Want to Test Your Language Progress?

You’re making progress with your language acquisition and feel like you’re grasping it better. However, you’re running out of ideas to keep the learning fresh and you’re fed up of taking mini tests and quizzes.

There is a way.

Take a scene from a film you know extremely well (remembering the dialogue will make the task easier); best to use Youtube because then you can easily replay the scene. Pretend you’ve been tasked with providing subtitles in your chosen language. Grab a dictionary, grammar book and notepad: it should be challenging enough to keep you interested. If you struggle to find ways to translate, then you know you have a long way to go.

I used this scene from Suite Francaise and did well up until a certain point. It showed me that I could translate easier sentences/every day phrases but had gaps in my vocab. Then there’s the enjoyment of watching favourite scenes repeatedly (for educational purposes, of course * wink *).

Give it a go!

Dum Laga Ke Haisha (2015) – A Simple Premise Delivered with Careful Purpose (Spoilers)

When one hears Yash Raj Films, titles such as
Dilwale Dulhania Le Jayenge, Mohabbatein, Veer-Zaara and Fanaa spring to mind. Feel-good, tragic, warmth-inducing icons of Indian cinema. So, when I read the synopsis for Dum Laga Ke Haisha, I had to double-check the production company. Here’s the trailer with English subtitles.

Dum Laga Ke Haisha couldn’t stand out more from the crowd. While couples in the films mentioned appear to overcome the odds, Prem (Ayushmann Khurrana) and Sandhya (Bhumi Pednekar) really don’t look like they have a chance at all. Firstly, they’re drawn into an arranged marriage that Sandhya appears to look forward to, at least. Secondly, and the stickiest point, is that Sandhya is “plus-sized”. Bollywood heroines(Hollywood, too), even if they’re oddballs, are still too glamorous. There’s pressure for viewers everywhere to conform. That’s why Dum Laga Ke Haisha is an important film: it dares to be different. It may subscribe to Bollywood’s slice-of-life, feel-good style at times, yet it has an independent film feel.

The beauty of the film lies with Sandhya, which is an ironic statement to make given the film’s premise. She knows she doesn’t live up to standards looks-wise but she carries herself with confidence. A lot is asked of prospective brides: certain caste, educated, social-standing, culinary skills,
beauty, fair skin and obedience. It’s Sandhya’s prospects as a teacher that’s a large draw for Prem’s family. Notice how I said family: practically the minute after their marriage, his family nit-pick at Sandhya, mostly behind her back but Prem’s aunt is catty enough to fling insults Sandhya’s way about her weight. Thankfully, Prem’s father counters this by highlighting his son’s less-than-stellar qualities. She could be – is – a good-natured woman with her head screwed on right. Also, even with her figure, Sandhya is quite lovely – especially with her hair out. Unfortunately, her husband and his family aren’t willing to realise that. Until the climax of the film, she takes what they deliver, illustrating her inner strength.

The most heartbreaking moments of the film are in scenes involving the married couple. Not only is Prem visibly displeased during the marriage ceremony, he avoids being seen with Sandhya in public. She clearly relishes exploring local streets on the arm of her husband but he finds every opportunity to put space between them. He goes on about her weight, worst of all: he bursts out loud that he finds her physically repulsive to sleep with. Viewers feel a punch to their own stomachs, especially as she witnesses this. She smacks him (many would say right on) and he retaliates. At this point, things are spiralling leaving viewers wondering if there is any going back after this. The scene that evokes the most emotion is when Sandhya is forced to explain why she’s back at her parents’ home. She has to not only re-live the awful moment she was publicly insulted but is forced to admit that society finds her undesirable. This once again emphasises the pressure Indian women are under, especially as carriers of their family’s honour. The delivery of this brings tears to viewers’ eyes.

With a family such as his, it is easy to understand why Prem just can’t get going. His father is overly-strict, pushing him into a box Prem doesn’t fit in, while his mother and aunt spoil him and overlook his flaws. That’s not to say he’s not responsible for his actions in the film, it just explains why he is so. It may be difficult to witness his lacklustre life, however, Prem’s depressive state and his father’s treatment of it opens eyes. The message is to try to look beneath the word lazy and examine what has caused it. Prem’s family represent how not to handle mental health problems.

