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Yuzuru Hanyu “Otonal” SP - Xmas Edition

I love “Otonal” boundlessly. It constitutes for me a perfect figure skating program. One that is at the same time wonderfully simple yet masterful in its detail. One that only Yuzuru Hanyu could pull off. Uncompromising in emotion and technical dexterity, through skillful editing Otonal captures many of Yuzuru’s inimitable qualities and bounds them into a soft, dreamy piano fantasia. After a three year absence, Yuzuru will be presenting it at the Japanese Nationals right in time for Christmas. Here is what I like so much about it.

Yuzuru’s jumps belong in the Louvre. The flow and speed he gets out of them are only surpassed by the complex transitions he wraps them in. I feel I could write a thesis about what makes them so special and awesome, but anyone watching this can immediately tell what makes him a cut above the rest. That is, Yuzuru weaves the jumps in the choreography like a fine thread. He changes their pattern according to the rhythm and makes them synonymous with his other transitions. As a result his jumps have (besides impeccable technique) the expressiveness of a top ballet dancer from the Vaganova Academy.

This twizzle-triple Axel-twizzle sequence will one day replace Mona Lisa.

His sit spin is the best in the universe. Yuzuru can do seemingly countless variations of this spin position, all with incredible speed, using his arms to boost up the melody. Like his jumps, Yuzuru always shapes his spins according to the music. 

The step sequence never fails to make me shiver, starting from the first seconds where the audience spontaneously burst into heartfelt applause every time. Every second merges perfectly with the music and overflows with crystal clear memories; it’s as if he’s dancing with the notes. The fact that Yuzuru is the fastest and smoothest skater ever helps too.

My favorite moment has to be this sweet impromptu from NHK Trophy. Yuzuru smiles at the flower girls in between a loop and a bracket and they smile back, looking so happy. I mean, who else would do something like that?

Merry Christmas from Frozen fairy Yuzuru!

Bonus: Don’t forget to have a little fun!

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Satoko Miyahara “Memoirs of a Geisha” SP Worlds 2018

It’s almost time for Christmas and Japanese Nationals! I’m looking forward to seeing many beloved athletes compete across disciplines, hopefully showcasing their best selves.

To start off, I wanted to remember Satoko’s beautiful and subtle “Memoirs of a Geisha” program from two season’s ago. With her ever so precise and light arm movements, gorgeous posture, and unerring sense for the music, Satoko feels perfectly matched for the theme of a young geisha. What’s more, the variations of Sayuri’s feelings are gently caught in the varying tempo of the music, as Satoko effortlessly accelerates and is able to express herself all the way to the fingertips.

Below are some of my favorite moments. I couldn’t resist drenching the ice in pink as if a scatter of cherry blossoms embellishes it.

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Figure Skating x James Bond Music

There is something special about hearing James Bond music on ice. Maybe it’s their flamboyant cultural image. Or the allure of action shared by both and athletes performing beautiful feats while looking effortless. It’s familiar music to most, a plethora of fast rhythms as well as old-fashioned smooth music that make it opportune to arrange in an attractive, easily recognizable package. And it’s pretty nice, too. :)

Anyhow, seeing Boikova and Kozlovskii debut their new free program set to Spectre’s “Writing’s on the Wall” at Skate Canada inspired me to make this list of my favorite 007 inspired programs.

1. Yuna Kim 2010 Olympics Short Program

Fun, flirty and glamorous, this performance brought out a whole new side to Yuna and a dazzling image befitting her celebrated 2010 Olympics win.

2. Piper Gilles & Paul Poirier 2018 Olympics Free Dance

The duo has always been known for taking risks and delivering the unexpected, so it wasn’t a surprise when they came up with a new spy-themed program just prior to the Olympics. Their classy and elegant take featured classics like “Thunderbolt”, giving off a suave, evergreen feel.

3. Alexandra Boikova & Dmitrii Kozlovskii 2019 Skate Canada Free Program

Sasha and Dmitrii stand out among current Russian pairs for their musicality and engaging emotional projection. „Writing's on the Wall“ seems like the right vehicle for them to build a more sophisticated image as a pair, besides showcasing their strengths. I'm really looking forward to seeing this program grow throughout this season!

3. Wakaba Higuchi 2018 Cup of China Free Program

My favorite Bond tribute to date. Wakaba is such a persuasive and committed performer who is not only very expressive, but also capable of letting her own personality shine through the program. “Skyfall” is one of the better Ladies’ programs out there.

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Wakaba Higuchi “Bird Set Free” SP

Can we please sing an ode to how great Wakaba is? (Lombardia Trophy SP link) Not to her jumps, which at the moment aren't really working out due to another injury. Not even to the music, work of Sia, which I'm not a big fan of. And yet, there is so much left to praise. She's a natural talent in interpreting the music like few others. Every time I watch Wakaba, I'm struck by how great her potential is. How her powerful skating and performances could be even more impressive if it weren't for her injuries. How unmatched her charisma is.

Let's talk about the insane speed and flow in this one foot sequence.

About her light yet powerful Double Axel.

