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Alana Bruce

Alana is a lover of poetry, peanut butter and punctuation (oh, and alliteration). She joined Narrative Muse because getting to read and watch empowering books and movies is hard work, but someone’s got to do it. She spent most of her childhood traveling in Europe and Asia because her parents were travel-crazed, but now she calls New Zealand home. 

Reviews by Alana Bruce:

I felt unadulterated joy, indomitable rage, smarting sadness, hungry curiosity, soaring lightheartedness – all in 111 minutes.
Little Fires Everywhere tugged at my mind; it intrigued me.
I went from being intrigued by Whitney Houston to falling in love with her in 122 minutes.
In this bag of laughs, Van Beek and Sami turn norms upside-down, putting the friendship between two women first.
Reading a chapter of How We Met is like eating a bowl of your favorite ice cream – an indulgent treat with a heavy sprinkle of laughs.
There’s something powerful about watching someone more like me, a woman, encounter Jesus. I felt like I was part of the narrative, rather than watching from afar.
Musers Alana and Jack go head to head in a double review of the high stakes, true story of Molly Bloom – a woman lost in the world of underground poker.
It made me remember painful things about my marriage, and freeing things about my life now, and all the messy, beautiful in between things.
Palombo’s masterful writing made me want to step into the story and drink a glass of vino rosso in la palazzo, with miei amici.
Bella is an orphan, who grows up to become a very quirky and reclusive woman. Her books are her friends. She’s an oddball. She reminded me of me.
Hearing Rupi Kaur speak felt like going to a party for women. There was snapping of fingers when something particularly profound was said – which was often.
Watching this film felt like riding a canoe along a Southern American creek - slow, beautiful, rocky at times.
Cheryl Strayed gives refreshingly frank advice on love and life, in a collection of poignant letters from her advice column The Rumpus
Catrin is hired to write “...slop. You know, women’s dialogue” for WWII propaganda but despite being made to feel small, she won’t be minimised.