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B01N9S4GRO
| 4.07
| 12,665
| 2015
| Oct 10, 2017
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it was amazing
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[image] Three Super Stories The Encyclopedia of Ideas helped me remember that the first floor, which [Freud] called the id, contains all our impulses an[image] Three Super Stories The Encyclopedia of Ideas helped me remember that the first floor, which [Freud] called the id, contains all our impulses and urges. The middle floor is the ego, which tries to mediate between our desires and reality. And the uppermost level, the third floor, is the domain of His Majesty, the superego, which calls us to order sternly and demands that we take into account the effects of our actions on society.The original Hebrew title of Eshkol Nevo’s novel, Shalosh Qomot, apparently translates as “Three Stories,” which would have been a better title than the present one, assuming that the pun between “storey” and “story” still works. Literally, these are three novellas, each involving the residents of a given floor in an apartment building, in what one of them describes as “Bourgeoisville,” some way out of Tel Aviv. But this is indeed a novel, not just because of the minor references in each novella to the characters of the other two, but because of the moral themes running through all three. And between them, they exemplify Freud’s metaphor of the Id, ego, and superego, as in the quotation above. On the lower floor, Arno, a father with poor impulse control, comes to believe that the husband of the elderly couple opposite, whom they exploit as underpaid baby-sitters, has paedophilic designs on his young daughter. In fact, the man is merely suffering from dementia. Arno tells the story directly to the novelist, who was apparently a college friend, under the assumption that he will exonerate him. It is painful to listen to, as he makes one appalling judgement after another, all in the arrogant conviction that he is in the right. But in the translation by Sondra Silverston, it is quite unstoppable. The second story is also a confession, this time by a woman called Hani writing to a friend in America. While her husband is away on one of his many trips, she receives a visit from his long-estranged brother who is on the run from the law. She knows she should turn him in, but he immediately wins the love of her two young children and begins to arouse feelings in her too. At least, this is what seems to be happening, but there is a strong element of the unreliable narrator in play here too. Reliable or not, though, her voice is infectious, and you read on in bemused delight. With the third storey/story, though, the novel opens out into a quite different dimension. The narrator this time, Devora, is a retired judge, dictating her confession onto the tape of an old answering machine that she has found among her late husband’s things. At first, she believe she needs him as her confidant, but as the story goes on it becomes clear that she is leaving behind, not only her judicial robes, but also the behavioral assumptions she had taken for granted in her marriage. Before long, she will put her apartment up for sale, become involved with a youth protest movement in Tel Aviv, meet a man of her age who appears to know a surprising amount about her, and travel to an isolated desert farm at the far reaches of the country. The outward journey towards a future also turns out to be a reckoning with her past, and especially the mistakes she and her husband made in bringing up their misfit son, Adar. The ending, though far from simplistic, is charged with hope and utterly satisfying. I am sure that Israeli readers would pick up on all sorts of other layers to these stories, but their human values are obvious to anyone. Not to mention their sheer readability. Without question, this joins my list of contenders for Top Ten of 2017—remarkably so, since there are already two other Israeli novels on it: Judas, by Amos Oz and A Horse Walked into a Bar, by David Grossman. Remarkable year. Remarkable country. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow mu original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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1
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Dec 30, 2017
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Dec 31, 2017
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Dec 30, 2017
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Kindle Edition
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0008238626
| 9780008238629
| 0008238626
| 3.55
| 13,376
| Apr 06, 2017
| Apr 06, 2017
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it was amazing
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[image] WINNER OF THE COSTA NOVEL AWARD, 2017. A Pennine Almanac They gathered at the car park in the hour before dawn and waited to be told what to do.[image] WINNER OF THE COSTA NOVEL AWARD, 2017. A Pennine Almanac They gathered at the car park in the hour before dawn and waited to be told what to do. It was cold and there was little conversation. There were question that weren't being asked. The missing girl's name was Rebecca Shaw. When last seen she'd been wearing a white hooded top. A mist hung low across the moor and the ground was frozen hard. They were given instructions and then they moved off, their boots crunching on the stiffened ground and their tracks fading behind them as the heather sprang back into shape. […]Opening sentences. A missing teenager, the possibilities on everybody's mind. The dangers of the terrain and weather, rocky hillsides, the reservoirs and swollen river, the disused mines. And human dangers, not articulated as yet. In clean declarative sentences with hardly even a comma, Jon McGregor describes the search, which goes into a second day and then a third: […] The divers were going through the river again. A group of journalists waited for the shot, standing behind a cordon by the packhorse bridge, cameras aimed at the empty stretch of water, the breath clouding over their heads. In the lower field two of Jackson's boys were kneeling over a fallen ewe. There was a racket of camera shutters as the first diver appeared, the wetsuited head sleek and slow through the water. A second diver came around the bend, and a third. They took turns ducking through the arch on the bridge and then they were out of sight. The camera crews jerked their cameras from their tripods and began folding everything away. One of the Jackson boys bucked a quad bike across the field and told the journalists to move. The river ran empty and quick. The cement works was shut down to allow for a search. In a week the first snowdrops emerged along the verges past the cricket ground, which it seemed winter had yet a way to go. At the school, in the staff room the teachers kept their coats on and waited. Everything that might be said seemed like the wrong thing to say. […]This comes from the middle of only the second long paragraph, on the fourth page of text, but two things have changed already: it mentions names, and it includes happenings that have nothing to do with the girl's disappearance. That nature note about the snowdrops made me sit up; it seemed irrelevant, even callous. But that is McGregor's point; the life of the village must go on; the sheep must be tended on a daily basis, even when something as terrible as a missing girl disrupts the routine. And nature too has its cycles, totally unaware of human tragedies. John Wood's review of McGregor's novel in the New Yorker compared it to an almanac, and that's in part what it is: a meticulous account of the natural history of a small English village, the cycle of seasons repeated over the course of thirteen years, one chapter for each, one paragraph for each month. McGregor's writing is extraordinary, his sensitivity to sight, scent, and sound, the breadth and detail of his vision: […] There was talk. In the meadows Thompson's men worked the baler along the lines of cut grass, the thick sward gathered up and spun into dense bales. Every few hundred yards the tractor paused and there was a tumbling inside the machine and a neatly wrapped bale rolled softly from the hatch onto the field. The wood pigeons laid eggs in their nests in the beech wood and in the horse chestnut by the cricket ground. They took turns sitting on the eggs, but there were still plenty stolen by magpies and crows. On the bank above the abandoned lead pits the badgers started coming out of their sett before dark. The sows with cubs were looking for food and the boars were looking for mates. There were conflicts. […]I put