About the soulful, simply dazzling performer that she is.

The Choctaws right on the music just light the ice.

Like a bird set free!

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Satoko Miyahara “The Hours (Metamorphosis Two)” EX

From the first few moments of Satoko's new exhibition, I knew I'd be sold on this. At once elegant, soulful, restrained and meditative, the program hunts you long after the performance is finished. It’s detailed like an intricate lace. It's Satoko at her truest and purest. Only she could bring these almost unsettling notes to life in such a exquisite and poignant way, full of respect for the music, merging the tonal fabric with her own polished skating style. It is like the music of the soul.

The piece is part of a larger solo piano album by Philip Glass, most of which was originally written for a staged version of Kafka's Metamorphosis. Subsequently, the track was edited to form one of the main themes in the movie „The Hours“, faithfully reflecting Wolf's Miss Dalaway. Though very different, both deal with a personal change – the metamorphosis – of an artist. This seems to connect to Satoko's recent stylistic and coaching changes. The surging minimalist melody, mysterious and open to interpretation, is evocative of spatial and temporal abstraction, of the inexorable repetition of time that, as it passes, both gives and takes away.

How do figure skaters fill up all those hours between competitions, how do they deal with expectations and uncertainty? As time goes by, it gets harder and harder for them to reach the results they've been hoping for. Is it bearable? What do you skate for? I’m sure themes like this cross Satoko’s mind as she’s living through her second Olympic quadrennial.

The flowing choreography seems to embody a stream of consciousness, a meditation. A rhythmic ebb and flow in movement patterns makes this a contemplative, introverted affair. I would love to see Satoko do a full „The Hours“, or a Virginia Wolf, inspired program; now that would be the innovative program she might be looking for to make her stand out and garner the PC score she deserves.

Definitely my most beloved Satoko number this season. As we head into the Grand Prix this week, I just wish we could see more beautiful programs like this one.

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Rika Kihira “Spirit (Lion King)” EX

I'm convinced Rika needs to get a full Stephane Lambiel program at some point. (Thank you for coming to my Ted Talk.) This year's gala image he choreographed: a lion queen.

Just like her last season's exhibition number, „Spirit“ by Beyoncé suits Rika's natural style and modern flair. The music is a gospel-inspired piece with African influences and an extensive vocal range, making it pretty challenging to interpret. Thankfully Rika's flow and speed have improved since last year. More nuance and details in her movements aptly capture the richness of the music. I'm all in for seeing more R&B and hip-hop themed programs, and Rika gives me some hope.

I wonder if the gold costume is another amulet Rika is using this season to dispel silver and bronze medals. :) Overall, I find Rika most relaxed and enjoyable to watch at exhibitions. I hope the future iterations of „Spirit“ will be even better.

As the very end, Rika did a slice from her current short, „Breakfast in Baghdad“ and, as far as I'm concerned, this gold costume matches it perfectly. The Besti Squat into the Ina Bauer is so on point.

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Get well soon, Mai Mihara!

Mai Mihara "Libertango" FS at 4cc 2018 I have such a soft spot for this program. Mai is a stunning skater competing with other top athletes despite her chronic disease and I greatly admire her courage and quality.

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Mana Kawabe “Black Swan” JGP Croatia

I was really impressed with Mana’s free program performance at JGP Croatia Cup last week. Ballet music is a tough choice for skaters. They are usually too stiff to express the right kind of positions, their movements lacking the subtly and grace associated with ballet. It usually comes down to the skater having the right sensibility to adapt ballet to their skating. A beautiful posture is a must. Mana is no ballerina, but ballet clearly suits her range of movements. her performance was in equal parts fierce and unhurried, enough to cast a spell despite her jumps being a tad wild.

I really like fast skaters who seem to glide effortlessly and accelerate with the slightest shift of weight on their blade. Mana moves so smoothly across the ice, not losing speed between steps and turns. Musically, she matches her skating to the nuances of the melody. Coupled with her growing triple Axel and graceful arm movements, she may give us a more sophisticated answer to Kaetlyn Osmond’s well-known “Swan Lake” FS.

There are many soft details sprinkled throughout the choreography like this lovely choctaw. I’m hoping to see more improvements (the spins!!) and better consistency from her as the season pushes on.

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Azusa Tanaka “Csárdás” Short Program

An homage to the beautiful performance by Azusa Tanaka at her first Junior Grand Prix in Lake Placid. Coached by Mie Hamada, the 13-year-old already has many of the great traits that set apart other Hamada students. Azusa's intentional and precise movements remind me of Satoko Miyahara, but I also think of Marin Honda in how soft and light her skating is. The music choice perfectly encapsulates all these qualities.

Azusa is a very refined skater for her tender age. While she may need more experience to fully bring out the character of the music, I great enjoy her ability to "feel" her performance through pitch changes and the various accents spicing up the choreography. Her spins, skating skills and range of movements are magnificent. It's her triple jumps that just aren't fully rotated yet, bringing her chances of competing internationally again this season near zero.

