I’m finding this behemoth of a novel a very difficult one to review.
I’ll give Infinite Jest some credit: it’s different for sure. Different than anytI’m finding this behemoth of a novel a very difficult one to review.
I’ll give Infinite Jest some credit: it’s different for sure. Different than anything I’ve ever read. It seems to exist in so many genres and subgenres and is has a unique presentation. I had to pull the plug, though, because it was just too much of everything else.
Probably the one thing that this book has going for it is the moments of humor aimed at society. There were a few entertaining segments that are spot on, for instance, that are insightful and predictive of our future (there is a funny chapter dedicated to all of the problems of communication that reminded me quite a bit of the Zoom meetings we were forced to take part in during the 2020 lockdowns for instance). Also, the competitive tennis world scenarios were rather funny as well.
So why 2 stars? Basically, everything else. This book packs in various alternating storylines but within these storylines there is so much filler and superfluous, minute, overabundant nonsense thrown in that I literally had to skim over chapters just to get to something else. Footnotes and endnotes are everywhere as well. Alongside all the extraneous material, there was quite a bit of off-putting and/or depressing subject matter (drug use, mental health, etc.) that I just didn’t want to read about every day.
I stopped around the 400-page mark and it took me a month and a half to get there, and it feels like this book could have been trimmed down significantly. I could only read this book in small mouthfuls, 15 or 20 pages a day.
I watched a few interviews online with Wallace and he comes across well spoken and as some sort of genius. However, this doesn’t necessarily mean his writing will translate into a book people want to read. So I suppose the joke is on us. This was mostly a tedious and unrewarding read, not worth the investment in the long run.
That being said, I suppose I can see the appeal of this book to some readers. I am clearly not in this demographic though. ...more
I wanted to like this novel. I really did. I mean, cats and everything. But I can only say that I feel lukewarm about the whole experience. This is a I wanted to like this novel. I really did. I mean, cats and everything. But I can only say that I feel lukewarm about the whole experience. This is a read that I thought would be about something else entirely.
In the opening segments, a man named Saturo forms a bond with a cat (Nana) who Saturo has rescued from being hit by a car. Saturo eventually helps kitty recover and recuperate and the bond is firmly solidified. However, for reasons that are undiscovered until much later in the novel, Saturo is forced to try to give up and find a suitable owner who will take Nana and care for him. From here, we go from place to place, locale to locale, as Saturo tries to find Nana a place.
As I hinted at earlier, this had all the makings of a book I would like, but it really felt like the book’s title is a massive misnomer since so much of the focus is on human interaction and the behind-the-scenes interactions and so little of it is really about the life of Nana.
Also, the plot jumps around way too much and too randomly without any rhyme or reason, and so there is not much in the way of a deep focus on any one story or moment. It was too scattered, and it feels like it could have been a translation issue. (Also, it was odd how the narrative voice shifted from the sarcastic Nana to a third person narrator on a whim from segment to segment).
The novel heads toward a slightly predictable path in the final parts and just overall has an overly sentimental, saccharine mood that is too heavy handed and obvious. The author lays this on way too thick. Because of this, there is not as much power in the key moments that should have been more of an emotional investment on the part of the reader, and, in general, things fall a little flat.
In the end, I appreciate the kitty and the story of his owner and there is a little charm and thoughtfulness to how it is presented, but it just didn’t entirely work with all the behind-the-scenes family/ human drama. ...more
Herman Hesse is quickly becoming my “to go” for philosophical reads. This was my third read from him (the others being Siddhartha and Steppenwolf, botHerman Hesse is quickly becoming my “to go” for philosophical reads. This was my third read from him (the others being Siddhartha and Steppenwolf, both very enjoyable), and what I can attest to it that there is always so much food for thought and introspection upon finishing one of his novels, and the semi-autobiographical Demian is no exception.
At the root and core of Demian is the literal and figurative self-awareness and spiritual self-discovery of our protagonist Sinclair through his life journey and struggles.
The book opens by giving background into the childhood days of Sinclair, our narrator. He lives in a religious and respectable family, but he is caught between the two realms that exist in the world—light and darkness. His home is largely a shelter from the ills of the world, but despite this, he falls victim to going against this and at points regrets this and tries to correct:
“But all of it was lost to me now, all of it belonged to the clear, well-lighted world of my father and mother, and I, guiltily and deeply engulfed I an alien world, was entangled in adventures and sin, threated by an enemy—by dangers, fear, and shame.”
After struggling to fit in at school, Sinclair eventually meets a boy named Demian, who helps to get Sinclair out of a major jam with a bully. Demian by parts opens up a new way of looking at the world to Sinclair, and becomes an impressionable person in Sinclair’s life.
In many ways this novel is representative of a search for meaning and identity in one’s life, a self-reflective, introspective look into the soul, an awakening of sorts to a new perspective. Throughout Sinclair’s story he grapples with this inner conflict of trying to understand himself and how he should see the world.
