series adaptations of movies starring none of the original characters and direct-to-video sequels featuring sound-alike (maybe) voices, Ice Age, the previously five-movie animated franchise, gets a sixth movie sidequel thing that is direct to streaming.

Gone are your Ray Romano and Queen Latifah and parade of big name vocal talent (except for Pegg, who voices Buck, the crazy weasel, as he apparently did in previous movies, so Wikipedia explains, which I consulted because this Ice Age saga is basically an All My Children-like web of characters, relationships and story points). Instead, Manny (voice of Sean Kenin) the mammoth, Sid (voice of Jake Green) the sloth and Diego (voice of Skyler Stone) the saber-tooth tiger are voiced by people doing a facsimile of Romano, John Leguizamo and Denis Leary, respectively. Latifah’s Ellie (now voiced by Dominique Jennings), a female mammoth who showed up in the second movie and is now Manny’s wife, and her adopted possum brothers Eddie (Aaron Harris) and Crash (Vincent Tong) are also voiced by new actors. And several characters — Sid’s grandma voiced by Wanda Sykes, Manny and Ellie’s daughter Peaches, and a Jennifer Lopez-voiced love interest for Diego — have been lopped off entirely. Which, whatever; in my review of the last movie “way too many characters” was one of my criticisms.

The main characters are sort of shunted to the side here, with the story focusing on Eddie and Crash, who are chafing under the constant sisterly bossing by Ellie and want to strike out on their own. They end up wandering back to the Lost World, the dinosaur-filled valley beneath the Earth’s surface where the characters spent some time in a previous movie, and meet up once again with Buck Wild (Pegg), the off-kilter one-eyed adventurer who enforces a “land for all animals” peace. The boys decide to hang with Buck and help him on his current adventure: stopping a big-brained dino named Orson (voice of Utkarsh Ambudkar) from upsetting the dino-mammal coexistence in the Lost World.

I don’t fault this movie for not getting back its big money players or for moving the action — set in some vague part of the franchise timeline — to some side characters. I do fault it for not being weird enough about the whole thing. Let Buck, who has a pumpkin he calls his daughter, be weirder; let Crash and Eddie be zanier. At its best, Ice Age was never great, but it had some nice Looney Tunes elements in Scrat, the saber-tooth squirrel always thisclose to getting his acorn, and in the dopey wise-guy nature of Sid. Here, everything feels muffled, like the volume has been turned down on all the wacky and goofy — even Buck feels flatter. This movie, which doesn’t even hit the 90-minute mark and is clearly being delivered as Disney+ filler, doesn’t need a super strong emotional arc but it does need to be constantly appealing to its young audience. It didn’t feel like it consistently had that big energy. One of my younger elementary schoolers proclaimed it “boring” by about 10 minutes in, though later he did decide it was “kinda cool.”

Similar to what I said in my recent review of the fourth Hotel Transylvania installment, I think this movie’s principal selling point is that it is available in your home right now for no extra cost. This movie is probably even more younger-kid-audience-friendly than that one as it has fewer adult-type problems. It is, for a day when your kids just need new content and you just need them to settle down for a bit, fine but doesn’t offer anything more. C Available on Disney+.

Oscar movie season!

Welcome to the new class of Oscar nominees! The nominations for the 94th annual Academy Awards were announced on Feb. 8 and this year there are 10 contenders for best picture (the Oscar winners will be announced on March 27). If you’re still looking to catch up on the films of 2021, the list of nominees is an excellent place to start. Here are the best picture nominees and where to find them:

Belfast (PG-13) Kenneth Branagh wrote and directed this semi-autobiographical tale of a boyhood amid the unrest of Northern Ireland in the 1960s. It is available for rent at home and it is still in theaters, including Red River Theatres in Concord, where it returns starting Friday, Feb. 11.

CODA (PG-13) This excellent story about a teen who discovers her singing talent and her changing relationship with her parents might be my favorite of this group. It is available on Apple TV+.

Don’t Look Up (R) Adam McKay directed and wrote the screenplay for this satire, which you can find on Netflix, that stars Leonardo DiCaprio and Jennifer Lawrence.

Drive My Car (NR) This Japanese film also nabbed a Best International Film nomination as well as nominations in other categories and is the one movie of this group I haven’t seen yet. It is currently in theaters in the Boston area.

Dune (PG-13) Not surprisingly, this beautiful-to-look-at adaptation also nabbed several nominations for the look and sound of the film. It is currently available for rent or purchase and will return to HBO Max on March 10.

King Richard (PG-13) Will Smith also got a Best Actor in a Lead Role nod for this movie about Richard Williams, the father of Venus and Serena Williams. The movie is available for purchase.

Licorice Pizza (R) For me, the San Fernando Valley of the 1970s was this real star of this Paul Thomas Anderson story about a precocious 15-year-old and the twentysomething girl he falls for. The movie is currently in theaters.