Her double Axel however is very good, performed here with difficult steps going into it. There's plenty of flow coming out of the jump, too.

Azusa shows enviable ease and flow throughout the program. A quality often overlooked, she has the ability to effortlessly change the direction of her turns while keeping up the speed. I'm looking forward to seeing her progress!

Below is a series of one foot turns from the delightful step sequence.

Please watch the whole performance here. Pay attention to her plush tissue box cover: while most kids have cute dogs or cats, Azusa brought along a great white shark. Rawr!

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Rika Kihira “Int’l Angel of Peace” Free Program

We’ve come to it at last! Rika’s free skate had piqued a lot of interest over the summer, and we finally got the chance to see it in its not-final-but-still-ambitious edition at the Autumn Classic Int’l. The title refers, I presume, to an angel that unites all five major world religions while praying for peace. As for her short, the costume is blue with intricate gold accents.

I should mention there has been some controversy over the use of choreography referencing Hinduism which I’m compelled to agree with. That part of the program should be either dropped or reworked by the choreographer.

Still, there is still much to about the program. Considering the number of music pieces, I feel they flow well and create an “epic” atmosphere. It’s impossible to miss the improvements Rika has made in using dance elements in her skating. How more connected and detailed her upper body movements are! Another bright point in the program is her ability to vary the direction (between clockwise and counter-clockwise) and speed of her skating in a way few others are doing. Despite the multiple difficult changes in rhythm and tempo, Rika already does quite a solid job at smoothly interpreting the music phrases.

Some highlights:

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Rika Kihira “Breakfast in Baghdad” Short Program

The Guardian named Korean jazz singer Na Yoon-sun a discreet prodigy with a style fully of her own. I can easily see the same description applied to Rika, making it a happy coincidence that these two personalities converged on the ice. BiB is an exciting, out-of-the-box program, even if modern jazz might be an acquired taste for a part of the audience and especially the judges. Rika seems to play off the varying music tempo, showing how a versatile a skater she is. The gold floral dress details add a palpable note to the abstract vocals. I hope Rika can use it to grow performance-wise.

Here are some of my personal highlights from yesterday’s performance.

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Figure skating: GP series 2018 Favourites

For a post-Olympic season, I have to say many figure skaters are looking really sharp. Not only is Yuzuru wildin'- new ground is being broken in Ladies'. In all disciplines, new and old rivals are stepping up to become contenders in the new quadrennial. It's great to see „older“ skaters not throwing in the towel, but still forging forward. (Vanessa and Morgan just won their first GPF. Dai is back at 32 – he burnt his suits and bleached his hair). We're so privileged to still have Yuzuru around; despite his injury he's the class of the field. Underlying this push for excellence is the revamped IJS scoring. Emphasizes quality over quantity, the system now aims to widen the creative aspects of FS, sanction errors more harshly and reward more complete skaters (at least in theory *shade*).

Below is my proudly biased list of some standout programs/performances from this season’s first half, mainly GP events. Also, ISU rights holders are looking to delete all YT FS fan channels and kill the sport once and for all. Fingers crossed the links are still working.

ICE DANCE (For the record: I miss GOATs Virtue/Moire tremendously.)

1. Tango Romantica Rhythm Dance

Victoria Sinitsina / Nikita Katsalapov „Verano Porteño“ by Astor Piazzolla

Perhaps the best RD this season. Beautiful composition and choreography: suits the skater's satiny skating skills and the sharp, sensual movements I expect from a tango.

Charlene Guignard/Marco Fabbri „Miedo a la Liberdad“ by Tanghetto

Their technique is like clockwork, smooth and precise; impressive body lines. A true classy tango. With an extra infusion of emotion, their GPF performance really shone. In fact, I could easily make a case for them winning the event outright. :-/

Piper Gilles / Paul Poirier „Angelica's Tango“ by Piernicola Di Muro

I just love how different, creative and straightforward these two are. Does Paul grow his mustache for the RD only to shave it off for the Free? :)

Special mention: Alex Stepanova / Ivan Bukin „Malagueña“ by Blast and “Carmen“ by Edith Piaf

Very modern and sizzling. (Sasha's dress is art.) The dance gives off a dramatic Paso Doble feel which then transitions into a Tango. This version still had their signature sit twizzles in it. *cries*

Shiyue Wang / Xinyu Liu „Pirates of the Caribbean“ OST by Hans Zimmer

Unorthodox, but fun and original. Their lifts are stunningly acrobatic. Great edges, too. (This is from Autumn Classic where they hit almost all pattern levels.)

2. Free Dance

Piper Gilles / Paul Poirier „Starry Starry Night“ original composition by Govardo

One of their best Dances. A story of the pain and struggle of Vincent Van Gogh and the starry night he famously drew. Poignant and full of beautiful, creative details.

Alex Stepanova / Ivan Bukin „Am I the One“ by Beth Hart

Hands down their best program. I love how they wear this rock and modern look. Even if they keep losing levels, their technical improvements finally feel merged with better projection and connection between them. Every second of it is exciting, sexy and hot.