The novel is a mere one hundred fifty pages, but packs so much depth and meaning into such a short span. Demian is a very cerebral, thought-provoking, and spiritual journey and exploration.
If there is one blemish which kept this from being five stars, it is that I just felt like the ending and latter parts left some questions hanging in the balance. I get that it is a philosophical book, and the reader is to make their own judgments and assessments about meaning and interpretation, but the book seemingly just ends rather abruptly after setting up so many questions to be resolved.
This aside, Demian was still a brilliant book, and I will look to read more Hesse in the future. ...more
I read somewhere that Nathaniel West and F. Scott Fitzgerald were friends or acquaintances (and it is evidenced in letters from West to Fitzgerald in I read somewhere that Nathaniel West and F. Scott Fitzgerald were friends or acquaintances (and it is evidenced in letters from West to Fitzgerald in this edition), which is fitting because for some odd reason this book has some qualities representative of a Fitzgerald work, a very dark Fitzgerald work. (It is also ironic that both authors died tragically just one day apart at a very young age).
However, while some elements were similar, West’s The Day of the Locust is a grim, bleak, almost at times nihilistic and bizarre vehicle for the disillusionment of the American Dream. More specifically, it paints the portrayal of the great Hollywood façade.
Tod is an artist who comes out to Hollywood to gain some inspiration for an illustration he has in the works entitled “The Burning of Los Angeles.” While staying at the local hotel he meets an assortment of characters who fill the basis of the novel: aspiring actress Faye Greener, a dwarf named “Honest” Abe, a suitor of Faye’s named Homer Simpson (not the one you are thinking of), Harry Greener (Faye’s father) and Earl (another acquaintance of Faye’s) among others.
West’s scathing treatment of the Hollywood scene works in a sense, but maybe a little too much. The plot and characters are a train wreck and akin to watching a head-on collision. I’m all for bleak is it is done effectively, but this book was just bleak-bleak, rather depressing. Also, there is just not much of a plot per se, but rather a series of episodes where we follow characters from here to there in an aimless way. (I do suppose this typifies and parallels with the aimlessness of the characters).
At the end of the day, the characters are so shallow and superficial and unlikeable and just a mess, and there are some rather off-putting scenes as well. This book is just generally an unpleasant experience. I suppose that is what West is striving for and par for the course, but I just can’t say I enjoyed picking up this book each night to read.
I do recognize, however, that there is quite a bit going on under the surface and there is a strong existential and literary quality to the writing itself that West brings to the table. The aforementioned canvas that Tod is working on, “The Burning of Los Angeles” seems to have a strong symbolic quality to it that coincides with the fractured nature of these characters and their dashed hopes as well as the finale of the novel.
If one were to take a deeper dive, there would be quite a bit to unpack in The Day of the Locust.
However, if you decide to read this one, kids, please do buckle up: it’s going to be a bumpy ride. This is Hollyweird at its finest.
This is my third read from Kazuo Ishiguro (the other two being Never Let Me Go and The Remains of the Day, both of which I enjoyed very much) and one This is my third read from Kazuo Ishiguro (the other two being Never Let Me Go and The Remains of the Day, both of which I enjoyed very much) and one common trait from all three books is the level of sophistication and introspection. This often comes in the form of how thoughts, memories, and time (from the narrator’s point of view) play a key role and mechanism in how events and themes are presented and/or manipulated.
Alongside this, there’s often a question of how much is NOT said from the narrator’s perspective, and this is important because there is at times heavy lifting required from the reader. I think this is fine, however, because there are definitely some holes to fill in or “under the surface” moments that we need to interpret. In short, I appreciate the fact that we have to put some pieces of the puzzle together to form our own perspective.
When We Were Orphans is such a novel that gives the reader quite a bit to sift through and unpack. In its barest form, the book involves narrator Christopher Banks’ quest to find his mother and father, who went missing when he was younger. He is now a prominent detective who has made a name for himself, and will eventually revisit Shanghai to finally try to solve the mystery of this disappearance. However, along this journey, Banks is preoccupied with so many recollections of the past, tragedies and momentous events that still haunt him till this day.
This is quite a difficult book to write about in detail without a potential spoiler, but suffice to say, there is a distant, non-linear aspect to aspect to Banks’ narration and reflections that might have us question what is real and what is perhaps exaggeration. I felt like this was a novel of many novels, given the several different threads and subplots are opened up and recur throughout. We move back and forth through different moments in Christopher’s life, from his childhood memories with his parents and Uncle Phillips, his friend Akira, his encounters with Sarah Hemmings, and his adopted daughter Jennifer and try to put this fragmented puzzle together.
There is quite a bit to reflect upon after finishing, and I think the title takes on a deeper level of significance looking back. I like the level of ambiguity that the author utilizes to have us fill in some of the missing pieces in this one. Very introspective read, and I look forward to my next read from this author. ...more
I’ve known about the Orson Welles film version of The Magnificent Ambersons and have been wanting to watch it for quite some time, but I wanted to tacI’ve known about the Orson Welles film version of The Magnificent Ambersons and have been wanting to watch it for quite some time, but I wanted to tackle the book version beforehand. This is one of those books that you are sure is going to be a certain rating, but then, by the end of the novel, you realize that your mind has changed, and you give it a different rating.
