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4.24
| 640,199
| Aug 1938
| Jan 30, 2003
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really liked it
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★★★★✰ 4 stars Rebecca is a work of Gothic suspense that is told in a mesmerising prose and makes for an enthralling and evocative read. “Colour and scen★★★★✰ 4 stars Rebecca is a work of Gothic suspense that is told in a mesmerising prose and makes for an enthralling and evocative read. “Colour and scent and sound, rain and the lapping of water, even the mists of autumn and the smell of the flood tide, these are memories of Manderley that will not be denied.” While reading Rebecca I realised that I was already familiar with its opening lines and some of the novel's key scenes. This may be because of Alfred Hitchcock's Rebecca film or thanks to the hilarious sketch by That Mitchell and Webb Look. In many ways Rebecca—its story, its characters, its use of Gothic elements—is not incredibly original. Yet, rather than relying wholly on its precursors (such as Bluebeard and Jane Eyre) Rebecca presents us with a more self-aware take on these otherwise tired dynamics and scenarios. While the cast of characters do have attributes that bring to mind Jane Eyre (not only is du Maurier’s narrator a ‘plain Jane’ but one of her few hobbies happens to be ‘drawing’) they also possess qualities that reflect their own period. The narrator’s namelessness is incredibly effective. It suggests that this novel is indeed not about her, but about Rebecca (after all the novel is titled after her). Her namelessness also reinforces her sense of inadequacy—that is of being less, not enough, simply unequal to Rebecca—and her anxiety regarding herself and others. Daphne du Maurier untangles the mystery at the heart of her novel in a slow yet utterly compelling way. During the ‘final’ explanation she details in incisive precision the motivations and circumstances that can lead ‘ordinary’ individuals to commit a major crime. More impressive still is that even after this ‘twisty’ revelation the narrative maintains its suspense. Much of the narrative’s ‘tension’ arises from seemingly ordinary moments. Our narrator seems to find the conventions and traditions of the British upper class to be exhausting. In spite of her often reiterated wish to be a magnetic and socially accomplished woman, she shrinks away from her role as Manderley mistress (during ‘unpleasant’ or simply adult conversations she will lower her gaze and occupy herself with her hands or with petting the dog). The narrator’s namelessness emphasises her disempowerment. While she refers to herself as Maxim’s wife, and others will address her as Mrs de Winter, our narrator feels unequal to her position and inferior in all aspects to the previous Mrs de Winter. The narrator’s unwillingness and inability to fulfill Rebecca’s old duties or to partake in the daily runnings of Manderley, render her vulnerable to the creepy Mrs. Danvers (a woman who is as watchful as Madame Beck in Villette). The second Mrs de Winter struggles to assert herself, so much so that she falls victim to Mrs. Danvers’ psychological attacks. It is because she is constantly undermined by Mrs. Danvers, timid towards Manderley’s staff, and painfully aware of being scrutinised, surveyed, and compared to Rebecca, that our narrator becomes convinced of her own inferiority. While the premise and dynamics within this novel are far from unique, I enjoyed seeing how things played out. A naive young woman, her distant and secretive husband, his recently deceased achingly-beautiful-and-charming first wife, his Bluebeard-esque estate with its skull-faced servant...these are all exceedingly Gothic elements. Given the popularity of the ‘domestic thriller’ genre, it appears that readers have yet to grow tired of these type of stories. There are few authors however who have du Maurier’s sensual prose. There is a sensuality in the narrator’s obsession and jealousy towards Rebecca. While the second Mrs de Winter never sees a photo or portrait of Rebecca, she becomes familiar with everything about her. From her perfume and clothes to her calligraphy and daily routine. Other people’s impression of Rebecca shape the narrator’s own vision of her. Rebecca comes to embody all the characteristics that the present Mrs de Winter would like to possess. Her fascination is intermingled with a deeply felt hatred. There is little romance in the love story within Rebecca. In spite of her naïveté, our narrator soon realises that Maxim is far from love-struck. His marriage proposal seems much closer to a business proposal, and later on, not only does he seem disinterested in our narrator but he is quick to dismiss her worries and anxieties (he will tell her not to be a little idiot). Jealousy and paranoia soon begin to plague the second Mrs de Winter. She desires more than anything to be loved by Maxim, and fears that she will never live up to his first wife Rebecca. As she becomes more and more haunted by Rebecca, the narrator’s susceptible mind often lead her to distort and exaggerate simple conversations, and to observe in her surroundings Rebecca’s imprint (there were many moments in which she reminded me of Jane Austen's incredibly impressionable heroine Catherine Morland). Through the narrator’s dreams and her moments of dissociation readers begin to see just how deep Rebecca’s presence is within her psyche and life. The landscape alleviates our heroine’s mystification. The gardens and the sea mirror her state of minds, and allow her to examine and question her own feelings and circumstances. Manderley’s flora and fauna, as well as its weather, capture a sense of the sublime. The idyllic and haunted Manderley plays a central role in the story and constantly occupies the narrator's mind. Amidst love, jealousy, and feminine ideals, this beautifully written novel conveys with perfect clarity what it means to be young and inexperienced. Read more reviews on my blog / / / View all my reviews on Goodreads ...more |
Notes are private!