Nightmare Alley (R) This movie from director Guillermo del Toro was another one that wowed me more for its aesthetics. It is currently playing in theaters in the Boston area and available via HBO Max.

The Power of the Dog (R) This Jane Campion-directed movie nabbed a slew of nominations, including nods in three acting categories and for Campion in the director category (making her the only woman nominated in that category this year). Find it on Netflix.

West Side Story (PG-13) Steven Spielberg’s very good adaptation of the musical got Ariana DeBose a much deserved nomination in the Best Actress in a Supporting Role category for Anita, among its many nominations. It is currently in theaters.

Moonfall (PG-13)

Moonfall (PG-13)

The moon is suddenly headed toward collision or something with Earth in Moonfall, a movie that is both even dumber than that sounds and yet somehow not nearly as dumb as it needs to be.

Lean in to your dumbness, you dumb dumb movie — was my feeling throughout.

Astronaut Brian Harper (Patrick Wilson) is kicked out of NASA after an incident in space results in the death of one of his crew members. His public downfall also leads to his getting divorced, being estranged from his kid, going broke and even cutting contact with his former close coworker Jocinda Fowl (Halle Berry), who was on the doomed mission but was knocked unconscious and can’t back up his story that the incident was caused not by human error but by a Space Thing.

What kind of Space Thing, you ask? Well, the thing that causes the destruction to Brian’s mission looks like a floaty cloud made of pencil lead bits and ball bearings. He last sees it in the vicinity of the moon and then — then nothing. He’s drummed out of NASA and labeled a nutcase and nobody ever mentions the Thing again for like a decade until the events of this movie start with NASA scientists figuring out that the moon’s orbit has changed. Jocinda is now number two at NASA and wants the team to figure out what’s up with the moon and why it seems to be suddenly getting closer to Earth, which will eventually cause chunks of the moon to ram into Earth. Also she’d like everybody to keep quiet about it for a bit.

What she doesn’t know is that at the same time, amateur astronomer/professional pastrami sandwich maker KC Houseman (John Bradley), long the holder of some really wild theories about the moon, has also figured out that it has changed its orbit and is heading toward Earth. He tweets it out and suddenly the world is in chaos at our impending destruction while NASA and the military work on competing ideas for preventing the disaster.

Naturally, KC, Brian and Jocinda eventually come together to tackle the moon crisis. All three have family situations that lead to harrowing near-misses in “meanwhile” scenes — or at least they would if we ever really got to know anybody’s kids and moms or if any of them behaved in recognizably human ways, which they don’t.

I have so many questions about the making of this movie. I want to know the total backstory, soup to nuttiness — starting with how did Halle Berry, Patrick Wilson and John Bradley end up in this movie together? My theory: somebody challenged Roland Emmerich (this movie’s director and co-writer) to make a movie starring whoever happened to be the guests on, say, Jimmy Fallon one night. Halle Berry, Patrick Wilson and guy from Game of Thrones feels like a solid late night show lineup; please don’t ever tell me if I’m wrong about this because I like this theory and anything else would just make me feel sad for these actors.

You know that expression “building the plane while we’re flying it”? This movie feels like it was thought up as it went along with holes for dialogue and plot to be filled in later — but “later” never came. Like, Emmerich was standing over one of his co-writers saying “come on, just print out the script for this scene” and the writer was saying, “But it’s not finished. The dialogue doesn’t sound like normal human speech and we don’t really understand what motivates anybody’s characters or what their relationships to each other are” and Emmerich says “So what? We’ll just make the moon bigger and say some nonsense about gravity, no one will notice” and that’s how every scene came to be. (Though I could also see some kind of Mad Libs situation being at play.)

I won’t spoil the exact nature of the moon as presented here, mostly because it’s stupid, but I will say that it wasn’t what I was sort of rooting for, which was giant space egg holding some kind of about-to-hatch space lizard. Or chicken, space chicken would also be fun. It is much more muddled than that, with some interesting ideas but nothing ever well-developed enough to be even as “just go with it” fun as, like, The Day After Tomorrow and its whole ice age thing or 2012 and its worldwide flood. Again, you suspect the writers were writing page three while they were printing page two and the cast was shooting page one — with no chance to go back and fill in details or massage story points to flow more smoothly.

And yet, none of this would have necessarily mattered if the movie had really leaned into how dumb it is and let the characters be as ridiculous as the situation. Remember the various people who died in ridiculous ways in Independence Day? Or Woody Harrelson as the wild-eyed volcano guy in 2012? This movie needs some of that energy. Of the core group, only Bradley really seems to understand the exact speed to be at. Berry (who was great in John Wick: Chapter 3 — Parabellum and knows how to be awesome in nonsense) and Wilson feel as though they’re in different movies — different from the movie they’re in and possibly different from each other. Everybody in this movie needs to be thinking “what would Geostorm-era Gerard Butler do” and then do that, but bigger and louder.