ellipses before and after these passages to show that they are all part of much longer paragraphs. I had a hard time finding an extended passage of nature writing, because most often McGregor interleaves a line or two about the natural world with passing remarks about the people that live in it; the following passage is more typical: […] White campion thronged the verges along the road towards town, their neat flowers wrinkling as the seed-heads began to swell. In the beech wood the young foxes were ready to move on. It was Martin's turn to put together the Harvest Festival display at the church, and despite regular promises not to let anyone down he disappeared at the last moment. Irene and Winnie stepped in. The river turned over beneath the packhorse bridge and ran steady to the millpond weir. Lynsey Smith came home from Leeds and moved back in with her parents. […]Such brief references to people do make the novel a challenge to read. On page 7 alone, 13 new names are introduced, mainly children and teachers in the village school. The cast will continue to build over the next dozen pages, to a total of around 60, all in brief references of seldom more than a sentence or two at a time. Again, I have to demonstrate: […] Lynsey Smith said it was a safe bet Ms. Bowman would ask if they needed to chat. She made finger-quotes around the word chat. Deepak said at least it would be a way of getting out of French. Sophie looked away, and saw Andrew waiting at the other bus stop with Irene, his mother. He was the same age as they were but he went to a special school. Their bus pulled up and James warned Liam not to make up any bullshit about Beck Shaw. It snowed and the snow settled thickly. […]Copying this out now, it seems very different from when I first read it. I now feel I know Lynsey, Sophie, Andrew, Irene, and James at least, because I have followed what became of them. But at the time, they were just so many names. McGregor doesn't introduce them, but refers to them as casually as though you already know them, which of course you don't. I wondered if I should be keeping notes. Fortunately, having seen McGregor use a very similar technique (though in a an urban context) in his first novel, If Nobody Speaks of Remarkable Things, I knew to trust him. But it is hard to put your normal character-based expectations on hold. Indeed, it is wrong to speak of "characters" at all. McGregor does not focus on one or two figures to propel his plot. Instead, he takes us into the midst of an ecosystem, in which no one person is more important than any other, and the lives of human beings is merely one of many cycles, along with the plants, and the animals, and the weather. His combination of human and natural stories reminded me of Jim Crace's Being Dead, one of the most extraordinary novels I have ever read, and that put me at ease. ====== But there is a difference. Crace, for all his detail, is describing an imagined world. McGregor depicts a real one. I had assumed originally that the village was somewhere in the Yorkshire Dales, Wuthering Heights country. But repeated references to something called "well dressing" eventually made me look it up, and suddenly everything came into focus. Well dressing, apparently, is the custom of decorating wells, springs, and other water sources with pictorial boards covered with moist clay with flower petals and other natural materials pressed into it to make the design. And it is practiced almost exclusively by certain villages in the Derbyshire Peak District. [image] Derbyshire well-dressing designs Apart from one happy holiday week when I was a child, and a couple of outings with the Cambridge Climbing Club, I do not know the Peak District as well I might. The word "peak" is a misnomer; this is rocky moorland which barely reaches 2,000 feet above sea level, part of the Pennine chain that makes the backbone of England. But it is superb hiking country, rugged and challenging, and by the same token potentially dangerous in bad weather. Looking up photos of the area soon made me feel at home in the landscape of McGregor's novel. I felt them under my feet, the paths leading up the hillside from the valley below. I knew the sheep sheltering in the lee of a drystone wall. On the top, I breathed the bracing air as I looked down over the many reservoirs to the agricultural land below. And I now understood several of the references that had puzzled me before, such as the flagstones laid on the fragile moorland to create the hiking paths, or the ancient packhorse bridges, one horse-width wide, that are also a feature of the area. [image] [image] Views in the Peak District [image] Holme Bridge at Bakewell, Derbyshire It is about scale and completeness and continuity. My sense of scale finally made my give in and stop sweating the small stuff. I became more aware of McGregor's music, his use of repetitions, symphonic movements shaped by the seasons. And feeling at home in the landscape gradually made me feel at home with the people too. No, I couldn't always place everyone, and I can't say that I had my heart in my mouth wondering how anyone's particular story would turn out. But I did begin to get to know many of them, much as one gets to know one's neighbors and is genuinely interested to hear that their daughter is getting married. McGregor plays into this by giving longer sections to some people as the book nears its end. It is not about bringing closure to a particular story—McGregor is not big on closure—but making you feel that you are no longer a stranger in the village, but connected, at one with its rhythms, one of them. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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1
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Dec 22, 2017
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Dec 29, 2017
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Dec 22, 2017
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Hardcover
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4.51
| 177,696
| Feb 09, 2017
| Aug 22, 2017
|
it was amazing
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[image] Hilarity and Horror “Listening in amazement, torn between horror and hilarity, he finally shook his head in disbelief….” Just over halfway throu [image] Hilarity and Horror “Listening in amazement, torn between horror and hilarity, he finally shook his head in disbelief….” Just over halfway through this almost 600-page novel, Cyril Avery, the protagonist, tells the story of his life so far to the man he is falling in love with. I share his friend’s contradictory reactions. For the first 200 pages at least, I would have called the novel a comedy—and still would, although I have to admit that it deals in horrors. It begins with a pregnant 15-year-old denounced during Mass by the priest and thrown out of her West Cork village. Before long, there will be the first of several murders; there will be lies and heartbreak; there will be deaths from AIDS; all tainted by a culture of homophobic bigotry that Cyril, a gay man, has to contend with for his entire life. And yet I still think of it as a comedy, not least because it is very easy to read. Look at the book’s dedication: “For John Irving.” This is the kind of long, sprawling, whole-life novel that few people other than Irving write any more. It begins in 1945, a few months before its hero’s birth, and ends 70 years later, in sight of his death. It is a roller-coaster ride, crammed with coincidences; the author has no qualms about bringing people together in climaxes that will go either wonderfully right or terribly wrong—or slip away in ironic incompletion. For example, Cyril, who tells his own story, identifies the pregnant girl as his mother in the very first sentence. Times being what they were, she gives him up at birth to a “hunchbacked Redemptorist nun” for adoption. But they will run into one another regularly every decade or so, and each time you wonder if this will be the big recognition scene. That is the way that comedies are constructed after all—or melodramas. Yet this is more. What keeps this from being trite or willful is, first, that Boyne tells a very good story. A minor character cites Jeffrey Archer as her ideal in this respect, which was funny because I had already been comparing Boyne to Archer in my mind. Favorably so, for he has greater moral depth, and the ability to create characters of strength and substance. Very early on, I realized that the girl, Catherine, was no pathetic victim, but a spunky fighter with the determination to do what it takes; it was a kind of assurance that things would not go very wrong for long. And the novel is full of people with similar