Lilah Fear / Lewis Gibson „Bad Girls“ and „On the Radio“ by Donna Summer

Welcome to the disco! An unexpected favorite from the Brits. Their lifts pop out with the music and the sliding choreography is badass. (How refreshing to have a Gadbois team without MFL!)

Special mention: Avonley Nguyen / Vadim Kolesnik „Demons“ by Imagine Dragons & „Experience“ by Einaudi

A shout-out to this wonderful Junior pair. I'm blown away by their musicality and unapologetic emotional performances. Moreover, they already have superb skating skills and speed. The future of ID looks good.

SINGLES (What is consistent judging?)

3. Ladies Short Program

Satoko Miyahara “Song for the Little Sparrow“ by Abel Korneziowski 

When you look up „elegance“, „musicality“ or „sophistication“ in the dictionary, you find there Satoko. Best skating skills and interpretation of the whole field, in the service of Edith Piaf.

Rika Kihira “Claire de Lune“ by Debussy

We waited a long time for her to skate it clean, but when she finally did, it was magical. The choreo is not exactly pioneering, but Rika's lightness and elegance give it a youthful, ethereal beauty that lights up the ice. Love how unexpected her versatility is. The effortless triple Axel is the cherry on top.

Alyona Kosternaya „Departure“ by Max Richter

The Superior Junior Lady. Alyona has the ability to interpret the music with her skating, body and eyes. A masterclass in how to hold positions and use arms. I don't like her programs this year. Still, she remains enchanting to watch.

Special mention: Yuna Shiraiwa „All Aboard“ by Club des Belugas

Quirky, dynamic and full of interesting details.

4. Ladies Free Skate

Kaori Sakamoto „The Piano“ OST by Michael Nyman

I love how it sneaks up on you. Kaori struck gold when she teamed up with young choreographer Benoit. He understands her gifts very well: this program gently accentuates her feather-light jumps and flow. The story follows a mute woman in a remote beach town trying to get back her piano, losing a finger along the way (eeks) and nearly drowning before resurfacing: it suits Kaori's quirky personality.

Satoko Miyahara “Invierno Porteño“ by Astor Piazzolla

Satoko and Tango are a dream team. She doesn't just skate to the music, she lives with it. It's nice to see she attempting to retool her jumping technique, which is no small feat.

Rika Kihira „Beautiful Storm“ by Jennifer Thomas

This disruptive masterpiece is hopefully just a first breath of what is to come from Rika. Her unique bland of dramatic and soft movements conveys a dramatic and awesome storm. It's as if the electrons are passing from the sky through her body in a beautiful interpretation. Her last jump is against silence. And then the thunder strikes... She is already such a well-rounded and charismatic skate. :)

5.  Yuzuru Hanyu Short Program „Otoñal“ by Raul Di Blasio

Unfortunately I haven't been watching Men much, except for Yuzuru. I also ”discovered” Kevin Aymoz, a very creative and talented French skater, along the way.

In his short, Yuzu opted for the theme of Autumn as a nostalgic period for reflection and that shows throughout the performance, from the technical elements (his 4S is a tribute to Javi *tears up*) to the details in the choreo, to how he picks up every note. Everything is so genuine and purposeful.

Special mention: Deniss Vasiljevs SP „Papa Was a Rollin' Stone“ by Norman Whitfield

Those yellow pants are quite a choice. ;)

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10 Figure Skating programs I love

With the FS off-season--and all related drama revelations--in full bloom, what better time to look back on beloved programs new and old.

Here are ten outstanding pieces (singles disciplines only) from the last couple of seasons that I managed to find online. I feel a bit guilty about not having put in Marin’s Romeo & Juliet. :(

10. Wakaba Higuchi - Skyfall (FS)

The best FS performance of the 2018 Worlds! I must admit I wasn’t a big Wakaba fan until this season. In my prejudiced view, I considered her too rough around the edges. Then she rolled out this season’s programs and I was sold. What’s more, she owned her FS - a mix of Bond music including Adele’s Skyfall - more than any other of her competitors. From her sleek dress to her cool final spin, Wakaba makes a case for a Bond girl movie starring her. And if her electrifying performance is any indication, it’ll be one to remember. The choreography unleashes all her power while funneling it in purposeful and creative ways, never letting the tension disperse. The crazy fast 3Lz3T may be her main weapon, but it’s the step sequence that steals the show.

9. Patrick Chan - Dear Prudence/Blackbird (SP)

I couldn’t skip over Patrick, our newly retired King of Skating Skills. Dear Prudence/Blackbird by The Beatles signaled his last great season and a return to form. A very good return, despite his jump ailments. If anyone can measure up to 60s pop rock, it’s Patrick with his effortless, flowing, confident skating. His classic elegance and somewhat old-fashion charm seem to recall a bygone idyllic spring. These are songs about inner awakening and struggles; about finding a place you belong. They seem to reflect Parick’s journey to reinvent himself. At the same time, Dear Prudence is about the beauty of nature: "The sun is up, the sky is blue, it's beautiful,” and it’s the pure feeling of connection to the music that stays with you.