This book reminded me quite a bit of something in the vein of Winesburg, Ohio by Sherwood Anderson. It has that small town, Midwest kind of feel to it that I think the reader can readily appreciate. I think one of the things that Tarkington is able to capture in this novel is the changing of the guard in terms of technological advancements, and this plays right into how characters are able to adapt or not adapt to said advancements.
I suppose this is purposely done by our author, but our “protagonist” is one of the more arrogant and self-centered ones to grace a novel. Georgie Amberson is stubborn and conceited and pretty much full of himself, and he inflicts quite a bit of damage and emotional pain and suffering on those family members close to him as well as the people who they care about. We, as readers, wait for his “comeuppance”, but, by then, much of the damage has been done.
Another element that I found interesting was the aspect of the title (maybe a tad ironic) and the downfall and decline of one of the most prominent and high-profile families. While this was sort of bleak in many ways, I think that Tarkington does an excellent job of capturing how industrialization and technological progress and innovation was a key cog in the machine of this time period, and you either “kept up with the Joneses” so to speak, or fell by the wayside. Tarkington captures the changing of the guard quite eloquently: “He walked homeward slowly through what appeared to be strange streets of a strange city; and, as a matter of fact, the city was strange to him…He had not realized the great change.”
I have heard some reviewers complain about the “dues ex machina” kind of ending, but I didn’t really see it that way. I think there is an element of characters finally coming full circle.
At the end of the day, despite having a jerk of a protagonist, I ended up quite liking The Magnificent Ambersons and I think that Tarkington captures so many themes eloquently, especially specific aspect of how the American Dream comes into play. I thought it was curious how this is the middle book in the trilogy of the author’s “Growth Series”, so I have already ordered the first book, “The Turmoil” on kindle.
Now I am off to watch the film version and compare....more
“They crested out on the bluff in the late afternoon sun with their shadows long on the sawgrass and burnt sedge, moving single file and slowly high a“They crested out on the bluff in the late afternoon sun with their shadows long on the sawgrass and burnt sedge, moving single file and slowly high above the river with something of its own implacability, pausing and grouping for a moment and going on again strung out in silhouette against the sun and dropping under the crest of the hill into a fold of blue shadow with light touching them about the head in spurious sanctity until they had gone on for such a time and saw the sun down altogether and they moved in shadow altogether with suited them very well.”
Wow, this is tough one to review. As the title suggests, this is one of the darker McCarthy novels that is out there, and definitely the most uncomfortable to read. I feel like this novel is representative of a dark odyssey, a strange, bizarre and perilous journey.
Maybe one of highest points about this novel is how much there is up to interpretation upon finishing. There is an ever-present high dose of allegorical and symbolic meaning, and McCarthy handles this so eloquently with his style of dark imagery and poetic descriptions. Surface-level wise, this is the tale of two diverging paths taken by a brother and sister, the sister looking for her baby, the brother out looking for work. Symbolically they both are looking for hope as they travel. As they journey through the countryside, they have a series of episodes and encounters with strangers.
Through some of their dark encounters and through their point of view, McCarthy examines the theme of sin and corruption. Outer Dark is very existential and thought-provoking, despite its disturbing and uncomfortable content.
I know that some readers do not like McCarthy’s style, but I am always drawn to it. So, despite the rather odd and bizarre scenarios encountered by brother and sister, I was interested to find out how events would play out.
Outer Dark reminded me quite a bit of something in vein of Flannery O’Connor’s Wise Blood in its religious overtones and in its level of Southern Gothic. This book is a thought-provoking, albeit disturbing and bleak read with quite a bit of room for interpretation. If you are new to reading McCarthy, I do not think this is the one to start with. I would go with The Road instead.
“These are the last things, she wrote. One by one they disappear and never come back. I can tell you of the ones I have seen, of the ones that are no “These are the last things, she wrote. One by one they disappear and never come back. I can tell you of the ones I have seen, of the ones that are no more, but I doubt there will be time. It is all happening too fast now, and I cannot keep up.”
In a year that has felt like a semi-lackluster reading experience for me (as far as book ratings go), Paul Auster’s In the Country of Last Things (one of his first, being published in 1987) might just well be my favorite read from this year so far.
I’m a bit of a sucker for the dystopian/post-apocalyptic type novels if handled the right way, and I think that this novel is an exceptional one for its thoughtfulness, reflectiveness, creativity, and power. The epistolary format, told from Anna Blume’s perspective to an unnamed reader, works so well and effectively stylistically. Through Anna’s eyes—her thoughts, her experiences, her reflections—Auster is able to create this upside-down, topsy-turvy, backwards society in such an authentic and unique way, and I think this allows the reader to be more emotionally invested in Anna and her fate.