strength—perhaps improbably so, which is why I thought of it as comedy. Then there is the character of Cyril himself. No matter how improbable some other things might be, he himself has the ring of truth. If I did not already know, I would assume that the author too was gay, given his ability to get inside the man’s mind and world. It is not always a pretty world; more than once I thought of Alan Hollinghurst’s The Line of Beauty for a similar frankness in describing pre-AIDS homosexual trolling, although he steers clear of the physical descriptions. But it is an honest picture—which is interesting since maintaining that life in sixties Ireland demanded the opposite: a constant tissue of deception. Even more interesting is how I found myself reacting to Cyril as a character. However different his life from mine, I always found myself rooting for him. And when he traps himself in a situation that offers no easy escape, the worst I could say was Too bad. Yet, much later in the book, he is brought face to face with the consequences of what he did back then, and the reader is too; I was forced to admit that, even though I went right along with him at the time, he really was a shit. So five stars for the novel’s readability, humor, characters, and moral complexity. But not an absolutely assured five. You could easily argue me down to four stars if you point out that the attempt to mix comedy and seriousness is a compromise that doesn’t always work, or that the use of a comedic plot mechanism may undermine the seriousness of its theme. I felt this especially towards the end, as the roller-coaster negotiated those last little hills almost too easily, as though the writer were just filling in time. But then I think how much the book interested me and kept me reading, even at a busy time, and know that I will keep it, lend it, and recommend it without qualm. Five stars it is. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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1
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Nov 02, 2017
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Nov 09, 2017
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Nov 01, 2017
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Hardcover
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0062431013
| 9780062431011
| 0062431013
| 3.08
| 7,455
| Aug 2017
| Sep 12, 2017
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it was amazing
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[image] The Empty Space I read this book eagerly and with absorption; my reactions ranged from admiration to love. All the same, I could easily describe [image] The Empty Space I read this book eagerly and with absorption; my reactions ranged from admiration to love. All the same, I could easily describe it in such a way that no one would buy it: a first-person narrative by an author unable to overcome her writer's block, interleaved with the story of a wealthy lawyer who gradually withdraws from normal life. The two stories are not even connected, for heaven's sake! In the hands of a lesser writer, this could spell disaster. But Krauss is not a lesser writer; she remains her magnificent self. I found this one of the most stimulating new novels I have read since, well, Krauss's own Great House. I'll try to explain why. It's a small point, but I enjoyed the setting. The one time I worked in Israel, I stayed in the next hotel down the beach from the block-like Tel Aviv Hilton, which plays a significant part in both stories (a connection of a kind, I suppose). I have visited the hill town of Safed (S'fat), cradle of Jewish mysticism. I have at least seen the Dead Sea and the Negev Desert. But even without those personal associations, I would have appreciated Krauss's knack of finding a special place to enclose a special purpose. Her Israel, without ever being touristic, is as real as her New York City, especially in terms of the reality of the minor characters who inhabit each locale. As with minor characters, so with major ones. When I finished the first chapter, about the disappearance of the billionaire Jules Epstein, I posted a reading-progress note calling this a masterpiece. To be honest, I never experienced quite this high again, but there was nothing to contradict it either; the initial charge remained in place until the end. This chapter is one of the best pieces of character exposition I have ever read. Not just because Krauss so beautifully establishes the facts about Epstein, his former marriage, his family, his fabulous purchases on the art market and subsequent sales, but because she takes us deep into his mind and, more importantly, his soul. For that is the distinguishing feature of this, more than any of the other three Krauss novels that I have read. All the characters are defined by their spiritual concerns. Of course, these are specifically Jewish concerns, expressed in terms of rabbinic philosophy, and I am not a Jew. But this doesn't matter, for the questions she raises about existence are questions that belong to all of us, whatever our religious or philosophical context. One of Krauss's strengths is that she so often poses her questions through lively anecdotes, like the one told by Israeli rabbi who gate-crashes a dinner held by New York Jewish leaders to open a dialogue with Mahmoud Abbas. Another strength is that she never quite answers them, but leaves the questions to resonate with both the characters and the reader. The title comes from Dante's Inferno, which in the Longfellow translation begins like this: Midway upon the journey of our lifeKrauss will have literal forests later on in the novel, but at the beginning they are mostly a metaphor for some of the big questions that she poses: Why are we here and what have we lost? What is our responsibility to life? What is the purpose of religion? Her thinking is not always easy to follow, but it impresses me nonetheless: Just as religion evolved as a way to contemplate and live before the unknowable, so now we have converted to the opposite practice, to which we are no less devoted: the practice of knowing everything, and believing that knowledge is concrete, and always arrived at through the faculties of the intellect. […] The more [Descartes] talks about following a straight line out of the forest, the more appealing it sounds to me to get lost in that forest, where we once lived in wonder, and understood it to be a prerequisite for an authentic awareness of being and the world.Krauss avoids the easy answers and tidy endings, as I said, but the novel has an impressive consistency, and the forest darkness does not last for ever. Here is Epstein checking into a run-down studio apartment on the waterfront in Jaffa: Epstein, new again to everything—new to the blazing white light off the waves, to the crying of the muezzin at dawn, new to the loss of appetite, to the body lightening, to a release from order, to the departing shore of the rational, new again to miracles, to poetry—took an apartment where he would never have lived in a thousand years, had he been living a thousand years, which, new again most of all to himself, he might have been.Finally, I come to that elephant in the room: the potential dead weight of a self-obsessed writer gazing into her navel instead of just telling a story. Yes, I recognize this, and there were times when my patience wore thin, for example when she has people claim that her novels belong to world Jewish literature rather than the unnamed author herself. But there was also a striking personal honesty here, as she examines her ten-year marriage and its imminent collapse. In these sections, Nicole Krauss is not the sage philosopher cloaking herself in big ideas, but a hurting woman puzzled at how the great love between her and her husband could have turned to cold politeness. The theme of emptiness and separation comes up again and again, and always it is painful—but she discovers that it is not always negative. As the gate-crashing rabbi tells Epstein: God created Eve out of Adam's rib. Why? Because first an empty space needed to be made in Adam to make room for the experience of another. Did you know that the meaning of Chava—Eve, in Hebrew—is 'experience'?There is a chapter called Lech lecha, which are the Hebrew words in which God commands Abram to go to the land of Canaan and become the founder of the Jewish people: But Lech lecha was never really about moving from the land of his birth over the river to the unknown land of Canaan. To read it like that is to miss the point, I think, since what God was demanding was so much harder, was very nearly impossible: for Abram to go out of himself so that he might make space for what God intended him to be.When one knows that Krauss in fact separated from her husband, Jonathan Safran Foer, shortly before writing this novel, and later began a relationship with an Israeli writer, suddenly all this Biblical exegesis becomes very personal indeed. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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1