I fully expected and wanted Moonfall to be really dumb. I’m completely uninterested in gritty, realistic apocalypse movies right now. I want space chickens to hatch from the moon or whatever and I want the saving of all of humanity to come down to three randos in some patched together old space shuttle. So crank the volume on that silliness all the way up, movie. At the current muted and muddled level, Moonfall is just the kind of dumb you wonder why you even bothered to watch, not the kind of dumb you want to watch again and again. C-

Rated PG-13 for violence, disaster, strong language and some drug use, according to the MPA on filmratings.com. Directed by Roland Emmerich with a screenplay by Roland Emmerich, Harald Kloser and Spencer Cohen, Moonfall is two hours and 10 minutes long and distributed by Lionsgate in theaters.

Featured photo: Moonfall.

This Will Be Funny Later, by Jenny Pentland

This Will Be Funny Later, by Jenny Pentland (Harper, 341 pages)

You may not have heard of Jenny Pentland, but you’ve probably heard of her mother, an actress and comedian by the name of Roseanne Barr. Barr was the star of the eponymous sitcom that aired on ABC for nine years in the ’80s and ’90s, and I have to confess before we start that I’m not sure I ever watched an episode in its entirety.

As such, I’m not much impressed by the fact that Pentland and her siblings — indeed, her entire family — were the models for the messy TV family known to Americans as the Conners. (In addition to Barr, the show made John Goodman, her TV husband, a household name.)

Truth be told, I’m not much impressed by anything that comes out of Hollywood lately.

That said, Pentland has emerged from relative obscurity to write a surprisingly interesting book that doesn’t demand binge-watching Roseanne as a prerequisite.

It is intelligent and scathing, indicting and forgiving, bitter and loving, a large dose of acid with just the right amount of sweet. Pentland’s childhood was, in effect, kind of horrible by all objective standards, meaning the standards of Child Protective Services — and that was before her mom became famous. “Aside from being half-naked and feral, we were also being raised part atheist, part Jewish and part Wiccan, with a touch of paganism and voodoo thrown in.” For years, the family struggled, graduating from trailers to an apartment to a 500-square-foot bungalow. “We may have been climbing the ladder, but we were still on the lower rungs,” she writes. “We could afford name-brand foods now, but we couldn’t afford to spill them. We still had to make our frivolous purchases, like toys, from other people’s lawns.”

Her dad was a trash collector before he became a mail sorter; her mother struggled to assimilate her creative ambitions with the day-to-day drudgery of having three young children in diapers. Meanwhile, Pentland herself showed signs of a comedic streak even as a child: Her growing collection of dolls, some scavenged by her father from other people’s trash, always had something wrong with them, so she took to diagnosing them with various illnesses — polio, sickle cell anemia, debilitating autoimmune diseases. She even made crutches out of pencils for one of the dolls. Yes, a social worker seeing this would have intervened, but in retrospect, since Pentland turned out OK, it’s wicked good black humor.

Humor got scarcer in adolescence. After her mother discovered her talent at making people laugh at open-mic nights, she began spending less time tending to her children and more time tending her career, and Pentland’s weight started to become an issue; like mother, like daughter. (She says her mother once lost a lot of weight with a diet that allowed her one doughnut and one ice cream cone a day, and nothing else.) Barr would be traveling and come home to find out that everyone had gained five pounds from eating fast food. Then they’d all go on a fad diet. Visits to her grandparents’ “house/feedlot” didn’t help. No surprise, Pentland developed an eating disorder that found her at times eating spoonfuls of granulated sugar or plain pats of butter. At one point, to try to keep their children from eating, the parents literally put a padlock on the refrigerator.

Meanwhile, the relationship between Barr and Pentland’s father was catastrophically unraveling, even as Barr’s star was ascending. When they finally got divorced, he lost not only his kids, but his job writing for the TV show. Pentland and her siblings had to deal with all the ordinary fallout from a family disintegrating, while also dealing with reporters and photographers stalking the family. Then Barr got involved with Tom Arnold, a man 10 years younger than she was, and their lives got even messier.

Through her teen years, Pentland was shuttled from weight-loss camps to wilderness survival programs, some of which have now been described as child abuse. At the start of one, participants were given a can of peaches each, but no way to open them. (The staff just watched as the teens tried to smash them.) In the next phase, they were given nothing to eat but raisins, peanuts, raw cornmeal and beans to eat. She writes of being covered with blisters and mosquito bites, and having to spend a night in the woods by herself. She was 15. Later, when she was done with all that, there were the classes at the Scientology Center.