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1
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Dec 19, 2019
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Dec 22, 2019
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Dec 19, 2019
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Paperback
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0061579033
| 9780061579035
| 0061579033
| 3.62
| 31,144
| Aug 09, 2011
| Aug 2011
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liked it
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| | blog | tumblr | ko-fi | | “I understand that art is a necessary component of a civilized society, but you cannot just go around shooting peopl| | blog | tumblr | ko-fi | | “I understand that art is a necessary component of a civilized society, but you cannot just go around shooting people. That's going to be a problem.” Having recently read and loved Nothing to See Here I wanted to check out Kevin Wilson’s earlier work. While The Family Fang has the same whimsical tone as his latest novel, its story has a broader scope and feels slightly more impersonal (perhaps this is due to the third person point of view). Nevertheless the opening chapters of this novel are highly entertaining. Throughout the narrative there are sections from Annie and Buster’s childhood recounting the way in which their parents would rope them into being part of their ‘performances’ (which usually aimed to cause as much havoc as possible). Unsurprisingly, as adults Annie and Buster have little to do with their parents. Annie is an actress whose career is about to hit a rough spot, while Buster is a writer whose last novel wasn’t very well received. After a series of unfortunate yet oddly funny, events the two Fang siblings find themselves back into their parents’ home. Although I liked the satire on contemporary art, as well as art criticism, I didn’t find Caleb and Camille to be all that interesting. They remain rather one-sided and did not strike me as being as compelling as they were made to be. Their over-the-top self-belief and art talk could be amusing but it didn’t render their personalities. Even when the narrative was focused on them, their motivations and behaviour remained off page. Although Annie and Buster were far more engaging, I still found their character arcs to be rather erratic. Although for the most part he eccentric cast of characters did keep me interested in the story, I would have preferred a more focused and less meandering storyline. The pacing too seemed to be slightly off kilter. Funnily enough some of my favourite scenes in this novel were the ones revolved around a film Annie's working on (a film in which a woman looks after children who catch fire? Sounds familiar...). While I appreciated Wilson's motifs, imagery, and themes (once again we have questionable parents who do a questionable job raising their children), and I enjoyed the overall humour and eccentricity of his narrative, I did not feel particularly involved by his story nor his characters. ...more |
Notes are private!
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1
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Nov 29, 2019
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Dec 04, 2019
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Nov 29, 2019
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Hardcover
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0684825880
| 9780684825885
| 4.06
| 14,314
| 1913
| Jun 2022
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really liked it
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| | blog | tumblr | ko-fi | | Step aside, Becky Sharp. Move over, Scarlett O'Hara...make way for Undine Spragg, the most unscrupulous anti-heroine I | | blog | tumblr | ko-fi | | Step aside, Becky Sharp. Move over, Scarlett O'Hara...make way for Undine Spragg, the most unscrupulous anti-heroine I have ever encountered. “[S]he could not conceive that any one could tire of her of whom she had not first tired.” Wharton once again focuses her narrative on a young woman’s unrelenting attempts at social climbing. While Wharton does inject her depiction of Undine Spragg's ‘trials’ with a dose of satire she nevertheless is able to carry out an incisive commentary regarding New York’s ‘high society’. Through her piercing insights into privilege Wharton is able to render a detailed and engaging examination of the intricate customs that prevailed among America’s ‘elite’ society, exemplifying the discordance between their values and their behaviour. Wharton emphasises their sense of entitlement and their idleness. While they often believe themselves to possess the most impeccable manners, readers know just how cut-throat they truly are. Armed with gossip or ready to form conniving schemes, most of them will hesitate at nothing in order to augment their wealth and reputation (ideally ruining someone's life in the process). Marriages are business manoeuvres and one makes friends on the basis of whether they might be later on be put to good use (‘networking’ is everything for these people). By bringing together these different themes and subjects—marriage, divorce, class, wealth—Wharton is able to present her readers with a nuanced and in-depth examination of New York's upper crust. As a character in the novel observes, Undine Spragg is the “monstrously perfect result of the system: the completest proof of its triumph”. Undine, who was raised by two loving parents who spoiled her from a young age, possesses a solipsistic worldview and her values are exceedingly materialistic. Undine is an appalling protagonist. She is Lily Bart's monstrous little sister. We first ‘meet’ Undine when she still seems to be a simple, if pampered, ‘country’ girl. Soon however we begin to see that in spite of her simplicity (she definitely lacks Miss Bart's charisma and acumen) Undine Spragg is entirely egocentric and lacks both self-awareness and empathy. “It never occurred to her that other people's lives went on when they were out of her range of vision.” As noted by the narrative and the various characters, Undine's conceitedness, as well as her perpetual sense of boredom, may be the likely result of her upbringing. Her parents' leniency definitely played its role in making Undine feel as if