There are comedic moments that leave the audience either snickering or full-on cackling. Moments such as Sandhya putting on an erotic film to get her new husband in the mood, to his aunts overhearing his eventual bedroom exploits. ‘My son has become a man’ his mother declares. It’s difficult not to lose it at that point. Moreover, Sandhya’s brother is a little brat with his insensitive remarks towards his sister. Sandhya gives as good as is delivered, which adds to the humour.

A few more unsavoury actions from Prem towards Sandhya and he finally demonstrates some change. He accepts she deserves better than him and wakes her up to his family’s deceptiveness. While his transformation towards loving Sandhya during the couple’s race seems a bit sudden and out-of-the-blue, it’s definitely satisfactory to watch them both reach a level of happiness. After a struggle to adjust to marriage to each other, Prem and Sandhya are finally happy. The song and dance sequence during the end credits is an example of Bollywood conventions done right: the focus has been on the storyline, now that it’s resolved, it’s time to celebrate. Dum Laga Ke Haisha is a film to be celebrated, itself.

The Mystery of Rey: Clever Marketing from Disney

Following the revitalisation of the Star Wars franchise with Episode 7: The Force Awakens, one question emerged out of many: who is Rey?

Scores of articles appeared on Google daily, litigating Rey’s parentage. Some championed Luke Skywalker as her father, attributing similarities in character arcs, while others suggested Han Solo or even Obi-Wan Kenobi. Or some other theory entirely. The debate borders on fierceness, but one thing has gone unnoticed. The question of Rey’s background has sustained our interest in the upcoming Episode 8, and the franchise itself.

This isn’t just because they can’t cram everything into one film, this is because they want to hook us and keep us hooked. And it’s worked. Not only do we look forward to finding out what culminates following the drama of the Solo family, we itch to receive more hints (because we know the writers wouldn’t just have a character blurt out that they’re someone’s Father – oh wait…hehe) about Rey’s backstory. They have fed us tidbits in the form of the lightsabre discovery scene, which tells us that Rey was left with Unkar Plutt for her own safety. That entire montage has inspired countless minds to go into thinking overdrive.

In this way, Disney can be rest assured that this unrelenting ‘Who is Rey?’ question carries most of the marketing weight. All they need is a tantalising teaser and an exciting official trailer, and they’ve ensured that the Disney coffers will always be filled up. Conventions also provide the opportunity for fans to present their questions and theories: those end up making news.

Still don’t believe that story-crafting is more than just creativity? I present Exhibit-I’ve-forgotten-which-number: J.J. Abrams’ Mystery Box. In Abrams’ view, the mystery box symbolises opportunity; it’s imperative to keep it closed until the right time. Think delayed gratification. Whether you think the mystery box is gimmicky or lazy, in the case of Star Wars, it has worked. The number of articles, blog posts and youtube videos attests to that.

So, don’t have much money for promoting your film? Hold back on key details and promise to unveil them at the right moment. Then the reveal pays off. That applies to novels, too. Don’t worry about boring your readers and stuffing exposition all at the beginning. Toss a meat drumstick with the promise of a massive feast.

1st Person POV in Writing – Remove “I”s and Eyes

I came across this gem: http://www.helpingwritersbecomeauthors.com/most-common-mistakes-series-is-your-2/ and my perspective on 1st Person point-of-view changed for the better. 

As we know, 1st Person involves heavy use of the word “I”, as well as a deeper understanding into the main character. Many people dislike 1st Person narrative, because it can feel like the reader is being bogged down with description rather than action. The temptation to explain everything results in readers knowing practically everything and not being given the chance to solve some mysteries, which is a point K.M. Weiland makes in her post.

Personally, I feel that, when done correctly, 1st Person can swallow the reader whole. We can immerse ourselves in the story.