From Anna’s letter and reflections in a blue notebook she has managed to save, we come to understand that she has come to an unnamed city in search of her brother. She details aspects of society and sets up this world: homelessness is rampant, hunger and starvation eminent, suicide common, crime everywhere. Through the ruins and chaos of this city, survivors have formed factions or groups in order to survive or make it to the next day or find their next meal or shelter. It is almost a nihilistic depiction of depravity and darkness within this city’s confines. Anna eventually takes the role as a scavenger in order to survive and find her brother.
As stated earlier, there is a personal aspect to Anna’s voice that I think gives this novel an added level of depth and dimension, something I do not think I have experienced much in this genre. She allows us into her world and life, and by parts, I believe there is not only the physical journey of finding her lost family member, but there is also a metaphorical level of finding herself and identity and finding a sense of “home” or “belonging.” She also reveals how so many others she encounters have the same desire for not only the physical necessities of survival and daily sustenance, but a symbolic peace of mind.
At a very brisk 188 pages, this is a book where it is difficult to give many novel details without maybe spoiling things, but suffice to say, she meets a few key individuals who become central to the plot and her hope, and they try to pull their resources together in order to survive as best they can.
The reader experiences a wide range of emotions (hope, sadness, despair, joy, happiness, disgust, concern, uneasiness) all within the scope and journey of Anna’s haunting narrative. In such a short space of time, this book really packs a punch.
This is my third read from Paul Auster (The New York Trilogy, Oracle Night) and I have thoroughly enjoyed them all. I think there is a reflective, metacognitive style in his books that I am drawn to. Anyhow, look forward to more reads from this author. I enjoyed this one thoroughly! ...more
“What has fueled Bix’s indulgence, his endurance, was the thrall of his Vision, which burned with hypnotic clarity on those nights of soggy exile.” Bi“What has fueled Bix’s indulgence, his endurance, was the thrall of his Vision, which burned with hypnotic clarity on those nights of soggy exile.” Bix Burton has visions of setting up an interconnectedness that would revolutionize and forever change methods of technological communication in the modern world.
Enter “Own Your Consciousness,” a program that allows an individual to upload their memories online to access on a portal of others’ thoughts and memories. In this way, memories are shared in a technologically advanced way.
I admit that this is my first read from this author, not having previously read A Visit From the Good Squad, so whether that is a factor in how I perceived the book or not is up to question. I heard that several characters from the previous book were also in this novel, so not sure if that would have influenced my rating one way or another.
I will give The Candy House credit for its unique premise, however somehow everything did not quite mesh into a work that comes together cohesively. It felt jumbled, muddled, scatterbrained and all over the place in many instances. The novel is set up in a way that is non-linear and fragmentary, jumping around from character to character’s point of view and how “Own Your Consciousness” plays out in their lives and the interactions with those around them.
This style of format, almost a series of vignettes in a stream of consciousness way, works well in some books, but in this one fell a little flat. I do not think that the reader was wholly invested in the characters. Perhaps this approach was done intentionally for effect, but nonetheless I could not get into this book in the way that others did.
In the end, it seems like an ingenious idea and concept for a novel that fell a little flat. ...more
It’s difficult to fathom that every other read from Murakami has been either 4 or 5 stars for me and yet, here we are with 1Q84. I loved both Hard BoiIt’s difficult to fathom that every other read from Murakami has been either 4 or 5 stars for me and yet, here we are with 1Q84. I loved both Hard Boiled Wonderland and The Wind-Up Bird Chronicle, easy five stars. And Kafka on the Shore and After Dark were solid four stars. So, what went wrong here? Is it simply that the Murakami shtick is finally failing this time after so many successes and hits? Or could 1Q84 be the outlier, the outcast of the family, one that disappoints in comparison to other reads? Or perhaps it is a little of both?
Talk about a dismal disappointment. I am trying to find some positive things to say about this book and even as a Murakami fan, I am having a real struggle.
Let’s start with the lack of compelling lead characters, who are nothing to write home about. If you are going to write a 1178 page behemoth, then at least principle characters who are interesting, compelling or someone who a reader is invested in. The two leads—Tengo and Aomame—were as flat and undynamic as they come. I felt like the author was trying way too hard with the whole destiny “love” thing that encompasses the entirely of the book (Who would have thought: finding your soul mate only requires holding hands briefly as 10-year-olds and then going all out to seek each other 20 years later?) At any rate, the two characters seeking each other out after twenty years reeked of triteness and artificialness to try to give the book this “heavy” meaning or importance or something. However, it does not work at all, in my opinion.
With every Murakami read, there is a heavy amount of symbolic and metaphorical power, but here it just fails. We have the parallel worlds of 1984 and the 1Q84 here, which the lead characters come to realize at some point, but there’s really nothing to latch onto of import in either. Other phenomenon that surface within the confines of the plot that have little relevance, such as the Little People, who could possibly be evil, but mostly just say “Ho Ho.” I just felt like there was so much wasted potential, as points that could have been deep and meaningful come across as trite and pretentious.