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Oct 08, 2017
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Oct 14, 2017
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Oct 08, 2017
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ebook
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0811225941
| 9780811225946
| 0811225941
| 3.96
| 9,495
| Aug 31, 2015
| Sep 26, 2017
|
really liked it
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[image] Novel Writing versus Reportage I hope Jenny Erpenbeck returns soon to writing novels; this one seems something else. Her Visitation is a poe [image] Novel Writing versus Reportage I hope Jenny Erpenbeck returns soon to writing novels; this one seems something else. Her Visitation is a poetic masterpiece; The End of Days tells one woman's life over the span of the twentieth century in terms of the many ways it might have ended, but didn't; the earlier Book of Words looks at a totalitarian regime through the eyes of a torturer's child. All are politically engaged. All tackle major issues of our times. But all are also novels. Admittedly, they occupy the fringes of conventional form. They look at their subjects either from a great distance or uncomfortably close up. They are neither character-based nor action-driven, but are held together by poetic concept; Visitation, for instance, has only one named character, but is anchored by the continued presence of the almost spectral gardener who tends the lakeside house that witnesses so many changing regimes. But above all, one reads Erpenbeck for the inventive richness of her language, whether in the German or the consistently brilliant translations by Susan Bernofsky. So I preordered this latest book for the day of its release, and opened it eagerly. And was at first nonplussed, then disappointed, and only gradually began to see traces of the familiar quality coming through. There is no question that Erpenbeck is tackling a politically charged subject once again, but now it is a matter of current headlines, no longer safely in the past: the plight of African refugees in present-day Germany. It has particular relevance in an America that, even while I was reading, promulgated more restrictive refugee policies than any in recent memory. It is especially disappointing to read of these things in Germany, which appears from afar as the beacon of compassionate treatment. But in Erpenbeck's painstaking denunciation, it is clear that even there the policy of free housing, language lessons, and a small stipend can all too soon grind to a halt in verdicts of "Sorry, it's the law" or "Not our jurisdiction." Were Erpenbeck a magazine journalist, she would turn in a piece of searing reportage worthy of a Pulitzer in anyone's currency. But a novel? True, there is a narrative framework of a sort. Erpenbeck's protagonist is a widowed and recently retired classics professor called Richard. At a loose end, he goes to Berlin's Alexanderplatz where a group of African refugees are staging a demonstration. Later, when they are temporarily rehoused in a former old folks' home, he obtains permission to visit, and starts getting to know some of the African men and learning their stories. An empathy grows up even as the mens' prospects diminish, and soon Richard's life is entirely consumed by his project. I won't say there are not advantages to this approach. Richard is a former citizen of East Berlin, and the theme of borders is reinforced by his memories of life behind the Wall, and the difficulty of assimilation after its fall. Then there is the constant awareness of a rather older Germany that dealt with its embarrassing minorities in quite a different way. Further, Richard's area of study gives him a vast range of references that interlace with the present towards the end of the book in ways that return us to the brilliant interplay of ideas that Erpenbeck does so well. The opening paragraph in Chapter 50, for instance, moves from Seneca through Plato and Ovid to Soviet socialism in the course of a page and a quarter. The book may begin with dogged objectivity, but it ends as an intellectual tour de force. The trouble is that Richard remains a convenient construct; he never comes to life as a person. Still less do his many friends and ex-colleagues, who fill out the background without ever coming into focus as individuals. The problem of keeping track of the African refugees is more difficult still. Over his many visits, Richard interacts with half a dozen or more. We get to know their names, and the nicknames that Richard gives them, and eventually their family circumstances, where they are from, and what they are fleeing. But this all comes too thick and fast to be easy to assimilate. No doubt this replicates Richard's experience of gradually getting to know the men not as case studies but people. But it is hard on the reader. Only as the novel entered its second half did I find myself beginning to care on a human level for one or two in this large cast, such as Osarobo whose ambition is to play the piano, but has never touched a keyboard until Richard invites him into his home. To be honest, most of this was a three-star read at most. Had I encountered it as non-fiction in The New Yorker or Atlantic, I might have been utterly absorbed, but the book was simply not working for me as a novel. But then in the last 80 pages, Erpenbeck returns to her true metier as a prose poet. There is one brilliant passage, for instance, when she interleaves the text of Bach's cantata "Ich habe genug" with the side-effect warnings on prescription medication. The ending of the book, a free montage of voices, both African and German, around a dying campfire on the shores of one of the Berlin lakes, shows the novelist at the top of her form; its fading ellipsis is both politically inevitable and humanly affecting. But—if only to give a glimpse of Susan Bernofsky's translation as well as Erpenbeck's poetic polemic—let me end with a small part of Richard's meditation on borders: Is the rift dividing them in fact a bottomless chasm; is that why such powerful turbulences have been released? And is it a rift between Black and White? Or Poor and Rich? Stranger and Friend? Or between those whose fathers have died and those whose fathers are still alive? Or those with curly hair and those with straight? Those who call their dinner fufu and those who call it stew? Or those who like to wear yellow, red, and green t-shirts and those who prefer neckties? Or those who like to drink water and those who prefer beer? Or between speakers of one language and another? How many borders exist within a single universe?====== For a totally different point of view, let me recommend the review in the New Yorker by James Wood. He argues, fairly convincingly and at length, that the flatness of style and comparative banality of action in the first part of the novel is in fact the product of genius. And he nominates the novel again as his top book for 2017, predicting that before long the author will win the Nobel Prize. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
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1
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Sep 26, 2017
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Oct 03, 2017
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Sep 27, 2017
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Paperback
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0451493982
| 9780451493989
| B01G0GD0XG
| 3.52
| 14,944
| Aug 2014
| Feb 21, 2017
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it was amazing