Writing in 1st Person inevitably produces commentary, because you’re putting yourself in the character’s shoes. Sure, you have private thoughts, but you don’t mentally narrate backstory or exposition; you’re experiencing the moment. This doesn’t make you a bad writer if you recognise this during your drafts. Instead of being the centre of scenes, 1st person narrators should be the witnesses. The purpose of 1st Person is to become the character, whereas with 3rd Person it is to follow them. 

A way to do that is to remove the eyes. Your character is already “seeing”, so there’s no need to emphasise that the character has eyes. Imagine a line where the reader is standing at the back, next is the point-of-view character, then the eyes, and finally the action. For example: instead of saying ‘I could see the sun dipping below the horizon’ (or a better example than that!), use ‘The sun dipped below the horizon’ and just leave it at that. Highlighting that the character has vision is just surplus and bogs the writing down. We already know the character is spectating this, because they’re relating it to us: the reader.

 

Featured Image by George Hodan

The “I’ve Forgotten My French!” Survival Post

Consider this like Regaine, only instead of it stimulating hair, we’re going to re-grow your French. Regaine for False-Beginners.

The French is there still, buried inside your memory, you just need to find ways to draw it back out. There is hope. You just have to overcome the block that is making you feel like returning to your old ability is impossible. Et voila:

Music:

Je Sais Pas, Celine Dion. This doesn’t have English subtitles, but an English version exists so you’ll get the gist (although the lyrics deviate from each other, somewhat).

Mea Culpa, Enigma. A hypnotic track using chanting, Mea Culpa contains some interesting sentences that may stick.

Sadeness Part 1, Enigma. OK, so Latin features more prominently in this song, however it’s a great way to ease your way in, starting with a few repeated sentences in French. It’s a great song to relax to, so you hardly feel like you’re listening for the sake of it. This particular video contains the lyrics in Latin, French (and Polish) with the English translation.

Disney in French! Find the songs on Youtube, close your eyes, and enjoy the beautiful, stylish French lyrics. The best part is, you’ll enjoy them so much that you won’t feel like you’re trying to study.

TV/Film:

Mafiosa, 2006. For UK citizens, it’s currently available on 4OD. Set in Corsica, a female barrister becomes head of the clan when her uncle dies, which causes much discontent in the ranks. Occasionally some Italian is spoken which is a bonus. If you are watching via 4OD, subtitles are attached to the video so, if you want to test your listening skills, you’ll have to ignore them. It’s 5 series long, which is plenty of immersion.

No Second Chance, 2015, Netflix. A doctor wakes from a coma to find that her husband is dead and her baby daughter is missing. Very twisty-turny, so it’s best to watch with subtitles even though lack of subs would be beneficial.

Divines, 2016, Netflix. A surprisingly magical find on Netflix, Divines takes you on a journey of a young woman with dreams to escape her life and make it rich as a wannabe gangster.

Scout your DVD/Blu ray collection. There’s a chance that many have French either as a subtitle option or, if you’re lucky, the dub. Be brave, select French early so that your menu is in it as well. Get used to seeing French in different situations. You know the plot already, so turn off the subtitles and just get lost in the language.

Books:

The best way is to start with familiar stories, so that you can focus on testing how much language you remember. The French edition of Macbeth is free for the ebook version and extremely affordable in paperback. Or perhaps bilingual books with short stories.

The Rocket French Quick-Start Guide. Another free resource, this resource is a little heavier on the discussion side, nonetheless it does ease you in.

French Self Taught, Franz J. L. Thimm, Archive. This is ancient (OK, very ancient), but it’s free and offers endless vocabulary. There is also an audiobook version on Youtube. The book just cuts out explanations and you dive straight into sentences and verb tenses. It’s worth copying them down repeatedly in order for you to get your worth.

Online:

Memrise French Course. The most important resource because, wait for it, it helps you Mufasa Voice remember. This will drill vocabulary into you until you’re hearing the audio tracks when you go to sleep. Sessions are timed, which is excellent as it forces yourself to work harder. You’re also pitted against other users; if you’re a competitive person then this is your calling.

Duolingo French Course. Use this in combination with Memrise, as its focus on grammar and translation will complement the latter. It’s not timed so you can take your time, and the Discussions section offers further support. To really test what you remember, you can try the English for French speakers by switching. Note: this discussion.