8. Javier Fernandez -  Malagueña (SP)

Another great skater on his way out. Coming into Helsinki as the defending World champion, Javier managed to skate this short program cleanly in its two-quad glory. For me this is his finest, most sophisticated SP to date. (I welcome the absence of comical elements.) Certain programs can only be performed to their fullest potential when given another season to grow, and Malagueña is a perfect example. It’s all about getting into character, making every movement count. Obviously, having Javier perform the flamenco - choreographed by a Spanish ballet director - and go the extra mile on every element really adds to the authenticity of the program. His effortless skating is just a rung below Patrick and Yuzuru. This is what an energetic and mesmerizing skate looks like!

7. Mao Asada - Ritual Fire Dance (SP/FS)

If Mao can’t make you love figure skating nobody can. All my favorite skaters use their bodies as silent musical instruments and Mao is the leader of the pack. Her musicality, arm movements, footwork, versatility, attention to choreography and emotional projection are absolutely unmatched. In what turned out to be her swan song, all her best qualities shine through. Portraying a mysterious black bird, Mao transformed the piano version of Manuel de Falla’s ballet with her charismatic, soft interpretation. Every step and turn, every detail of the performance appears uninhibited yet polished. She has reached a level of fluidity and complexity where jump errors no longer detract from the overall quality. Also, I love the ponytail.

6. Boyang Jin - Crouching Tiger, Hidden Dragon (SP)

Boyang is one of my recent favs despite there being room for growth in his skating and other components. Beyond the excitement of watching a young skater evolve, I think he has great potential in every area and will just get better with time. His jumps are already prodigious, his performances iconic. Underlying this program is the idea to present a more complete (and serious) version of B for the Olympic season as well as blend in Chinese elements. Unfortunately I don’t think he got the recognition he deserved. Infused with the right mix of composure and energy, this is an atmospheric character-based program that wonderfully shows his refinements in interpretation and control of edges. That step sequence is *fire*.

5. Carolina Kostner - Ne Me Quitte Pas (SP)

A very sophisticated and adaptable lady. At 31 and having lived through many system changes, Caro brings new meaning to the word “veteran” in singles skating. She first hopped under the spotlight with her stunning jumps, but stayed on the stage until today thanks to her masterful skating prowess and evolving artistic “voice”. Her effortless glide and changes of speed/direction are done on the deepest of edges; her arms move like a painter’s brush. Every movement of hers is flowing, full of love for what she does. And rather than a competitive spirit, it’s the emotions and experience she brings to her performances that keep her in the sport. As Lori Nichol said, this short program allowed Caro to be the athletic and sensual woman that she is.

4. Yuzuru Hanyu - Ballade No.1 in G minor 3.0 :) (SP)

Yuzuru knows how to start off the Olympic season with a bang: breaking his own WR in his first performance at the Autumn Classic. A horifically difficult piano composition, Chopin’s Ballade No.1, with its dramatic chords, abstract motifs, dynamic rhythm and interwoven themes running from subtle to stormy, seems to fit our agile FS King like an elegant glove. Over the years, Yuzuru gave us not less than three different and perhaps equally iconic interpretations of Chopin’s favorite music. This particular one is all about the aura and intricate details. Every element is blended with the music. The final jump combo comes out of nowhere. This emotional peak then transitions into the StSq which is majestic in its smoothness; it rumbles and flows together with the fiery chords running down the keyboard. All doubts are resolved yet the mystery persists. Nothing can be added or taken away--this is perfection.

3. Satoko Miyahara - Madame Butterfly & The Planets/Princess Leia (FS)

I adore Satoko’s skating, despite her imperfections (read: jumps). The world needs skaters like her, whose elegance, musical flow, precision, and subtle presentation touch your heart. Her body lines and layback spin are gorgeous; her multidirectional skating effortless. (That reverse Walley into the Salchow!) Satoko is a strong character performer. I loved her Goddess/Princess Leia FS from 2016/17, how original the choreography was and how engaged and fast Satoko seemed. It’s such a difficult piece to skate to yet she managed to showcase different sides to her. This year’s M Butterfly was, given the circumstances, a safer skate, but her emotional projection only increased. Her showing at the JNats was the finest in that regard. Butterfly’s anguish and suicide seem to become Satoko’s own struggle with her injuries. But the piece ends with a spin to the dreamlike yearning of Un bel di vedremo, as if we’re witnessing both Butterfly and Satoko’s rebirth.

2. Kaetlyn Osmond - Edith Piaf (SP)

IMO, to her belong the two best ladies’ performances of the 2018 Olympics. With Edith Piaf Kaetlyn has finally found an iconic short program! You can tell when a skater is truly feeling the music and looking happy while on the ice, and this program has accomplished just that for K. We meet a French young lady, sauntering down the streets of Paris, wanting to be noticed by someone special. Accompanying her is the voice of Edith Piaf, who sings Sous Le Ciel de Paris and Milord. The program has it all: purposeful choreography, powerful skating, sensitive interpretation of music, ease of movement, the speed going into her huge jumps. Her outgoing character just floats up so naturally. Thanks to her charm, K could indeed give Cotillard a run for her money.