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[image] The Last Stand-Up So this comedian walks into a club. It's Netanya, Israel, not the audience he would have chosen, but hey, a gig's a gig. So he [image] The Last Stand-Up So this comedian walks into a club. It's Netanya, Israel, not the audience he would have chosen, but hey, a gig's a gig. So he insults them a little, flatters them a little, tells a few one-liners, and soon they are eating out of his hand. Doveleh G's been doing this for 40 years; he knows his job. So does veteran Israeli author David Grossman who, aided by his splendid translator Jessica Cohen, captures the scene perfectly. Not just the jokes and routines, but the roller-coaster trajectory of the comic's relationship with the crowd, almost losing them one moment, winning them back the next. And the slow, sad attrition as people get up to go, leaving the club to an audience of those who have become interested in the performer, not as a comedian, but as the storyteller of his life. They will hear him out to the end. And among them is the reader; this is truly a book you can not put down. “I don’t know how to say this without offending the new anti-Semites, God forbid, but for fuck’s sake, people, don’t you think your attitude is just a little bit grating? ’Cause sometimes I get the impression that if, let’s say, an Israeli scientist came up with a cure for cancer, right? A medicine that would finish off that cancer once and for all? Well, then I guarantee you the next day people all over the world would start speaking out and there’d be protests and demonstrations and UN votes and editorials in all the European papers, and they’d all be saying, ‘Now wait a minute, why must we harm cancer? And if we must, do we really need to completely annihilate it right off the bat? Can’t we try and reach a compromise first? Why go in with force straightaway? Why not put ourselves in its shoes and try to understand how cancer itself experiences the disease from its own perspective? And let’s not forget that cancer does have some positives. Fact is, a lot of patients will tell you that coping with cancer made them better people. And you have to remember that cancer research led to the development of medications for other diseases—are we just going to put an end to all that, in such a destructive manner? Has history taught us nothing? Have we forgotten the darker eras? And besides’ ”—he adopts a contemplative expression—“ ‘is there really anything about man that makes him superior to cancer and therefore entitled to destroy it?’ ”This comes from near the beginning, when Dov is riding high. The theme of Jewish self-deprecation, which he calls the new anti-Semitism, is a familiar one from writers like Philip Roth or Howard Jacobson, but Grossman's Dov has a particularly sharp way of addressing it. He is even more vitriolic against his own people in a routine about kicking Palestinians around, but on the whole he stays clear of politics. All the same, this is a very Israeli book, because both Dov and his audience have grown up there, been to similar schools and camps, done the same military service. I am sure there are many references that I haven't picked up, but that did not lessen my involvement. Fairly near the start, we get a shock. The word "I" enters the picture; the anonymous narrator isn't anonymous anymore. We realize that Dov is being observed by someone sitting alone in the shadows near the back. I will let Grossman reveal at his own pace who this observer is—he will be quite touchingly realized in his own right—except to say that it is a figure from the comedian's childhood, whom he has invited to attend. Gradually, the routine will turn into the story of Dov's younger life, and this witness is essential to what he is trying to do. It turns out that there is another person in the audience who knew Dov back then, an older woman who has come to surprise him. But he insults her mercilessly, to stop her calling up the good side of him that he would prefer to deny in his self-lacerating humor and at times the physical blows he rains upon his face and body. When I quoted the passage above about the new anti-Semitism, I was just looking for an entertaining and representative sample. But it occurs to me now that the theme of self-deprecation, even self-hatred, is central to the novel. More than a comedian's shtick, it is part of Dov's personal tragedy. However, I suspect that Dov also represents a whole generation of postwar Israelis. His driven, authoritative father is a pioneer who emigrated in the 1930s; his reticent and devoted mother is a Holocaust survivor; do they perhaps represent opposing attitudes in Israeli society? Not that it really matters, for in the last quarter of the novel, as we are drawn into a nail-biting scenario in which Dov is in effect forced to choose between them, it is not as a symbol that he moves us, still less as a stage performer, but simply as a human being. P.S. The horse who walked into the bar? That is just about the only joke in the book that is cut off before reaching the punchline. The others are intact, and—whether corny, cutting, or ribald—they are often very funny. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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Jul 08, 2017
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Jul 08, 2017
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Jul 05, 2017
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Kindle Edition
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0735212171
| 9780735212176
| 0735212171
| 3.75
| 143,516
| Mar 07, 2017
| Mar 07, 2017
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it was amazing
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[image] Migrants His eyes rolled terribly. Yes: terribly. Or perhaps not so terribly. Perhaps they merely glanced about him, at the woman, at the bed[image] Migrants His eyes rolled terribly. Yes: terribly. Or perhaps not so terribly. Perhaps they merely glanced about him, at the woman, at the bed, at the room. Growing up in the not infrequently perilous circumstances in which he had grown up, he was aware of the fragility of his body. He knew how little it took to make a man into meat: the wrong blow, the wrong gunshot, the wrong flick of a blade, turn of a car, presence of a microorganism in a handshake, a cough. He was aware that alone a person is almost nothing.People who have read this novel may wonder why I chose this excerpt, which begins almost frivolously. It is an incident from the beginning of the book, a throwaway character, never named, an incident that puzzles us for a moment before we pass on. Yet it says something important about Mohsin Hamid's style. As opposed to the first-person monologue of The Reluctant Fundamentalist, this has an omniscient narrator. Well, maybe not omniscient, but playful, refusing to close off all the possibilities as he looks down with elegant detachment. Yet when describing some of the ordeals his characters pass through, he is much more detailed than the abstract list here: we get the groping hand between the buttocks, the knife pressed to the neck, the blood dripping between the floorboards. Realism and detachment, in a perfect balance that is the novel's singular triumph. In a city swollen by refugees but still mostly at peace, or at least not yet openly at war, a young man met a young woman in a classroom and did not speak to her.The opening sentence of the novel, perfect in its way with its open-ended suggestion of the future. Or rather two futures: that of the city not yet at war, and that of the young man and woman who do not speak. Of course they will; another reason I chose my opening quote is its statement that "alone a person is almost nothing." This will become a love story of sorts: the young man, Saeed, will fall for Nadia, a young woman much more liberated than her all-enveloping black veil would indicate. Together they will face the weeks in which open war breaks out, the militants (think the Taliban or ISIS) take over, and men get their throats cut for having the wrong surname. Detached or not, in his first hundred pages, Hamid gave me a stronger, more visceral sense of what it is to live in a war zone than anything else I can remember. Then Saeed and Nadia escape. I won't say how (though others might). Hamid's detached tone enables him to throw in a touch of magic realism that passes over the logistics of things that don't interest him in favor of the psychological realities that do. For the second half of the book is about migrants, a world of migrants, from all over the world. Hamid does not worry about how these people get from place to place, but he is very concerned about the details of the living conditions they will find, their relationships with the local people, and especially the changes they will discover in themselves. For both Saeed and Nadia will change as a result of their experiences; as Hamid is an optimistic writer, and his leading characters are strong, good people, both will grow, in ways that seem as inevitable as they are unexpected. All the same, the change of gear at the half-way point, the shift from external action to inner feeling, is a risky strategy. For a while, I found myself questioning the enthusiastic five stars I had given the book at first. But then I came to the final sentence, ending in another of those future-possible phrases so exquisitely balanced it brought tears to my eyes. [I don't think it gives anything away unless you know the context, but I will put it in as a spoiler in case.] (view spoiler)[ He nodded and said that if she had an evening free he would take her, it was a sight worth seeing in this life, and she shut her eyes and said she would like that very much, and they rose and embraced and parted and did not know, then, if that evening would ever come.Could anything be more perfectly judged than that word "then"? (hide spoiler)] ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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1
