Waching daily Oct 31 2017

Bibliophiles of the internet, my name's Adriana and today I'm here to talk about one of my new favorite books,

"The Gods of Tango" by Carolina de Robertis.

First off, this story is about an incredible trans character named Dante. And while the back of this book

essentially dead-names him and uses she/her/hers pronouns to sell the story, I will of course,

for the entirety of this review, be referring to Dante as his chosen name and with the pronouns that properly honor him,

because that is the very definition of respect.

And it's the same respect I would show any other trans person in real life.

This is #ownvoices queer Latinx historical fiction. It takes place in 1913 Buenos Aires.

Our main character, Dante, has immigrated from Italy to Argentina, with nothing but his grandfather's violin,

and he's going there to meet the person he's supposed to marry, for logistical purposes.

But when he arrives, he finds out that his future spouse is actually dead.

So he's basically stuck in this new country, where he doesn't speak the language, doesn't know anybody,

with no money to return home and no spouse to live with.

He is able to find temporary lodging in a nearby conventillo,

but what he really wants to do is to live off of making music.

But of course the only people who can make it as professional tangueros at this time are men.

So Dante decides to leave behind the conventillo, finally start presenting as a man, teaches himself

how to play Tangos on the violin, and basically becomes one of the most successful tangueros

in all of Buenos Aires.

I have to start by taking a moment to just appreciate the writing in this book. De Robertis has a knack for

crafting extremely immersive and evocative prose that really and truly transports you to another time and place.

Her use of language is lush, languid, and luxurious. The text is very dense and detail-oriented,

and yet she's able to fully engage all of the senses, and every word is meant to captivate.

There's an inherent sensuality to her work, especially when she's describing music,

which is one of the hardest things to write about because music is not this tangible thing—

it's not something that we touch or see; it's something that we FEEL—but she makes it into

this complete, full-bodied experience.

And the entire story is highly atmospheric. I had the chance to hear this author speak, and she talked about

living in Italy and Argentina for *years* in preparation for writing this story, and it SHOWS,

because this unshakable sense of place and authenticity is impossible to fake.

She left no stone unturned. Everything is thoroughly researched and every miniscule detail is meticulous.

In terms of gender, this story shows not only the use of pronouns,

but the entire experience of gender as a gradient.

Gender is not as immediate as sliding a piece of metal into a groove. It's a gradual discovery

that changes over time. It's always evolving; it's never stagnant.

And the narrative is respectful in showing Dante, who was presenting very differently at the beginning

of the story, as he gains a better understanding of his gender and transitions his presentation

and, eventually, his pronouns.

In the beginning, the narrative addresses Dante as his "given" name and with she/her/hers pronouns,

which is actually respectful, because at that time, that is the best way he understands himself.

Once he starts presenting as a man, the narrative addresses him as Dante but still uses she/her/hers pronouns,

which again, is the proper thing to do, because at that point, Dante thinks that his presentation

is just a means to an end and that once his curiosity is satisfied he will eventually "go back to the way he was."

And I thought that was a really interesting way to show this almost kind of dysphoria,

because in that middle portion, there were sentences or even entire passages that used *both*

he/him/his and she/her/hers, because the former represents how other people perceive Dante,

and the latter represents how Dante perceives himself—or how he thinks he should perceive himself.

At the end, when Dante realizes that no one is going to force him to stop presenting authentically,

he decides it's time to use he/him/his pronouns, because that's just who he is.

The entire time, you're really immersed in the inconveniences and fears

that Dante is faced with on a day-to-day basis.

Whether it's the pain from binding his chest, or how he can't partake in communal bathing

(which is traditional), how he has to pay more for a private single room (which is very rare with the overflow

of immigrants), or how he has to smuggle out or just destroy [his] soiled clothes when he gets his period,

because that little bit of blood could mean his life.

What's more, the story perfect comments on what it feels like to transition from a life of marginalization

to a life of privilege, because of course passing as a man affords Dante all these incredible new privileges

and freedoms that he never could have imagined before in his life.

And his transness is developed very naturally as well. In the very beginning, he's always wondering

what it would feel like to have different body parts or wear different clothes. He's always been curious about

what sexual pleasure feels like for people who don't have vaginas. And he's always been incredible attracted

to women—but of course he's been way to terrified and confused to even allow himself that.