1. Yuzuru Hanyu - Hope & Legacy (FS)

During the 2017 Worlds, Max Ambesi proclaimed this as Hanyu’s best skate, and also the best skate in history. I couldn’t agree more, even if everyone has their own favs. It was an inconsistent season before Hanyu had surpassed himself to skate clean a program massive in ambition and complex in expression. It was as if he’d become an ethereal nature spirit. He was the air, wind and water contained within the melody. He made himself appear weightless and effortless on the ice, seemingly not needing any strength to execute any of the elements. A dreamlike aura surrounded him. I just love how the program highlights his natural musicality and attention to detail. My favorite part: the serene StSq followed by the 3F as the music rises.

Bonus: Alena Kostornaia - Stella’s Theme (FS)

What a talented Junior we have! In her first international season Alena has shown she has nothing to fear from the Seniors. Her charisma, skating skills, and arm movements are those of a fairy. Her jumps are spiced up with steps/transitions. Her spins sizzle with creativity. Nothing feels rushed or incomplete. I challenge anyone to watch her lyrical, immersive performances and experience “backloading” done right. :)

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Creative writing how-to and tips

Here is my scattered inventory of writing notes simple and succinct to get a foot in the door. Not all have to be applied or followed to the letter. Trust your text. Given I often have to remind myself of these (and think up others), expect the list to grow as I find out more. 

1. Don’t be afraid of the human experience.

2. Seeking to please will only make you appear effete.

3. Strive for clarity first. Be precise. Only then seek nuance and poetics.

4. Write what you know (directly or indirectly) and feel. Those are your best reference points. (Research the rest.)

5. Pay attention to everyday occurrences/stories/details, even if they are only fragments.

6. Steal from others, but do not imitate them. (Learn more here.)

7. Start with your own life, memories and family; then transform them into something altogether new.

8. Building strong images is crucial - don’t hang back from banality.

9. Recurring motifs and compelling details must be relevant to the story.

10. Use foreshadowing (e.g. with motifs)! The Great Gatsby offers great examples of foreshadowing with purpose and relevance.

11. Details are the building blocks of the story; explore any one of them further to deepen your characters/setting.

12. Instead of adjectives and adverbs, use nouns. (More and more I’m seeing how difficult it is to use adjectives in the function of a story.)

13. Erase words like: very, much, special, little, remarkable, unusual, nice...

14. There are five senses to employ in descriptions and dialogues, plus body language. Make the most of them in fleshing out your characters.

15. Instead of always relying on comparisons (like, as much as...), try linking associations directly to subjects.

16. Avoid clichés and meaningless phrases!

17. Be both imaginative and thoughtful in how you describe things (“The ships hung in the sky in much the same way that bricks don't.” D. Adams).

18. Fiction is not counseling. It’s tempting to want to impart messages or ideas, but best leave those to your characters. The reader has the right to a private and intact space for her/his cognition.

19. Absolutely overthink your opening paragraphs. (Learn how here.)

20. End your sentence with the word that holds the most importance for you.

21. It may take a while, but find your own voice.

On writing endings:

1. A bit like bidding good-bye to a friend, endings shouldn’t be thorough, long or too detailed. They should instead convey a sense of au revoir. To that *end*, make use of plastic images, or something that will leave a similar impression.

2. If you have kicked off your story with a strong image/motif, reintroduce it at the end. Make sure you do it in a moderate, almost nonchalant way.

3. An open ending may also be a nimble solution (e.g. Gone with the Wind).

4. If you have several points to make/questions to answer in your text, conclude with/answer only one.

5. Let your endings show elegance and dexterousness.

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Enduring summer: Call Me by Your Name book review

Hot boys reading and riding bikes in Italy: it doesn’t get better than this (Image source: EW.com)

It may be that you have somehow missed this acclaimed book by Andre Aciman, but there’s little chance of dodging the frantic online fanfare surrounding the film version. Judging by the hype, it’s going to explode at the box office in November like a firework.

Preoccupied with memory and illusion, “Call Me by Your Name” relates the impossible but pure love between a precocious, talented teenager and an attractive young academic staying with the boy’s family. It’s this year’s Moonlight, adjusted for intellectual conversations, ivory pianos and bronze Greek sculptures. The ‘80s ghetto is here the scenic Italian countryside during one fateful summer. Obnoxious to a fault. Some sources are bound to note just how self-indulgent the film is: there are way more sweet-toned innuendos than in its R&B-drawling counterpart. On the other hand, the source material elevates this sensual story above showy emotional surf into elegant post-modern territory.

Aciman has rendered an artful coming of age novel that stays grounded in the familiarity of its themes (ah, the youthful awakening of desire). In his hands the universal ache of a permuting friendship feels real, intimate, casually sexy. He also attempts to answer a crucial, wider question: why does he, or anybody, write? To understand his reasoning, here is an excerpt from an interview where Aciman unravels in charming detail what kind of writer he is:  

“Writing must bring me closer to the things I want (or is it crave?). For example, I love the Mediterranean and I love the smooth, tanned skin of women on the Mediterranean. I cannot access these directly through writing, first because it is not in the power of words to provide physical sensations; but more importantly, because naming what I want too directly prevents words from evoking anything, especially since it’s evoking I’m after.”