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Jul 18, 2017
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Jul 22, 2017
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Jul 04, 2017
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Hardcover
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3.66
| 76,926
| Oct 20, 2016
| Feb 07, 2017
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it was amazing
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[image] Every Story Tells a Picture At the heart of Ali Smith's seemingly chaotic but actually tightly-organized new novel is a love relationship, betwe [image] Every Story Tells a Picture At the heart of Ali Smith's seemingly chaotic but actually tightly-organized new novel is a love relationship, between a thirtyish art lecturer, Elisabeth Demand, and a 101-year-old man, Daniel Gluck. Their love was born over two decades earlier, when Elisabeth's mother roped in her elderly neighbor to look after her daughter. And what a baby-sitter Daniel turns out to be: playful, irreverent, respectful, and always intellectually challenging! One afternoon, he offers Elisabeth the choice of two games, either "Every Picture Tells a Story" or "Every Story Tells a Picture." She chooses the former, and he begins to conjure images out of the air, describing them in words, eliciting her wondering reactions: The background is rich dark blue, Daniel said. A blue much darker than the sky. On top of the dark blue, in the middle of the picture, there's a shape made of pale paper that looks like a round full moon. On top of the moon, bigger than the moon, there's a cut-out black and white lady wearing a swimsuit, cut from a newspaper or fashion magazine. And next to her, as if she's leaning against it, there's a giant human hand. And the giant hand is holding inside it a tiny hand, a baby's hand. More truthfully, the baby's hand is also holding the big hand, holding it by its thumb. Below all this, there's a stylized picture of a woman's face, the same face repeated several times, but with a different coloured curl of real hair hanging over its nose each time— […]Ali Smith herself is of course playing the opposite game, for her stories lead in the end to pictures, real pictures by a female artist of the nineteen-sixties who was briefly famous, then forgotten, then recently rediscovered. But, as she did in her previous novel, How To Be Both, Smith conceals the painter's name until halfway through the book. I shall do the same, giving details and showing some of her work only in my second section, which I shall mark off as a spoiler. It is not that Smith is playing a guessing game—I had never heard of the artist, and I was an art history student myself at the time—but that the author's medium is words. Typing out the excerpt above, I had a small reproduction of the painting itself by my side. They do different things. The painting makes an immediate impact, after which you begin to look for the detail. But Daniel starts with the detail, which is to say with the meaning behind the picture. Describing it to a child, he becomes a kind of magician, conjuring rabbit images which chase one another in her mind. Much later we realize that he is also conjuring the woman who selected these images, casting us back to that brief early-sixties period when the postwar winter was turning to spring. Smith long ago gave up telling stories in linear fashion, and this book pays scant heed to the conventions of prose narrative. Far better to think of her as a poet, and accept her images, literal or dreamlike, for whatever pattern the eventually leave in your mind. She starts with Daniel on a beach, surreal, evocative, death or merely a dream. Then Elisabeth struggling with petty officialdom in a post office penned by Kafka—only this is 2016. From there we jump characters and decades, back and forth, until the novel finally casts anchor in the first of those magical adult-child encounters with which I started. Their relationship deepens steadily over the rest of the book, as does our view of the almost-forgotten artist, but we are left to fill in the back-stories of the two principals ourselves. For Daniel, there are hints of a Holocaust background and a career as a songwriter; for Elisabeth, various scenes with her rather vapid mother, and hints of a ten-year hiatus in her life that is never explained. Those who expect plot threads to be neatly tied up should probably not even start, though I personally find something very moving in Smith's deliberate incompleteness. Why the title, Autumn? It is intended to be the first of four thematically-connected novels, that much I know. But I'm not sure I would have thought of this season otherwise. It is true that Daniel's long life is clearly ebbing to is close. It is true that the act of looking back at an earlier age (roughly the year of the author's birth) can bring on an autumnal nostalgia. And towards the end of the novel there are passages that are clearly set at the year's end, one of which I shall quote in a moment for its beauty. But the real change in Smith's England is not a transition, but a fracture; this is surely the first post-Brexit novel: All across the country, there was misery and rejoicing. […] All across the country, people felt it was the wrong thing. All across the country, people felt it was the right thing. […] All across the country, people felt unsafe. All across the country, people were laughing their heads off. All across the country, people felt legitimized. All across the country, people felt bereaved and shocked.Any reference you may detect, here and elsewhere, to the famous opening of A Tale of Two Cities is deliberate; it is the book that Elisabeth reads when she visits Daniel. At another time, she brings Brave New World, whose dystopia is reflected in a modern England of security cameras and electrified fences. But Smith does not forget the origin of that title, Miranda's cry of innocent wonder in The Tempest. One other book Elisabeth has with her, clearly a talisman of Daniel's also, is Ovid's Metamorphoses, which relates even the most cataclysmic of changes to the age-old processes of the natural world. And Ali Smith's own writing reflects this too: November again. It's more winter than autumn. That's not mist. It's fog.+ + + + + + HISTORICAL POSTSCRIPT. The following section says a little more about the artist in the background of the book, shows a few of her paintings, and footnotes a couple of other real people mentioned in the text. Of course, you could always Google this information for yourself as you come to it in your reading. (view spoiler)[ [image] Pauline Boty (b. 1938) was a pioneer of the British Pop Art movement which burst upon the scene in the early 1960s, largely independently from American Pop. She was its only female member. She was thus a contemporary of Derek Boshier, Peter Phillips, and David Hockney, who went on to greater fame, but her own work disappeared after her early death in 1966, and has only recently been rediscovered. The movement as a whole took every aspect of contemporary life as its subject—politics, social attitudes, popular icons, the media—but as its only female member, Boty's subjects were frequently feminist, as can be seen in the painting described in my first quotation above, and the diptych It's A Man's World which Smith also describes in some detail: [image] [image] Boty had a parallel career as an actress. A nightmare sequence in Ken Russell's 1961 documentary about the movement, Pop Goes the Easel, led to offers of roles in movies and at the Royal Court Theatre. Her blonde hair, unabashed sexuality, and physical resemblance to the French film star led to her being known as "the Wimbledon Bardot." In 1963, after only a ten-day courtship, she married literary agent Clive Goodwin, and their Kensington apartment became a salon for numerous artists and musicians (including, yes, Bob Dylan). In 1965, she became pregnant, but a prenatal examination revealed an aggressive cancer. Determined to carry the baby to term, she refused chemotherapy, and died five