Read newspapers like Le Monde or watch news broadcasts online. They offer short bursts of information which shouldn’t be too taxing. French radio stations are also a (daunting) way to try to tune your ears to native level speaking.

In addition, snoop around for some French-speaking celebrities. Serena Williams has a few videos of interviews on talk shows as well as the French Open. There is even a hilarious one where she’s outed as a Rafael Nadal fangirl. Because she is a learner, her pacing might be more attractive. If you’re feeling really brave, try native speakers such as Marion Cotillard and Lily-Rose Depp. At least that way you’ll be interested. If you’re feeling geeky, try to write down what they say to compose a profile on them.

Finally . . . :

Invent scenarios which stretch your vocabulary and encourage you to use everyday phrases (flashcards if you don’t feel like writing a lot). If you’re feeling particularly enthusiastic, maybe even labelling furniture in your house so that when you spot them, you immediately associate the sight with the names in French. That’s if you don’t irritate the people you live with.

It’s going to take time, but with the right attitude and motivation, you can regain what you used to know.

Featured Image by Alex Borland.

We Need to Talk About The Keeping Room (2014)

Racking up just 2 1/2 stars on Netflix (as of 10th January 2016), The Keeping Room‘s quiet, unappreciated presence is puzzling given its hook. Three young Southern women left to defend their land against, well, anything, during the American Civil War. Two sisters and their slave. That in itself should prove a draw for some positivity as American Civil War films tend to focus more on the men going to war and the effects on their families, rather than isolating the story on female survival. To be fair, Gone With the Wind does feature Southern women coping while the men are at war, however it is overshadowed by the tempestuous relationship between Rhett and Scarlett. The fact that Augusta (Brit Marling), Louise (Hailee Steinfeld) and Mad (Muna Otaru) are the sole focus of the film, allows us to hone in on their situation without distraction.

Thankfully, their dynamic isn’t rosy; it’s raw. Augusta is the elder daughter who has taken charge and is calmly dominant, Louise is a teenager who wants to be Lady of the Manor rather than get her elbows dirty, and is bigoted towards their slave Mad, who carries out her tasks as she has always done. Mad always appears as if she wants to spit some truths out, but is unsure despite the somewhat equal status the three are beginning to share. An heiress (by lack of men), her demanding teenage sister and their slave sounds almost like “they walk into a bar”. It’s rather fascinating that without the backdrop of the Civil War, there’s little possibility of the trio being so united despite their positions in society.

The film, being independent, is in no hurry to press on with the plot, savouring everything going on in the scene: the pace matches the slow, hostile surroundings. This shouldn’t put anyone off from viewing, as  For such a barren land, danger hangs over them like a promise. It’s almost apocalyptic. The region is tense and the viewer becomes absorbed in that the-keeping-room-1tension. Uneasiness settles into the audience when they await the masculine violence on the horizon. On the hunt for medicine for Louise’s raccoon bite, Augusta is warned by a tavern owner that it’s not safe for her to be there, cut to two Union soldiers in the corner drinking and eyeing her up. With hardly any men present (the tavern owner seems to be the only man in the area), any woman is fair game. Any traditional gender conventions are non-existent at this point.

In the opening credits, William Tecumseh Sherman is quoted: ‘War is cruelty. There is no use trying to reform it; the crueler it is, the sooner it will be over.’ There’s a hardened statement if ever spoken; a justification for all-out violence. Moses, one of the Union soldiers, parrots this in a stand-off with Augusta to explain his thirst for pain and destruction. They’re both right: war is cruelty, yet I can’t agree with the level of cruelty dictating its status. The heavier the atrocity, the more likely the retaliation. Retaliation doesn’t necessarily result in finality. Well, in order to survive the three women have to resort to delving into violence.

The Keeping Room itself provides warmth, food and domestic cohesion (which ends up being cathartic), however it’s not immediately considered as a place to arm and guard themselves. Despite being associated with female domesticity, it doesn’t serve as protection against masculine violence, therefore they can only seek sanctuary by barricading themselves in the house once belonging to men, and arming themselves with the guns of their menfolk as well. Additionally, the women don men’s clothes knowing full well that they will be able to carry out their subversive duties with little harassment.

