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"content": "\u003cp>Candy is a witch with a sweet tooth. She lives in a candy cottage on the edge of Pink City, not too far from the metropolis of Oblivion, and, like many a nerd and/or monster before her, she’s a bit of a misfit. She has difficulties with her mother, is in a sucky (ha ha) relationship with a vampire, and has chosen vegetarianism because she can’t abide the true nature of witchcraft — the deep carnality (and carnivorousness) that links a witch to her power.\u003c/p>\n\u003cp>This is just the beginning, of course. \u003cb>Sweet Tomb\u003c/b> tells the story of Candy’s eventual self-acceptance, a journey that involves chocolate, hallucinations about Pinocchio, and a lesbian flirtation with Death (a banker with a penchant for jeweled shoes). It’s an allegory of sorts — an inverted and updated \u003cb>Pilgrim’s Progress\u003c/b> for the 21st century, reoriented toward the earthly revelation of its protagonist and decidedly third wave feminist in its approach.\u003c/p>\n\u003cp>I liked Candy, and I identified with her process, but I felt lukewarm towards \u003cb>Sweet Tomb\u003c/b>. The novella treads in some saturated territory — most obviously, \u003cb>Wicked\u003c/b> and \u003cb>Shrek\u003c/b> have made fairy tale characters with oh-so-human problems ubiquitous, if not expected — and \u003cb>Sweet Tomb\u003c/b> doesn’t begin to distinguish itself until close to its end, when Candy meets Death and chooses to attend a ball/shoe extravanganza/feeding frenzy hosted by Evil.\u003c/p>\n\u003cp>As far as I know, this is Trinie Dalton’s fifth publication, including the McSweeney’s anthology \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=173&Itemid=88\">Dear New Girl Or Whatever Your Name Is\u003c/a> (a book of notes confiscated from students during Dalton’s time as a subsitute teacher) and \u003ca href=\"http://www.pictureboxinc.com/product/id/296/\">Mythtym\u003c/a> (an anthology of her self-publications). My favorite is \u003cb>Wide Eyed\u003c/b>, which addresses issues similar to \u003cb>Sweet Tomb\u003c/b> — sex, growing up and identity — but is much more poignant. There’s a lot of humor to be found in both books, and I am a fan of Dalton’s work in all its forms, but \u003cb>Sweet Tomb\u003c/b> lacks the sweetly ordinary slippage between myth and reality that drives \u003cb>Wide Eyed\u003c/b>.\u003c/p>\n\u003cp>“Not knowing where you come from is dumber than never wanting to leave.” This is the last line of “Decrepit,” the story that kicks off \u003cb>Wide Eyed\u003c/b>. I can understand why Dalton wanted to experiment and situate \u003cb>Sweet Tomb\u003c/b>‘s protagonist solely in the realm of fantasy, but I hope that she doesn’t forget her own advice and that she continues to explore the voice that makes works like \u003cb>Wide Eyed\u003c/b> so unique.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All proceeds from the purchase of \u003cb>Sweet Tomb\u003c/b> go to the \u003ca href=\"http://www.theodorepayne.org/\">Theodore Payne Foundation for Wild Flowers & Native Plants\u003c/a> here in California.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Candy is a witch with a sweet tooth. She lives in a candy cottage on the edge of Pink City, not too far from the metropolis of Oblivion, and, like many a nerd and/or monster before her, she’s a bit of a misfit. She has difficulties with her mother, is in a sucky (ha ha) relationship with a vampire, and has chosen vegetarianism because she can’t abide the true nature of witchcraft — the deep carnality (and carnivorousness) that links a witch to her power.\u003c/p>\n\u003cp>This is just the beginning, of course. \u003cb>Sweet Tomb\u003c/b> tells the story of Candy’s eventual self-acceptance, a journey that involves chocolate, hallucinations about Pinocchio, and a lesbian flirtation with Death (a banker with a penchant for jeweled shoes). It’s an allegory of sorts — an inverted and updated \u003cb>Pilgrim’s Progress\u003c/b> for the 21st century, reoriented toward the earthly revelation of its protagonist and decidedly third wave feminist in its approach.\u003c/p>\n\u003cp>I liked Candy, and I identified with her process, but I felt lukewarm towards \u003cb>Sweet Tomb\u003c/b>. The novella treads in some saturated territory — most obviously, \u003cb>Wicked\u003c/b> and \u003cb>Shrek\u003c/b> have made fairy tale characters with oh-so-human problems ubiquitous, if not expected — and \u003cb>Sweet Tomb\u003c/b> doesn’t begin to distinguish itself until close to its end, when Candy meets Death and chooses to attend a ball/shoe extravanganza/feeding frenzy hosted by Evil.\u003c/p>\n\u003cp>As far as I know, this is Trinie Dalton’s fifth publication, including the McSweeney’s anthology \u003ca href=\"http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=173&Itemid=88\">Dear New Girl Or Whatever Your Name Is\u003c/a> (a book of notes confiscated from students during Dalton’s time as a subsitute teacher) and \u003ca href=\"http://www.pictureboxinc.com/product/id/296/\">Mythtym\u003c/a> (an anthology of her self-publications). My favorite is \u003cb>Wide Eyed\u003c/b>, which addresses issues similar to \u003cb>Sweet Tomb\u003c/b> — sex, growing up and identity — but is much more poignant. There’s a lot of humor to be found in both books, and I am a fan of Dalton’s work in all its forms, but \u003cb>Sweet Tomb\u003c/b> lacks the sweetly ordinary slippage between myth and reality that drives \u003cb>Wide Eyed\u003c/b>.\u003c/p>\n\u003cp>“Not knowing where you come from is dumber than never wanting to leave.” This is the last line of “Decrepit,” the story that kicks off \u003cb>Wide Eyed\u003c/b>. I can understand why Dalton wanted to experiment and situate \u003cb>Sweet Tomb\u003c/b>‘s protagonist solely in the realm of fantasy, but I hope that she doesn’t forget her own advice and that she continues to explore the voice that makes works like \u003cb>Wide Eyed\u003c/b> so unique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All proceeds from the purchase of \u003cb>Sweet Tomb\u003c/b> go to the \u003ca href=\"http://www.theodorepayne.org/\">Theodore Payne Foundation for Wild Flowers & Native Plants\u003c/a> here in California.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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