And as far as the plot is concerned, it is mostly bloated, repetitive, and, at points, ridiculous. Too many random superfluous nonsense and scenes that are just thrown in scatterbrain and have little value (Tengo’s relationship with the married woman, Aomame’s ventures with the police officer, as two examples). Despite the alternating storylines, the book feels all over the place. And yet, it is also so darn repetitive. How many more times do we have to hear via internal monologue what Tengo witnessed as a child? How many more times do we have to hear about Tengo’s impressions of holding Aomame’s hands? How many more times do we need to hear about the misshapen head of Ushikawa and his general repulsiveness? And, for everything, the ending just felt flat as well.
Yet, even with all my complaints, this is Murakami and there should be something to enjoy right? If there was one interesting aspect that I did like, it would be the book within a book aspect of the book Tengo helps to write, Air Chrysalis, and how aspects of it bleed into the real world. Along with this, there are some moments that were thought-provoking. Too bad these moments were seldom, though.
Despite having the common staples typical of the aforementioned Murakami shtick, at the end of the day 1Q84 was mostly bloated, repetitive, lacking, and unsatisfying.
Many other reviewers have attested to this, but this novel is one of those “there is quite a bit going on under the surface” kind of reads. I think ifMany other reviewers have attested to this, but this novel is one of those “there is quite a bit going on under the surface” kind of reads. I think if handled the right way, the subtleness and ambivalence can be quite effective and powerful to the story, and such is the case here in Elisa Shua Dusapin’s debut novel Winter in Sokcho.
The French Korean narrator works as a receptionist at a guest house in the Korean town of Sokcho. A graphic artist (Kerrand) arrives and stays at the lodge that the narrator work. He and the narrator form an acquaintance and a relationship of sorts (which, like much of the novel, is not clearly defined but rather revealed implicitly). Kerrand hopes to draw some inspiration from the setting and finish the novel he is illustrating.
One of my favorite and telling scenes in this book is a discussion that the narrator is having with Kerrand about his sketches and his novel. Kerrand intimates to the narrator that his characters are merely individuals—not heroes—trying to find and fill in their own story. I felt that scene was indicative and works as a microcosm for not only the two principle characters, but the novel as a whole. Both the narrator and Kerrand are trying to finish their own stories so to speak, fill in their own life meaning and identities and find themselves, and this scene underscores this recurrent theme and elements that works throughout the plot.
We as readers are given snatches and glimpses into the narrator’s life at various points that offer some context to putting everything together and understanding the narrator’s inner turmoil. (I thought it interesting also that the narrator is never truly identified by name throughout). We come to understand that the narrator does not know her father, as he left when she was very young, so his identity or whereabouts remains a mystery. The narrator carries on with what seems to be a very lacking and superficial relationship with her boyfriend, Jun-oh, but the narrator’s mother hopes that they will one day be married. We also learn through various moments that the narrator has a body image/eating disorder that seems to flare up at times of extreme difficulty or stress.
At a mere 150 pages plus, Winter is Sokcho is a very quietly contemplative and thought-provoking book, one that is very character-driven and naturally lends itself to thoughts and discussion upon completing the final page.
One of more remarkable things about this book is finding out that the author published this when she was just 24 years old! (I feel seriously jealous now). I love the author’s style of lyrical, illustrative prose and how she handled presenting the story to us.
And, not to say that you should judge a book by its cover, but the post card approach with Sokcho in the background is very illustrative and cool.
If you like a slightly ambivalent and subtle, thought-provoking, character-driven read, I definitely recommend this novel. I look forward to more works from this author. ...more
“Yes, we’ll gather at the river The beautiful, the beautiful river; Gather with the saints at the river That flows by the throne of God.”
This was my fi“Yes, we’ll gather at the river The beautiful, the beautiful river; Gather with the saints at the river That flows by the throne of God.”
This was my first introduction to the work of Ron Rash, and it did not disappoint.
When a twelve-year-old girl drowns in the Tamassee River in South Carolina, its sets up a fight and struggle between those on the side of recovering the girl’s body and those who believe that a rescue attempt may damage the river. The small town is put into a whirlwind of conflict and bitter struggle.
In less capable hands, I think that this story could have been over sensationalized, over-the-top, or less effective, but Rash presents this story in such a quietly powerful and unintrusive way that you feel for both sides. We see all through the lens of the main character Maggie Glenn, a photographer who has come back to the town she grew up in to help cover the story. Alongside her perspective, we are presented the concerns for both the parents of the girl who drowned as well as environmentalists who want to protect the river.
There are lovely descriptions and depictions of the Tamassee River and the surroundings and nature itself. The Tamassee in certain ways becomes a character in the novel as well, as it becomes the focal point through which many people hold so many views.
I also felt as though the characters were well drawn and realistic. Rash allows us to get to know not only the book’s central character, Maggie, but the important secondary characters (Luke, Allen) as well. There is a conflict between Maggie and her father--old wounds from the past that need to be dealt with--that serves to be a secondary conflict within the novel.