Could the film benefit from a little more backstory? Of course. I also felt that, despite voicing their reasons for committing their appalling acts, Moses (Sam Worthington) and Henry (Kyle Soller) are never fleshed out. Villains are villains, and yes, their actions speak for their thought processes, but even villains need some backstory. Although we know the-keeping-room-2they’ve broken off from the impending Union Army to forge their own path, we never really get a sense of who they are. The subtle difference: Henry is a drunkard who enjoys the company of women (whether they like it or not), but is also unpredictable. As for Moses: he’s composed and more controlled. He has the ability to mess with your head in the way that you don’t know whether you’re safe or in danger in his presence.

Thankfully, The Keeping Room has received positive ratings on Rotten Tomatoes,  as it deserves. Its indie status shouldn’t deter lovers of fast-paced, action thrillers (guns, cars, international gangs and the like): this can invoke the same thrills felt watching the latter. At (reaching) 1 hour 50, a further 10 minutes could’ve been better spent with the villains in order to increase our fear of them even more, thus making their presence more devastating on the viewer. A 2 hour film would undoubtedly not be taxing for audiences.

Writing the Dream

Don’t be disgusted with, or despise abandoned or rejected stories. They are your training wheels: they are educational tools. That piece of fiction you wrote off as rubbish will push you to conceive something stronger. That novel that was rejected by an agent for not having an exciting opening will encourage you to create punchier first chapters until someone says “yes”.

Keep on writing. Keep on polishing. Keep on dreaming.

 

 

 

Featured Image by Rostislav Kralik.

 

Disparue/The Disappearance Episodes 5 and 6 – Analysis

For the recap of episodes 7 and 8 click here.

Episode 5

Well, now we know. Poor Rose Morel is the one who has to discover Lea’s corpse in the water. And boy is it a grim sight. I must applaud her for her environmental consciousness though. Molina and Camille’s superior orders them to prioritise documents for the prosecutor, disparue-24however, Molina asserts that informing the Morel family is more important, and Camille confirms that with a glare for their superior’s lack of sensitivity. I don’t
know if that’s trying to suggest that all higher-ups in any industry are chiefly concerned with paper pushing and number work; it certainly is the case here. The real professionalism is led by the leaders on the ground; Molina and Camille are the disparue-25real leaders here. Molina’s put in a strange position where he has to have both policeman and father hats on. He comforts a traumatised Rose, offering to take her home. Camille steps in and says that she can both take her home and watch over her.

Molina only has to appear at the door and Julien knows Lea’s been found dead. His reaction and the score make this and the following scenes difficult to watch. Little Zoe is forced to witness her parents break down. There is no dialogue, just soundtrack. It’s truly sad. There is a montage of others finding out about her death and we find ourselves peering for any sign that one of them is the murderer. All are upset; doesn’t mean that they are upset about her death but the circumstances around it. Regret. We can only wait. If you think the news is hard to watch, Lea’s parents at the morgue is the most emotionally-scarring scene. Camille and Molina are really struggling to hold it together. Julien asks to spend some time alone with his daughter. He is clearly distraught by her body, but is it to mourn her properly or ask for secret forgiveness? Later on the immediate family convenes in the kitchen and all of them just collapse into shared grief. Again, the most sympathy goes towards Zoe who is too young to be able to witness and handle this. As soon as the news hits, where does Chris go? That’s right: straight to Romain. It smacks of suspicion. Girl your cousin has just been found in the most gruesome circumstances and you’re sniffing around her ex again? Hm.