Even after Dante starts presenting differently, he only allows himself to explore that attraction incrementally.

First he allows himself to look openly, then he asks permission to touch, and then eventually he dedicates himself

to mastering the art of sex with women. And honestly, his discovery of his true self

is *the* most satisfying story arc.

Dante's experience with gender really hit home for me, because sometimes the question of who you are

is so frightening, so impossible, so insurmountable, that the only way you can begin to parse it

is by learning your limits—what you can no longer do, what you no longer be,

what you can't imagine for yourself no matter how hard you try.

This story shows a very real approach to discovering identity.

We only gain a better definition of ourselves by knowing what we're NOT, what we're unwilling to give up.

And the Tango is such a beautiful metaphor for Dante's evolution,

not only as an immigrant, but as a human.

Tango has its roots in African culture and European culture, but like Dante, it made its way across the ocean

to South America, where it took on a new life.

At this time, Tango was fearlessly plunging forward into the unknown, blending together so many different

sounds. It was the anthem of immigrants, and it was the mode of unspoken or forbidden desires.

It was a genre that defied boundaries. It was an an indulgence for the rich, an escape for the poor,

and it just took on a life all its own. And that tumultuous nature, that continuous transformation,

perfectly mirrors Dante's journey in this book.

I'm so glad I found this story, and I definitely want to read more from this author.

I gave "The Gods of Tango" its rightful 5 stars.

So those were some of my thoughts on "The Gods of Tango." Of course, I would love to hear from you

if you have read this book yourself or if you plan to do so in the future,

so feel free to leave some thoughts in the comments below.

But that is everything I had for this review today. Thank you so much for watching this video.

I really hope that you enjoyed it, and I will catch YOU on the flip-side of the page.

Bye!

[♫ snazzy end screen music ♫]

For more infomation >> BOOK TALK: Gender & "The Gods of Tango" by Carolina de Robertis - Duration: 6:26.

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For more infomation >> Grande Fratello Vip, Giulia De Lellis è la vincitrice annunciata? Ecco perché - Duration: 3:40.

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Conceptos estratégicos de Go: Aji. English subtitles. 2 de 8 - Duration: 29:35.

Aji literally means flavor, taste, the sense of food that can be tested

and that is good or bad.

One of the characteristics of taste is enduring.

In the go, the term refers to a aji condition, which can be good or bad, that

remains, enduring, relative to a group of stones, which offers potential

for the future game.

It is a latent potential, and usually should not be used immediately because

this results keshi aji, aji removal.

It should be noted how the game unfolds so that at the right time, the aji

it can be used to best effect.

This is a sequence in which Joseki White delivers the corner stones in return

influence and leaves a aji at these two points and east.

At first glance it may seem that the benefit of black is much better than the influence

white exterior, but seeing it in detail will be the aji who have left white

on the corner it has a great effect.

First, here are two points forced atari where black should answer capturing

stones also is possible that white make use of these stones with this move

This is a very big loss for black therefore, when White plays tsuke,

In this way, black, probably it captured two stones, and white play here,

so that whatever influence is left to white.

In this position, the aji left by the dead stones in the corner, should not be used

immediately, because it is not yet possible White know if you are interested close by here,

or play tsuke, this way and close by this side, if you close with black tsuke should

take, and now white close on this side, but let black can go out the side.

And if you play around here, now this move not works, so much black can play there.

Another example of aji we see a joseki fairly typical.

Black plays here, white san san, and now White can respond in two ways,

You can answer here, generating a type aji, or you can simply answer here,

It is generating other aji.

If you play here ...

If the Sicho works, white has the opportunity to play two movements

this side of the board.

If not, black should play here, and that leaves aji stone for the future.

If white plays here, black here, and is one aji through this area, so that white

You have the ability to connect via KO with the corner stones in the future,

If white plays at this point, and black responds elsewhere, this ko is very favorable for white,

It is a very favorable ko to White, therefore, in this position,

this stone can be said to have easy connection to the corner.

If white, in this case, instead of playing this, or rather to play this, play here,

this would aji Keshi, black responds this way, and there is no aji for the future.

Another example of aji is when you invade san san, a typical joseki ...

for the future is this point as a possible cut.

The cut should not be played at this time, since white can be captured.