months after her daughter was born. She was 28. [image] One picture that plays a significant part in the novel is Scandal 1963; Boty is shown holding it above, but the original has never been recovered. The scandal in question was the Profumo Affair that ultimately brought down the government of Harold Macmillan. Anyone living in Britain at the time would pick up on references that Smith mentions only in passing, but other readers might require a little more. The nude in the chair is Christine Keeler, a model who was revealed to have been sexually involved with John Profumo, the Secretary of War, and Yevgeny Ivanov, a Soviet naval attaché. In a speech to the House of Commons, Profumo denied any impropriety, but the cover-up did not succeed. Two other figures mentioned in passing by Smith are Stephen Ward, a society osteopath and portrait painter who introduced Keeler to Profumo, and Sir Anthony Blunt, then the Keeper of the Queen's Pictures but later unmasked as the fourth in the Philby/Burgess/Maclean spy ring. The photo that Boty used, incidentally, was given her by the photographer Lewis Morley, whose published picture of Keeler was for a time as iconic in Britain as, say, the still of Marilyn Monroe standing over a subway grating. [image] (hide spoiler)] ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow mu original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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Jun 27, 2017
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Jun 28, 2017
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Jun 27, 2017
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Hardcover
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0062666371
| 9780062666376
| 0062666371
| 3.53
| 65,380
| May 27, 2016
| Jun 06, 2017
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it was amazing
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[image] Something Severed, and Something Joined Then it carried me in spate to the Essex shore, to all the marsh and shingle, and I tasted on my lips[image] Something Severed, and Something Joined Then it carried me in spate to the Essex shore, to all the marsh and shingle, and I tasted on my lips the salt air which is also like the flesh of oysters, and I felt my heart cleaving, as I felt it there in the dark wood on the green stair and as I feel it now: something severed, and something joined.This is from a letter written near the end of this miracle of a novel by its heroine, a young widow named Cora Seaborne. It is an extension of her earlier remark about the diametrically opposite meanings of the word cleave: to cleave to something, to be cleft from something. She has a specific context: her feelings for a man whose views are often utterly opposed to her own, who is unavailable to her, yet whom she cannot live without. But it might well be a phrase that Sarah Perry had pinned to her wall while writing. Starting off like a period romance (the year is 1893), her novel continually surprises the reader with its emotional twists and turns, and its avoidance of formulaic outcomes; the bonds are not formed easily. It is a remarkably Protean book, containing a wide range of characters and ideas. The separation of people, places, and beliefs is a kind of leitmotif; the miracle is that Perry nonetheless manages to unite them all into a balanced and deeply satisfying whole. He drew in a breath and all the seasons were in it: spring greenness in the grass, and somewhere a dog-rose blooming; the secretive scene of fungus clinging to the oak, and underneath it all something sharper waiting in a promise of winter.One unifying factor is the book's structure, told month-by-month over the course of almost a full year. And anchored to the same place: the southeast coast of Essex, where the Blackwater River flows through woodlands and then out over desolate salt flats to the sea. Each month begins with a passage of nature writing deeply rooted in the great British pastoral tradition, but clearly written by someone who has lived in this landscape from childhood on; children's discoveries in fact play a significant part in the novel. Each of these chapters then continues with a bird's-eye view of what each of the main characters is doing, in their various parts of Essex or in distant London. The author has a second way to punctuate the detailed narrative of the intervening chapters: through the inclusion of letters. In other hands, this device might be a bore, but Perry has both a perfect feel for late-19th-century epistolary style and a knack for using it to convey character. Here, for instance, is how the local vicar's wife ends her invitation to Cora for an overnight stay: PS—As you see, I could not resist sending you a primrose, though I was too impatient to press it well, and it has stained the page. I never could learn to bide my time! S.By such natural means—the oneness of nature and the warmth of human connection between her many characters—Sarah Perry draws the many disparate elements in her story together. And the lines of cleavage? Between science and superstition, religion and rationalism, socialism and the status quo. Cora has two principal male friends, very different. One is Luke Garrett, a socially awkward but pioneering surgeon. The other is Will Ransome, Vicar of Aldwinter, the Essex estuary town to which Cora retires after the death of her abusive politician husband. She herself is more scientist than theologian, going out at all hours to hunt for fossils in the alluvial mud. Her son Francis, who would nowadays be considered on the spectrum, takes this collecting mania still further. Her companion Martha, Francis's former nurse, develops as a social activist, enlisting Cora's political connections to address the scandal of housing for the poor in London. Reverend Ransome, whose job involves the social welfare of his parishioners, though he is not closed to modern thought, takes a Bible-based approach. He is one of the most sympathetic (because complex and believable) portraits of a clergyman I have seen for some time, and his lovely but ailing wife Stella is more beautiful still. Which brings me to the title. Perry encountered the Essex Serpent in a 17th-century pamphlet entitled Strange News out of Essex. It was thought to be some huge eel-like beast with wings, beak, and claws, that would surface out of the muddy Blackwater, blight the crops, and carry off unwary animals and children. In Perry's reincarnation, it still has the power to terrify even at the end of the 19th century. Cora, as a true Darwinist, hopes to prove that it is some vanished species. Will Ransome is sure that it must have some rational explanation, but he cannot deny the growing fear that grips his flock. His wife Stella sees it as a personal angel messenger, while Cora's son Francis merely observes the growing unease around him and keeps his own counsel. The Essex Serpent is a fictional notion only, but it serves as the nexus of a web of human reactions and interactions that are very real. And very moving. This is my best book of the year so far. ====== [image] My Top Ten list this year is selected from a smaller than usual pool. I really only started reading again in May, and even then deliberately kept new books to under 50% of my total. In compiling the list, I also did not exactly follow my original star ratings, but rather the takeaway value after time has passed. In particular, there are two books, Lincoln in the Bardo and Go, Went, Gone) to which I gave only 4 stars, but which I recognize as important books, with more staying power than many that I enjoyed more at the time, but have since forgotten. For some reason, three of the ten books (Forest Dark, A Horse Walks into a Bar, and Three Floors Up) are by Jewish authors, set in Israel. To those, I would add a fourth: Judas by Amos Oz, read at the same time and of similar quality, but actually published at the end of 2016. The ten titles below are in descending order (i.e. with The Essex Serpent being my favorite). The links are to my reviews: 1. The Essex Serpent by Sarah Perry 2. Autumn by Ali Smith 3. Forest Dark by Nicole Krauss 4. The Heart's Invisible Furies by John Boyne 5. Reservoir 13 by Jon McGregor 6. A Horse Walks into a Bar by David Grossman 7. Exit West by Moshin Hamid 8. Three Floors Up by Eshkol Nevo 9. Lincoln in the Bardo by George Saunders 10. Go, Went, Gone by Jenny Erpenbeck And half that number again that didn't quite make it, in alphabetical order by authors: 11. Souvenirs dormants by Patrick Modiano 12. All We Shall Know by Donal Ryan 13. Improvement by Joan Silber 14. Anything Is Possible by Elizabeth Strout 15. Rose & Poe by Jack Todd ...more |
Notes are private!