Meanwhile, Molina’s ex-wife turns up in light of what happens to her daughter, and her reasoning is rather annoying (it also gives away why they separated). She blames Molina himself for Rose being exposed to the darker undercurrents of society – don’t they live in Lyon too? So even if she weren’t with her father, chances are she still could’ve encountered Lea or at least been affected by her from afar. I’m not convinced, former Mrs Molina. Luckily Rose fires back that she had no problem dumping her on her own father when she pleased. Molina defends his ex lightly, to do the right thing obviously, but also because he secretly wants Rose to stay. They’ve just started bonding. With the discovery of the body, our favourite forensic scientist with a monster crush on Molina. There’s a strange silent communication between her and Camille. Is Camille egging her on to flirt with Molina or giving her another warning? Oh God it’s like secondary school: Molina puts a hand on forensic lady’s shoulder and you just know she’s falling hard.

Now her form tutor/French teacher Mathias Tellier comes under the light. This proves another moral tale: even if you’re telling the truth and you are passionate about your subjects, don’t have access to the pupils outside of the school environment. His reasoning behind using an alias is suspicious as well. He apparently uses on so that the pupils don’t feel that they’re talking to a teacher. Yeah . . . no. That’s complete – you get the picture. Tellier heaps praise on the woman that Lea became. That goes beyond discussing literature. As it turns out, Lea was not the first pupil he developed a relationship with; Molina and Camille visit one of his previous schools and the headteacher informs him that they had to fire him to avoid a statutory rape prosecution.  Well that explains everything. He ended up marrying the last student he seduced. Her parents are oddly fine with it all. This region is extremely bizarre.

Molina and Camille receive news that can only solidify Lea in the Wild Child Hall of Fame. She was pregnant at the time of death. All the men in her life are DNA tested to find out who the father was and whether they were the cause of her death-by-brick. Molina is explicit in his wish for none of them to find out these bits of information. Knowledge of a pregnancy would change the game and not for the better. They need to monitor all suspects for slip-ups. Especially where the brick is concerned. Whoever did it wouldn’t know that they police now have this specific information and accidentally mention it. Molina’s scan of everyone at the wake confirms that one or two of them are excellent actors. Jean’s hurry to get rid of Nick before he tells Julien something basically means Jean stinks of fish. Nick’s moves are going to cost him dearly.


Episode 6

So creepy obsessed Nick offed himself apparently, leaving a suicide note typed into his iPad. A new age of crime. It seems like Molina and Camille are going along with this.  The writers are throwing us off again. Louvin, their overlord, turns up (as does Rose) to talk to Molina; Camille’s expression when he’s there is worthy of being a display picture/gif on OhNoTheyDidn’t. She doesn’t have to say a word to express her dislike of Louvin. She isn’t wrong. Their supervisor is pushing for this case to close before any loose ends are tied up. How did this man get this job, again? Was probably given the promotion after a table and a glass of wine. Rose is basically our middlewoman regarding what is going on with the characters of Camille and Molina. She decides to observe Camille whilst stuffing her face with a sandwich. Questions begin with: how long have you been in the force? 7 years. Do you have a boyfriend? I haven’t had one for 3 months ex calls her mobile. Are you sleeping with my dad? Wait – WHAT?? Did she actually just go there? YES. Because not only is Rose a teenager, she’s direct – takes after her father. Tastily delivered, might I add; Rose delivers that particular question like the cat with the cream. Camille is understandably flustered. She tells Rose: even if she were, she wouldn’t tell her. They’re bonding already.

The Molina family has already accepted the outcome. Florence curses him, and then decides to press on with Zoe’s birthday party. Which is a good idea, because focusing on the one daughter they have left will both help them come to terms with Lea’s death and protect her innocence as well. Chris is still taking care of her and acting as surrogate sister. Speaking of Chris, girl has finally managed to get Romain to show something towards her. When they meet in the cemetery, they express each other’s loss before passionately kissing. Well, they do a lot more than that if you catch my drift. Romain can’t quite . . . finish, for picturing Lea. Freud would be extremely pleased by this.