If the shicho does not work for black, suppose there is a stone here, no matter,

You can play first here, atari, and obviously can not be avoided ... therefore, cut

is premature, is aji, so that any stone approaching this point, now

This is a problem, black should waste time defending, but cutting is aji Keshi

Another case of aji we see also in joseki, it is this.

Black plays above.

White extends, black can protect, and this is left as well.

White plays elsewhere, and this movement forces to play white and,

and the beginning of the game is aji Keshi, because it destroys chances of playing, for example

like or, in case there is a stone here in the future, for example there, destroys

chances to play in this area, and strengthens white, is now much safer,

this movement is aji Keshi.

One of the virtues that teaches the concept of aji is patience.

One must know how to bide his time.

Po course there is always the possibility that the adversary plays to eliminate

their own bad aji, this risk means that often get ahead of using us too soon

Aji, however, we must not forget that the elimination of evil aji requires a movement

Extra by our opponent, which is a time wasting, therefore,

If due to aji, you can earn a while, this is already sufficient compensation.

There is an analogy that is often used to understand aji.

Aji is like a pebble in the shoe when you're late.

You can not run fast, but as you go late, you can not stop sacártela.

This game gives us a good example of aji.

The game's played in 1970, Sakata Eio, 9 dan, playing with black, and Kai Ho Rih,

with white, then Honinbo Meijin.

We will not analyze in detail the game, but we will see the strategic aspect

we are interested in the concept of aji.

So far the fuseki, now turn white and should consider entering

in the upper right corner.

This sequence is joseki and Black plays this point if the base and trying to leave space

to form eyes to white; in response to this short white run at this point,

it will be what will produce the aji, that will allow us to explain this concept

strategic in this game.

Instead of playing here, black could have busy this point, ensuring this area,

preventing the formation of aji, but would have allowed White to play this way, steadying

its group and out without any problems toward the center.

This would have been poor for Black.

Continuing the game.

At this time the target group has gotten out to the center, although it has no basis for

eye formation in compensation has these two stones, which will provide aji

Continuing the game.

After White has managed to live in this area, black plays this movement

which it is a direct attack on this target group without base.

This move is to win two more freedoms since it is a forced movement.

If black does not answer this would be a problem.

With this sequence the target gets out his group, connects with this side and black

or so it has managed to influence this area is quiet and a balanced result

mutually.

If at this time, instead of playing here try and seize white aji of those

stones, invading in san san, would, I could go something like,

and now plays black

on this side putting on serious difficulties to the target group, ie this time

It is still early to take advantage of the aji of these three stones.

And in this situation the last play of black closes the corner and feels

that the three stones no longer useful and aji has been destroyed;

Certainly, if the white try to exploit the aji currently they fail, we can see,

for example an entry in san san.

You have to play this by connecting with these stones,

and here black should play this,

If you play this hand, white plays in this way and get a ko.

This variant with a ko for white is not good for black, black should avoid this sequence,

therefore, does not play this but enters here,

White, now playing here ...

Again black should avoid this ko, cover.

White plays here in order to win freedom for your group, black here ...

And black must play at this point, because if you do not, if you play tenuki elsewhere,

White manages to make two eyes in this way.

Black must connect, you is not worth this, since atari, can not connect,

have to play here, and after this white lives.

So you must play black, white here, and white.

It is true that Black has no eyes, white has got one eye, has won freedoms,

but this wall is very fragile and not black you will have no difficulty in leaving for

the center toward this side, and gain more freedoms, winning therefore the semeai, white die,

ie that the use of aji was early.

Continuing the game.

After this sequence, the black will attack this group,

which remains unset unsafe.

After this sequence, Black has gotten some territory on this side,

but white has been strong here, of so that the aji of these three stones comes

running with the sequence we've seen before.

Black here, you can not play here because We have seen that came a ko, this is a must.

Now the white van to the top the board looking for a ko.

After this cut all the black group is in danger, it depends on this ko.

Now black can not play here, as in the sequence we've seen before, since

Semai would lose the black, you should play here.

If when white plays here, instead of this, black plays as in the sequence

we have seen before, in this way, the game continues ...

Gaining freedom for the white group, black should play this as we have seen before,

otherwise white manages to make an eye.

And now the Semai is favorable for white, because black can not get an eye

and white does have an eye on this side; he Semai is favorable for white, therefore

black dies.

The game continues.

Thanks to these white stones aji got to live in the corner.

The game continued, eventually won by a colon and white medium.

We'll see in another video.