Overall, Saints at the River is a quietly powerful book, one that is very reflective. I look forward to reading more of Ron Rash in the future.
“The beauty of the House is immeasurable; its kindness infinite.”
Susanna Clarke’s Piranesi is definitely one of the most unique books I have ever rea“The beauty of the House is immeasurable; its kindness infinite.”
Susanna Clarke’s Piranesi is definitely one of the most unique books I have ever read. I think that there are several things that make for an enjoyable reading experience in this book.
For one, I really liked how Clarke sets us the world in the opening section of the novel. Almost instantly, we are put into a fantastical world full of mystery and wonder; hearing everything from Piranesi’s point of view allows to set up this uniqueness. It also allows for us, the readers, to be left in the dark about key developments that will be later revealed, adding that layer of mystery and wonder.
In many ways, this book is like an imaginative literary puzzle, and fuses several genres. And the House itself takes on a life of its own in the book and becomes a prominent figure as we try to put all the pieces together. (I was reminded a tad of House of Leaves in how the spatial outlet of the surroundings is as significant and important as the plot itself).
Piranesi’s innocent, naïve, but easygoing and likeable nature helps to create this world for us as readers. He keeps a journal that serve as the basis for his narrative to us. He does not use traditional months, days and year to chronicle the journal entries, but rather has time represented by days after key events that have occurred (ex: Entry For The Sixteenth Day Of the Sixth Month In The Year The Albatross Came To The South-Western Halls). As he comes to observations and revelations, so do we.
I think this book is also very deep in terms of both allegorical aspects as well as themes as there are some layers of meaning to unpack. There are underlying themes of exploration, searching for one’s true self and identity as well as the nature of solitude that are examined within the scope of the plot.
Piranesi is one of those books that leave you thinking, contemplating, reflecting, asking questions, and in general trying to wrap your head around when you finish the final page, definitely what a reader wants out of a book. Clarke’s Piranesi is one that will leave an indelible impression on the reader. ...more
Probably the word that sums up the reading experience of this book the most is frustrating. It was a laborious task reading this book in more ways thaProbably the word that sums up the reading experience of this book the most is frustrating. It was a laborious task reading this book in more ways than one, yet amid the struggle there are poignant, emotional, and relevant moments into the lives of the key characters. However, these moments are seldom, having to wade through so much other stuff.
This book left me frustrated on two levels, both in the reading sense and emotionally. Let me explain. I think one of the issues I have with this book is that there is too much in way of stream of consciousness, scatterbrained, herky-jerky, overblown and jarring narrative style that stalls and diminishes a much of the power of the story. I know it is for effect, but it does not seem to work here, and just makes for quite a bit of tedium. Reading this book is on par with driving through dense fog. It was quite an effort at points, and I honestly just wanted to skim ahead during some of these overblown sections where randomness comes out of nowhere.
And, in another sense, this book is just too dark and depressing, and not in a way that made me emotionally invested due to lackluster, unsympathetic lead characters in Joe and Kerewin. There are heavy subjects and themes like child abuse contained within the book.
Another issue was that the book was tedious in the sense that is it vastly overwritten. There are literally passages, stretches, and sections of thirty or more pages where we are in a bar listening to characters order drinks, etc. where absolutely nothing of consequence happens. I understand that the author is trying to give us time to get to know the characters, but when the characters are underwhelming as well as the mundane scenes in the book, then it leaves an unsatisfied feeling for the reader.
And the ending was both ridiculous and pretentious, in my opinion.
I am one of those people who tries to finish books no matter what, but I was almost ready to cry uncle at several points. It is one of those books that I was just glad to be over and done with. ...more
I have heard so much about Simenon and his remarkable works for quite some time. I had bought Red Lights a few years ago and was eagerly awaiting gettI have heard so much about Simenon and his remarkable works for quite some time. I had bought Red Lights a few years ago and was eagerly awaiting getting to it, since it was close to Labor Day, and this is exactly the setting for his novel.
I think one of the more remarkable things about Red Lights is its claustrophobic tone in the initial parts. Simenon juxtaposes the “red lights” of the East coast traffic with perspective of Steve Logan to give it this sort of stifling, almost “closed in” atmosphere: “What got on his nerves was the incessant hum of wheels on either side of him, the headlights rushing to meet him every hundred yards, and also the sensation of being caught in a tide, with no way of escaping either to right or to left, or even of driving more slowly, because his mirror showed a triple string of lights following bumper-to-bumper behind him.” This moment is illustrative of Steve’s state of mind and his soon to be destructive instincts before entering “the tunnel.”
When Steve has a chance encounter with a criminal on the loose after going on a bender at a bar, it sets the stage for a very psychological and frantic pace.