It is much like driving past a car wreck, only in this book we are invited to look at the horror. What is most amazing about this story is that somehow, inexplicably, it seems to end well. Despite a train-wreck of a childhood and adolescence, Pentland turned out amazingly well. She is now the mother of five (none of whom have polio) and she lives a seemingly idyllic life on a farm in Hawaii. Moreover, her relationship with her mother is confoundingly good. She recently told People magazine, “We communicate at all costs. Even if it’s uncomfortable, annoying or the timing is bad, that’s the priority.”

It is unclear how such a good relationship could have emerged out of what came before, and I still have zero desire to watch Roseanne, but This Will Be Funny Later succeeds as a thoughtful and provocative memoir, even it’s title isn’t always true. A


Book Notes

In February, a young man’s fancy lightly turns to thoughts of strangling the infernal groundhog.

Winter will be with us for a few more weeks, although there are those who say it won’t be with us in a few more centuries. Porter Fox, for example, asks us to consider The Last Winter (Little Brown & Co., 320 pages), his examination of “the scientists, adventurers, journeymen and mavericks trying to save the world” from climate change.

A former fellow at MacDowell, the artists’ colony in Peterborough, Fox grew up on the coast of Maine and has previously written about skiing and the future of snow, so he’s not new to the topic. Depending on how cold you are right now, this might be a dystopian book, or one of hope.

Continuing the theme, poetry fans will want to check out Winter Recipes from the Collective (Farrar, Straus & Giroux, 64 pages) from Louise Glück, an underachiever who has won both a Nobel Prize for literature and a National Book Award and has also been the U.S. poet laureate.

If you prefer short stories, there’s Lily King’s Five Tuesdays in Winter (Grove Press, 240 pages), of which Ann Patchett said, “It filled up every chamber of my heart.”

Skiers will like Winter’s Children, A Celebration of Nordic Skiing (University of Minnesota Press, 448 pages), by Ryan Rodgers, even though it’s mostly about skiing in the Midwest.

And worth dipping back to the past is Winter World: The Ingenuity of Animal Survival (Ecco, 368 pages), which was published in 2003 but is an evergreen discourse on how animals survive through New England winters. It’s by biologist Bernd Heinrich, a professor emeritus at the University of Vermont.


Book Events

Author events

ERIK LARSON Author presents The Splendid and the Vile. The Music Hall Historic Theater, 28 Chestnut St., Portsmouth. Wed., Feb. 16, 7 p.m. Tickets cost $13.75. Visit themusichall.org or call 436-2400.

GARY SAMPSON AND INEZ MCDERMOTT Photographer Sampson and art historian McDermott discuss New Hampshire Now: A Photographic Diary of Life in the Granite State. Sat., Feb. 19, 9:45 to 11:45 a.m. Peterborough Town Library, 2 Concord St., Peterborough. Visit monadnockwriters.org.

HOWARD MANSFIELD Author presents Chasing Eden. Sat., March 19, 9:45 to 11:45 a.m. Peterborough Town Library, 2 Concord St., Peterborough. Visit monadnockwriters.org.

BECKY SAKELLERIOU AND HENRY WALTERS Becky Sakelleriou presents The Possibility of Red. Henry Walters presents Field Guide A Tempo. Sat., April 16, 9:45 to 11:45 a.m. Peterborough Town Library, 2 Concord St., Peterborough. Visit monadnockwriters.org.

Poetry

REBECCA KAISER Poet presents Girl as Birch. Virtual event hosted by Gibson’s Bookstore in Concord. Mon., April 11, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

DOWN CELLAR POETRY SALON Poetry event series presented by the Poetry Society of New Hampshire. Monthly. First Sunday. Visit poetrysocietynh.wordpress.com.

Book Clubs

BOOKERY Online. Monthly. Third Thursday, 6 p.m. Bookstore based in Manchester. Visit bookerymht.com/online-book-club or call 836-6600.

GIBSON’S BOOKSTORE Online, via Zoom. Monthly. First Monday, 5:30 p.m. Bookstore based in Concord. Visit gibsonsbookstore.com/gibsons-book-club-2020-2021 or call 224-0562.

TO SHARE BREWING CO. 720 Union St., Manchester. Monthly. Second Thursday, 6 p.m. RSVP required. Visit tosharebrewing.com or call 836-6947.

GOFFSTOWN PUBLIC LIBRARY 2 High St., Goffstown. Monthly. Third Wednesday, 1:30 p.m. Call 497-2102, email [email protected] or visit goffstownlibrary.com

BELKNAP MILL Online. Monthly. Last Wednesday, 6 p.m. Based in Laconia. Email [email protected].

NASHUA PUBLIC LIBRARY Online. Monthly. Second Friday, 3 p.m. Call 589-4611, email [email protected] or visit nashualibrary.org.

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