Anddd we’re back to the flirting. Enter girl-with-a-crush, Miss Forensic Scientist who’s been making eyes at Molina throughout the whole series. Camille (not bitchily nor welcomingly) points out that she could’ve emailed the results of the Morel case rather than turn up. The exchange only proves that there are holes in the case, what with the credit card being found far away from the body, especially as they aren’t able to find Dead Nick’s fingerprints anywhere but his tablet. Molina thanks her, and forensic lady casts a satisfactory/smug look at Camille. Camille looks at her back. Oh it’s ON. After the lady leaves, the look screams that she’ll murder her. There could be a Dexteresque spin-off in the making here. The best added layer of humour is Molina’s lack of awareness that both ladies are fighting over him. Or, he does know, and is merely choosing to remain focused on the case in front of him. Oh wait a minute, his eyes flicker up to hers in a “what are you doing?” Some fanservice is going on here, and I for one am cackling like a Disney villain. We’re given another morsel with Molina giving Camille a questioning look when she responds rather flustered to her phone buzzing (it’s the ex again). Because let’s be honest: we need something to drag Molina’s attention away from his brooding. Flags clearly aren’t doing the trick. Let’s throw an actual ex-boyfriend in there. As if by magic, said ex is conjured! He appears like a lovelorn stalker in the parking area of the police station, calling out to her before she gets in the car with Molina. Camille’s look says: now? Why now? Why did you pick this particular moment when I’ve been calling you all those times to get your s***. Fan service shot of Molina looking on with interest. Camille gives the ex the line ‘Did you think I’d come running?’ to make us all punch the air. Girl’s got standards. Ex’s parting shot? Giving the threat in the form of Molina, a threatening stare. Where has this happened before . . . ? Molina gets all cheeky and asks if Camille wanted to get rid of him or the bags, when she says she should’ve gotten rid ages ago. Oh Molina, you rascal.

They finally do a u-bend on the suspicion of Nick after the coroner’s report. Someone wanted him out of the way because he knew who killed Lea. Well duh. But that’s not the big reveal. Florence aborted her child when she found out about Julien’s affair. This family’s getting more and more unhinged. After revealing this hefty information, Florence descends even further into self-destruct mode. She goes on a sort-of date with a colleague. Rose did a Lea and went behind her parents’ back, getting her belly pierced without either knowing. Great job, Rose. It’s infected now. The naughty girl also used her dad’s credit card to pay for it. Molina’s really getting to understand Lea at the moment.

The Morel family are finally waking up to the idea of Chris replacing Lea. Thomas is exceptionally offended that she’s wearing Lea’s top. Florence tries her best to be diplomatic. The only person who’s pleased by the void being filled is Zoe. They’re not going to tell her “no” because she’s a child and it’s her birthday.

Why ‘Punjabi Sentence Builder’ by Team Indic is One of the Best Punjabi Resources Out There – Book Review

 

htlp-project-indic

Punjabi Sentence Builder, Team Indic (ebook). Available from: http://howtolearnpunjabi.com/ .

Approximately 90-100 million people speak or know the Punjabi language, yet its lack of business or cultural power means there’s little interest outside of the Indian/Pakistani diaspora, and the fact that it’s a tonal language doesn’t help with the appeal.

There are plenty materials on Punjabi, however, most if not all are designed for the children of Punjabi-speaking immigrants on the assumption that Punjabi is their first language. Now, the generations are evolving and becoming more rooted in their countries of birth; there’s nothing wrong with this, it’s perfectly natural to want to belong. I can emphasise this as a child of Punjabi-speaking parents. Unfortunately, being fed a daily diet of English makes it quite difficult to assume a grasp of Punjabi. It’s no use just consuming a language: you need to know the why to be able to use it properly. It’s especially more challenging if the languages share little in common.

how-to-learn-punjabi

Punjabi Sentence Builder is, quite frankly, a saviour. Not only does it break things down easily and concisely, it enforces retention through daily exercises and timetables to ensure you stick to them! There are also flash cards that can be printed out for daily immersion.

The book is designed to help you from an English point of view. It endeavours to help you understand how Punjabi sentences are constructed and slowly builds up your ability and confidence.

There’s a little qualm. Just a little one. The ebook is thin (if the concept is possible); it’s a sinfully quick read. I found myself disappointed that it didn’t have more content since it was so effective. If Team Indic were to create a second volume, I would happily purchase it (provided it contains extra, such as extensive verb conjugations).

[You can’t see this but there’s an insane amount of elbow-nudging happening right now.]