Rather than realistic portrayal, it is the summoning of desire which enthralls the reader’s mind. This in turn creates the perception of having attained, even “lived out” that desire. In “Call Me” phrases travel oblique, indirect trajectories, as does teenage Elio; they skid and circle around the object of (unspoken) desire, in Elio’s case Oliver, like a cat around a stove: ”I know how to string words together--it doesn't mean I know how to speak about the things that matter most to me.” (How clever, Elio!) This sinuous style is what makes the book imbued with sensual realism, the way colors do in a painting. But unlike in visual art, affronting life obliquely seems to be fully within the realm of words.

The concept works beautifully in the cultured milieu where Elio grew up. Even more so in the sweaty summer, under the sweltering sun conducive both to voracious self-discovery and bored idleness. Elio, waiting like an arrow to be released into adulthood, slowly sheds his protective mantle through his friendship with Oliver. Does he affect the young man in the same way? It is just because he cannot be absolutely sure, that Oliver, a hard to impress American, takes on the virtues of a classical statue.

Warhol suggested that love’s biggest anguish stemmed from the conflict between our imagination (and anticipation) and the reality of our life choices. For fear of ruining it, it may be better not to act on one’s love at all. And there is certainly a heap of silent fear in this love. Aciman, however, has taken that one step further, clearly feeling that reaching one’s desires is part of the thrill, even if it is painful. He explains:

“One writes in order to ‘remember’ having had the things one craves. Only then does one have the illusion of having touched them. Writing is intensified mythmaking.”

We’ve been warned against opening the windows upon the magic of love. But all his observations are shafts of intense light.

The writing itself is clear, gentle and melodious, but by no means understated. This is a story about a desire to which all is subordinated (“Do with me what you want.”). It builds up carefully but deliberately, benefiting from  Elio’s aesthetically pleasing and unhinged observations. Everything matters, every detail is consumed. Seemingly nothing else but his short time with Oliver will ever get as good and urgent. Closely observed, Elio ecstatically bites into this delicious fruit (ehm, peach).

At the same time, “Call Me” exudes tenderness beyond its heady tensions and smooth hot bodies. One of the themes is how Elio’s family reacts to his discoveries. The burning power of memory and passion is another. During that summer, Elio has absorbed that archeology is often a personal science. The past is as much an elegy as it is an invitation. As Elio matures into a full adult, as the years tick away, we are aware of desires not spoken and lives not lived, turns not taken. Like a golden age lost. But just because a historical site is covered in dust or no longer standing, asks Aciman, does that mean it doesn’t exist?

Get ready for a nostalgic reading well worth your time!

[shipwreckseemssweet]

The stories we tell ourselves: The Sense of An Ending review

(A recent film version is pretty decent, if not pedestrian.)

I love post-WW2 British literature. Its many gems continually delight and astonish me, even upon second reading. Among the male authors that I have always returned to, Barnes, McEvan, Amis, Ishiguro, and not to forget Holinghurst, stand out. (Kureshi, Szalay, McCarthy, and a few others rank high on my to-read list.) No sociologist understands the fluctuations in British society quite the way they do, deciphering and breaking down the anxieties that plague it. Where there is formality and humor, they reveal insecurities and an instinct to protect oneself from mockery and change: a desire for a „peaceable“ life that never was, that is.

The Sense of an Ending follows in those footsteps, in classic postmodern fashion. Opening up a new chapter in Barnes' writing, it allows him to discover universal empathy in these ubiquitous British traits. He rejects self-protecting satire, removes judgement, and instead infuses them with pathos and human imperfection surrounding memory. The author takes on life's emotional battlefield and the missed opportunities that may result in a way both direct and gentle. By exploring how we retain memories, he cleverly draws up how we become who we are, or at least who we think we are. Because memory is fallible, and so are the stories we tell ourselves, our self-referential sense of purpose.

The story starts off by sketching the fortunes of four school friends, but quickly narrows on two of them: the narrator Tony and Adrian, both a influence on him and a mystery. In the first part, we follow Tony's journey from his schooldays through university and the numbing shock of Adrian's suicide, followed by a period of burying the past and carrying on into what would be an uneventful life. Later, in the non-linear second part, Tony, now retired, receives an unexpected inheritance from a most unusual person. This, in turn, triggers unexpected questions and pushes him to journey back into his own past – suddenly looking much more murkier and uncertain than Tony himself is willing to admit.

These efforts to confront the past and rebuild broken relationships, are the matter at the heart of this lucid novel. As he likes to remind us in his analyses, Tony's memory is riddled with discomfort stemming from incidents and misunderstandings past. He feels no responsibility for any of those. Through digging up the origin of these memories, however, the narrator's persona is gradually elucidated to us. As is a new, alternative version of the events; one that Tony won't be able to dismiss. „History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation,“ he often reminds us of Adrian's words.