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0812995341
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| 3.75
| 162,209
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| Feb 14, 2017
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really liked it
| Read It Again! There is something to be said, I think, for reading this four times. Not that I have done so, but two and a bit, and very glad I did. M Read It Again! There is something to be said, I think, for reading this four times. Not that I have done so, but two and a bit, and very glad I did. My first time was just a matter of figuring out how the thing works; my four-star account of this experience last year is reprinted below. The second—in my case incomplete—was listening to the CD audiobook, which treats the whole thing as a playscript, with the participation of a large number of actors, famous or otherwise. My third was to read it quite quickly, though slowing down for the denser passages; I found this immensely helpful, lifting me to five stars without shadow of doubt. The fourth, if I ever get to it, would be a slow reading throughout, to marvel at Saunders' language, sense of detail, and minor plot points that one tends to miss in the midst of so much richness. Stage Four must come later, but for now, I will give my original review (Stage One), followed by a brief report on Stages Two and Three. ====== Stage One: Original Review A Choral Requiem An exceedingly tall and unkempt fellow was making his way toward us through the darkness.George Saunders' extraordinary book reads more like a verse drama or musical score than a conventional novel. It is a symphony of voices, both real and imagined, a choral requiem. They are acknowledged in small print after each paragraph; this particular conversation involves a middle-aged master printer (Hans Vollman), a gay printer's apprentice (Roger Bevins III), and the Reverend Everly Thomas. All three are dead, ghosts in a limbo occupied by spirits who have not allowed themselves, or been allowed, to pass on; Tibetans call this the "Bardo." The date is February 1862, the setting a cemetery in Georgetown, and the "exceedingly tall and unkempt fellow" is Abraham Lincoln, come to visit the tomb of his eldest son Willie, dead of typhus at eleven years of age. Saunders' narrative method allows for real voices to be included among the fictional ones; the only distinction is that each actual quotation is given a bibliographical citation.* I found these parts of the story quietly powerful. We get glimpses of the boy lying sick upstairs at the White House while a gala reception goes on below. We hear from butlers, maids, grooms, and graveyard keepers as the funeral takes place, and later as the President returns alone at night. We get hints of the horror as Americans on both sides recognize the likely scale of the new Civil War and (surprisingly to me) raise their voices against "America's most reviled President." And finally, Saunders suggests that Lincoln's experience in the graveyard might have made him a stronger and more compassionate leader. Virtually none of the words in these sections are Saunders' own, but he proves himself a master orchestrator of borrowed voices. I only wish I had liked the fictional voices more. Vollman, Bevins, and Thomas remain the principal commentators, but there are a score of others, male and female, white and black, violent or pathetic, gentle, aggressive, racist, or obscene. They are confusing at first, as we don't know how long each has been there, or what it will take to have them released. Gradually, we do discover the back-stories of several of these beings, and even glean some shreds of character. But too few of them are rounded out, too many are mere types; too often the chorus can become cacophony. And while the swift repartee keeps the book moving swiftly, its underlying humor verges more than once on camp. So how to rate this? I read with admiration throughout, and with wonder at Saunders' originality and skill: five stars. But I was often confused, occasionally impatient, and seldom emotionally engaged: three stars at best. On the other hand, both the historical and imagined scenes involving Abraham Lincoln were consistently strong, and there were passages towards the end where the always-good writing rose to true excellence. So let me end with one of these, from the farewell of Roger Bevins, to justify my rating of four stars, indeed a high four: Though the things of the world were strong with me still. *I now learn (from reports of an interview that is not included in my edition) that while all the bibliographical citations I bothered to check are indeed real, Saunders also felt free to insert some quasi-real voices of his own. Which is fine, because they all contributed, and sure fooled me! ====== Stage Two: The Audiobook Unlike any normal audiobook, this is virtually a radio play, with a huge cast of characters. Nick Offerman is Hans Vollman, David Sedaris is Roger Blevins, and the author himself reads Rev. Everly Thomas. Actors of the like of Julianne Moore, Ben Stiller, Susan Sarandon, and Don Cheadle take smaller roles. I assume it was directed by Saunders himself, for the readings made great sense of the occasionally idiosyncratic punctuation and spacing, which sound more natural than it looks on the page. A narrator (Cassandra Campbell) duly announces each new chapter and the bibliographic citations after each speaker, which I suppose is necessary, but it really slows the pace; I was glad she drops out when speakers alternate quickly. Indeed, it was the question of pace that made me stop my continuous listening, and turn instead to sampling certain chapters. Had this been my only acquaintance with the book, the audio might have worked really well. But already knowing it, and following along with the text, I resented being made to linger over passages that I could already see in front of me, and not being able to pause over new discoveries. ====== Stage Three: A Rapid Reading Reading the book in print for the second time, often quite quickly, gave me a much clearer view of its varied textures and interlacing narrative arcs. There are four main textures: first, the historical sources giving facts about President Lincoln and the death of his son; second, the imagined scenes of Lincoln in the graveyard and his thoughts there; third, the lives (or whatever they are) of the three principal ghosts; and fourth, the chorus of all the other inhabitants. I was struck by how well Saunders varied the pace, alternating blocks of historical citations with sections of sheer invention. Or within the world of the Bardo, how rhythmically he would alternate the principals (Vollman, Blevins, and Thomas) with the chorus. I also noted that, in their role as the principal observers of Abraham and Willie Lincoln, the main ghosts served to link the worlds of the living and the almost-dead. It's awful to admit it, but the first time I read this, I'm not sure I understood the shape or even all the stories of the various narratives. Looking from more of a distance, I could now see clearly how the novel is articulated by the two visits Lincoln makes to the graveyard after it had officially closed, and the tension involved in stopping him from leaving until Willie's fate was resolved. Against this, there is a shorter arc, which appears late and climaxes quickly; this is his awareness of the African-American people, and the compunction placed upon him to pursue the war. The longest arcs of all, though, are those of the three main narrators, each of whom reaches a moment of epiphany late in the book. I got the beauty of these at first reading, but I did not fully understand what was keeping each of the three in the Bardo, and what they must do to be released. Now I do. I was also much more aware of the dozen minor characters whose own back-stories, graveyard encounters, and resolutions form little short-story units within the novel as a whole. In short, I began to sense for the first time how intricate yet controlled this structure is. Truly a work of genius! ...more |
Notes are private!
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