Simenon has a way of making this novel very psychological, as it has so many complex undertones and angles. Perhaps Anita Brookner, in the introduction to the novel, states it best in describing this: “A life will go wrong, usually because of an element in the protagonist’s make up which impels him to self-destruct, to willfully seek disgrace, exclusion, ruin in his search for fulfillment and a fatal freedom which take on an aura of destiny.” The novel digs in and examines the character of Steve Logan and lets the readers scrutinize as well and come to their own conclusions. Readers will not see him as being very sympathetic despite all the conflicts he encounters, as he is a very failed and flawed character. The “tunnel” he enters is sort of a defying of constraints, letting loose on impulses, which for Steve, in this case, is drinking. As much as he is the protagonist of the plot, he also could qualify as an antagonist for bringing on so much of the self-inflicted trouble that takes place.
This is one of those books where, despite how terrible things get, it is difficult to look away. Many parts take on a surrealistic vibe, especially in the moments of the “aftermath” of what occurs during the plot. A frantic search for his wife ensues for Steve, and he must question his own identity.
A very thought-provoking novel here. This is my first Simenon, but it will not be my last. ...more
“But a part of her was with them, and she could feel this part of her own self going away, and farther away; farther and farther, so that a drawn-out “But a part of her was with them, and she could feel this part of her own self going away, and farther away; farther and farther, so that a drawn-out sickness came in her, going away and farther away, so that the kitchen Frankie was an old hull left there at the table.”
I think we can all identify with being young, wanting adventure, and being part of something big and momentous. In Carson McCullers’ The Member of the Wedding, twelve-year-old Frankie longs for something outside of her current life situation. As her brother will married soon, and onto his honeymoon, this perhaps opens the window to Frankie’s hopes…
Among other themes and morals, perhaps the most prevalent is Frankie’s pursuit of finding her place and her identity. In many respects, she is at a crossroads in her young life, caught between youth and adolescence, between life at home and the world outside. The novel zeroes in on Frankie’s inner turmoil and exploration of these two boundaries.
One of the aspects McCullers handles so well in her novels is exploring the human condition in a uniquely original way, and this is exemplified to a tee in The Member of the Wedding. McCullers takes the reader along with Frankie and we also get to contemplate the struggles of acceptance, understanding one’s self, and finding one’s place. It’s easy to see how this story would work well in a drama format and be converted to a play.
In short, The Member of the Wedding is a very contemplative and reflective novel, a coming-of-age story that we can all readily identify with in some manner. It is a very quick and concise read that flies by, and one of those novels that will have you thinking long after you read the final page. ...more
I wish I could say I was more interested and invested in these stories, but the truth of the matter is that some were hits and some were misses in my I wish I could say I was more interested and invested in these stories, but the truth of the matter is that some were hits and some were misses in my estimation. From reading the reviews of this collection, it seems that readers and reviewers were all over the board on which ones were the most memorable or best and which ones they did not care for. It seems like many reviewers enjoyed “Tomorrow” and I thought it a pretty solid story and I remember seeing the film with Robert Duvall years ago. I suppose there are moments in all these stories of Faulkner’s genius, but then there are some moments that are a tad too convoluted that stalls the momentum.
I believe Faulkner is in best form when he is using stream of consciousness and in longer form with novels. I realize the Faulkner is an acquired read, and I’ve read some of his novels and enjoyed them despite their complicated form, style and technique (“As I Lay Dying is an example). While these stories in Knight’s Gambit are billed as mystery and there some elements of mystery as Gavin Stevens comes in to investigate, I do not think these would be considered mysteries in the traditional sense. However, there are elements of Stevens coming and unpacking or unearthing the whys of the crime. So, I think that at many points the why becomes a more prominent issue than who of these stories. There is also definitely a human element invoked within the stories that I thought was a nice touch, as evidenced in the aforementioned “Tomorrow” and also in the story “Monk.” I also enjoyed the opening story “Smoke” and thought that this one had an effective conclusion and unraveling of events.
Overall, not bad, but I think I prefer some of Faulkner’s other works a little more....more
I had Fathers and Sons on my to-read list for quite some time, so it was nice to finally get to read it for a group read. Although Ivan Turgenev is noI had Fathers and Sons on my to-read list for quite some time, so it was nice to finally get to read it for a group read. Although Ivan Turgenev is not as well known with as names like Tolstoy, Dostoevsky and other great Russian novelists, certainly he was an impressionable Russian voice in the many of the same ways and I believe this novel is considered the first Russian novel.
Father and Sons does not establish a traditional plot, per se, as the construct of the narrative seems to be a series of episodes shifting from one locale to another. Nonetheless, the novel as a whole is a brilliant vehicle for deep thought, discussion and reflection, which to me is a hallmark of a good book. In some ways, Fathers and Sons works almost as a drama or play without actually being a drama or a play, as the central framework and focus is through character interaction and discussion. The book itself is constructed beautifully and there are so many layers and thinking points to deconstruct and analyze upon reading the final page.