For a Booker-winning book, The Sense of an Ending is notably short, its compact, terse structure resembling a novella. Yet never does the book feel incomplete or lacking in substance. If anything, the more you near the ending, the more you start to realize just how complex the journey has been. Its psychological and emotional refinement, in the line of the best works of James (one of the fathers of modern narration), is married to the novel's compellingly flowing simplicity like a perfectly baked macron. Of particular delight are the short musings about life, time and growing old on Tony's part. Juxtaposed to his inability to open up to others or ever know himself, they make The Sense of an Ending a truly wise and indelible book.

[shipwreckseemssweet]

The Other Stars

Below is my first attempt at travel writing, submitted to a competition. Traveling is increasingly moving toward digital and tailor-made itineraries (e.g., travel for a hobby), making it easy to see how personal records can hold sway over Millennials’ choices. Even if I had no results, writing it all down was much fun - the way dabbling in something new is. For my entry I chose to explore a solitary nighttime walk in the forests of Rio Claro valley in Colombia. WHile travel is, perhaps, perceived as a more extroverted engagement with a new surrounding and people, I hold strong impressions of this particular episode.

By the time I was done, I’d found out a few aspects of travel writing that are a struggle. Just like in fiction, building a narrative thread is king. That is, a fresh story about an old place. Second, it is hard to eke a living out of it or to even get your foot in the door, regardless of the massive travel industry. While many articles make liberal use of adjectives and parade tired descriptions, guide-book clichés (eg, “bustling markets”, “a land of contrasts”, “eco-chic vegan”) are best left aside. I also learnt that you can absorb only so many accounts of umami dishes and quirky hotels before growing bored with the sameness of the inanimate. Emotional investment does matter.

And how, ultimately, the goal of good, persuasive travel writing is for readers to get entangled in a net weaved by the author around a unique, slightly manipulated experience of a destination; one that the reader will also dream of replicating. No endorsement or copy. Getting there will have been no easy feat.

(Source: http://www.colombiafacil.com/)

The Other Stars

In the Reserve Rio Claro, the river shines as if gold nuggets are hiding right below the surface. It struts and leaps from one flat stone to another like a dancer adorned with fallen feathers. Flanked by marble shores, it slips through the canyon like forest silk.

The soft-spoken receptionist tells me it’s scary to go alone into the jungle at night. I hear a promise wrapped around those syllables, contagious like a gold rush fever. I lean on a wood railing, for there are no walls in the inn, and wait for nightfall. I wait for the noise of the waterfall to fill my ears, for the humid shroud to wane. A lizard keeps me company as I nibble on my bread. In the Reserve you leave all behind. My thoughts are echoes of who I was, my ideas that of a mantis posing as an orchid flower.

Under the night sky, the wallow of humming insects raises in gusts. They sizzle, water on oil. I set off, taking the trail along the river. Under the canopies, the leaves rust themselves the color of tin. Under the branches, my headlight is zigzagging in quick strokes and bleaching the plump vegetation as white as bones. In front of every step lies more darkness but I find it welcoming; the beasts are here no more and the sun-kissed tamarins sleep, their cries soothed in dreams.

The path is slick with damp leaves and ferns slide up my leg. I climb over trunks soft with moss. Quick steps and short breaths, all wonder and attention. The slow beat of a song I've heard at the inn is on my lips. Rustling leaves make my voice quiver. I can see the river through the spaces between the trees. Its black body is like my new self: shimmering and undefined. The limestone caves are the river’s ghostly tusks. The water rumbles past them, steady as a ship engine in the docks, and I don't remember ever being free from that sound.

In the dark I collide with moths as big as hummingbirds. My lamp flashes their garish fur. Surprise blinds us for a second and then they vanish, as fast as wayward atoms. The night’s warmth seems to extend the leaves that tap on my shoulders, light reminders of whose territory this is. I trod on, faster, climbing deeper into the mouth of the forest. The farther I am from all the people at the inn, the more my heart beats to the hollow thump of the forest.

I stop at a throne-shaped cliff over the river. Only the moon's shadow flutters on the surface. I step on it until my toes can feel the edge. And I look down. The rapids are playing a fast tune, pushing back everything else. On the other shore, the sprawling forest rises like a city out of roots, fading into dingy dark heights. I put out the light, pull off my backpack and sit down.

At the edge of the sky I can make out tiny green light bulbs. The fireflies appear like gems before my eyes. I hold my breath. They are as many as stars, as many as the ways we think of ourselves. Their tails bounce against the night, as if neon hallucinations blasted up by the river. Cresting the river horizontally, they dance above us.

It’s long past bedtime in ordinary houses, so the lights must be a dream, existing all of its own, torn from the gurgling water. They bring back the memory of who I was. My skin is chilled by the stone. Which is my real self? The space separating us takes the shape of the answer. I imagine a ladder bridging it. Right there, I imagine stepping out my body, climbing up and dancing along the fireflies like a wannabe star.