As the book’s title suggest, one predominant theme is that of the older generation vs. the younger generation. In this case, we have the “reactionary” fathers of the 1840s and the “revolutionary” sons of the 1860s. At front and center within this conflict is Bazarov, a young, nihilistic rebel, who is openly critical of society. The book opens in 1859 with a young man, Arkady, coming home to his father and his uncle and introducing his friend Bazarov to them. Arkady idolizes and admires Bazarov for his independent thought, and through the course of the novel we see how the young men, particularly Bazarov, come into conflict with the ideals of Arkady’s father and uncle.
There are also other areas that create engagement in Fathers and Sons. Within the novel, there are a couple of romantic subplots, a duel, and a dramatic finale and conclusion. I also thought that each of the characters presented had a level of depth to them.
This version (translated by Rosemary Edmonds) has a fabulous and extensive introduction to the novel, which gives quite a bit of background to both the novel and the author.
If you are a fan of Russian authors of Russian literature or just enjoy a deeply philosophical, thought-provoking read, Fathers and Sons is well worth the time...more
While a key mystery pertains to The Vanishing Act of Esme Lennox (in fact, maybe even two or three), the novel itself it not your typical mystery whenWhile a key mystery pertains to The Vanishing Act of Esme Lennox (in fact, maybe even two or three), the novel itself it not your typical mystery when we think of the genre.
The novel shifts back and forth between time periods (two predominant ones, the 1930s and the present) as well as character perspectives. Within the plot, we discover under what circumstances a woman named Esme Lennox was institutionalized as well as the hidden effects this had on those in the present. The 1930s perspective gives glimpses of Esme’s upbringing and early youth as well as giving some background into her family. During this time, we come to understand a bit about her character and some of the conflicts she had with her parents and others. Flash forward to the present narration, a young woman named Iris gets a message that she has a great aunt—someone she has never heard of—who is being released from a psychiatric unit.
Maggie O’Farrell has a fragmented, jumpy way of bringing this story to light. There are no chapter delineations, but rather shifts back and in forth from various times and characters’ perspectives (Iris, Esme, Esme’s sister Kitty). Rather than being a deterrent, this type of narration seems to parallel and work in tandem with puzzling nature of Esme’s “imprisonment”, as we are given bits and pieces to try to put the entire picture together. And, while it does get a tad confusing sometimes, there is enough in the way of hints and clues to help us form a picture in the final parts (although I believe there is still some ambiguity in understanding the final scene). In this way, I really felt like this constant shifting back and forth was effective in creating the effect of the murky puzzle and mystery that slowly unfolds and comes into view.
Among the many powerful aspects, The Vanishing Act of Esme Lennox lends itself to reflection after the final page and is a discussion piece about the nature of institutionalizing those who are deemed “different” or “atypical” of certain societal norms. O’Farrell handles the story eloquently, and has the right amount of pathos, heart-wrenching moments that help you empathize with Esme, and moments of intrigue and mystery. The novel is as much about the tragedy of a life lost as well as a mystery into uncovering the background into Esme, her family, and their situation as it is coming to terms with how the events and moments of the past have affected relationships in the present.
I thought this was a unique take on the mystery genre, and one of the more original novels I have read recently. I had not heard of this author or her works, but I am glad this novel was brought to my attention and look forward to reading O’Farrell more in the future. ...more
Although this second edition was written in 1983 and so the art and rhetoric of fiction in the modern day may have well changed in the past nearly 40 Although this second edition was written in 1983 and so the art and rhetoric of fiction in the modern day may have well changed in the past nearly 40 years, I think that Wayne C. Booth’s The Rhetoric of Fiction is quite a detailed, well-researched and thought-provoking work in terms of analysis and criticism of the craft of writing fiction. For this as much as anything, it does still have a relevance and value.
I will admittedly say that this book is quite erudite and dense; Booth is quite intricate, meticulous, and detailed throughout the book. In this way, the book is particularly challenging because of its depth, and so I had to take this book in exceedingly small mouthfuls each day, rather than huge gulps. For that reason, it took me over a month or so to read because I was reading other works alongside this one and did not want to overwork my brain.
I think there is quite a bit of value here, mainly because there is just a preponderance of information and examination of all that is in how fictional form works, and the relationship an author has with her or her audience when the present a work. Through the author’s rhetoric—which may come in the form of various methods—the author shapes their novel and what they want the reader to take from their work. There are many points on how an author give a voice to themselves within the framework of their novel.
Booth seems to have done extensive research within this work, and this is observed in the various works he references at length. He utilizes the works of Henry James quite frequently, for instance, as well as referencing several other key classic and more modernistic authors and their works. There are many focal points within The Rhetoric of Fiction, so I think each reader can take a chapter that delves into something they find of interest. And, while it was a challenging book to read (not light reading here at all), there are so many interesting thinking points contained within in a book about books.
The chapters themselves dig into various methods the author crafts their work. For example, there are chapters that examine “telling vs. showing”, various forms of narration, author’s intended commentary, the unreliable narration, etc.
Overall, The Rhetoric of Fiction is a book that makes one appreciate the value of how a novelist comes to terms with how he or she writes, and what the reader takes from the novel as a result. ...more
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