she should only be concerned with her own happiness, and to be truly happy she has to marry well. Undine believes that as long as can enjoy an extravagant lifestyle and be favoured within certain circles, she won't be bored. As much as I loathed Undine—for her selfishness, her lack of creativity, and for her frivolous tastes—I was always aware that she did grow up in a society that values appearances. Undine was never made to feel as if she needed to cultivate any real interest. Her main concern are her own beauty and reputation, the two means through which she will be able to find a satisfactory match. It shouldn't be surprising then that Undine becomes a woman who is thoroughly disinterested in the lives of others. She sees no reason why she should be preoccupied with her husband's ‘menial’ work. She is unable to see why she should be held accountable for other people's misery. There was something oddly compelling about Undine's determination not to allow her desires to be comprised by anyone or anything. She is more than willing to have affairs, lie, drive her husband(s) and family into debt, and blackmail and manipulate others. While the narrative definitely accentuates Undine’s cherubic appearance (from her creamy complexion to her beautiful golden locks) readers are made aware of what lies beneath her rosy surface: Undine's vision of happiness is rather limited. She lacks imagination, so much so that she often merely tries to emulate the women around her. “Her entrances were always triumphs; but they had no sequel.” And while I certainly thought her to be a horrible person (her behaviour is reprehensible) there was a part of me that found her egocentrism and cruelty to be strangely compelling. Whether she is merely a product of environment or innately selfish, her total self-absorption was transfixing. Wharton portrays a scathing picture of her society: were “the average American looks down on his wife”, were women's sense of self is dictated by a cult of aspiration, were marriages are entirely transactional, and were young individuals are trapped by old traditions and customs. In spite of Undine's many romances, there is little if any love to be found within the pages of The Custom of the Country. And maybe that's for the best given that Undine is no heroine. While I certainly didn't find this novel to be as moving as Wharton's The Age of Innocence, and Undine's misadventures lack the poignancy of Lily's ones in The House of Mirth, I would still recommend this. Wharton's percipient prose, her sophisticated use of satire, vividly renders the customs and values of New York's high class. ...more |
Notes are private!
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1
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Nov 21, 2019
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Nov 23, 2019
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Nov 21, 2019
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Paperback
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B073X2C4VD
| 3.97
| 1,494
| Oct 08, 2019
| Oct 05, 2017
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liked it
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| | blog | tumblr | ko-fi | | “Russian literature deserves more love letters written by total idiots. For too long it has belonged to very clever peo| | blog | tumblr | ko-fi | | “Russian literature deserves more love letters written by total idiots. For too long it has belonged to very clever people who want to keep it to themselves.” Although The Anna Karenina Fix is certainly written in an engaging style, Viv Groskop's humour, which mostly consists in her use of a forcedly comedic ‘light’ tone when discussing serious subjects, lessened my overall reading experience. In her introduction Groskop writes that: “But first, an important disclaimer. This is not an intellectual book. It is not a work of primary research. It is not an academic thesis on Russian literature. It’s not supposed to be the last word in interpreting Russian literature. […] Instead it’s a guide to surviving life using some of the clues left in these great classics. It’s an exploration of the answers these writers found to life’s questions, big and small. And it’s a love letter to some favourite books which at one point helped me to find my identity and buoyed me up when I lost it again.” ...which is fair enough. However I don't entirely agree with her claim that when reading a book “However you get it, you’ve got it right”. Of course different people will have different opinions or impressions of a book's subjects and themes but the way she phrases struck me as both vaguely patronising and equivocal. Groskop interweaves her own personal experiences when discussing her chosen authors and their work. The parallels she draws between herself and these writers seemed for the most part fitting. She doesn't paint herself as the hero or heroine of the anecdotes she writes of, and uses a self-deprecating sort of humour to make light of her struggles to reconcile herself with a culture that is not her own. By drawing on her time as a student in Russia and by examining her relationship to the Russian language, Russian traditions, and Russian people, Groskop does present us with an intimate and compelling depiction of this country. Complementing her ‘outsider’ perspective of Russia are the biographies of various Russian authors. While she sprinkles quite a few fun anecdotes from their lives, she seems to focus on their individual relationships to Russian and the values that emerge from their works (which as she remarks can go at odds to their own way of life). Readers who have only read a few of these Russian authors (for example I've only read Tolstoy, Bulgakov, and Dostoevsky) might find The Anna Karenina Fix more entertaining than those who are already well acquainted with these classics of the Russian literature. Had I been better versed in the works and lives of these writers I'm not sure I would have found The Anna Karenina Fix very informative or insightful. As it is, Groskop did spark my interest in the works of Gogol, Akhmatova, and Turgenev. Part of me wishes that Groskop had not revolved her analysis/discussions of these books on these novels' alleged ‘life lessons’. The ‘self-help’ aspect of The Anna Karenina Fix seemed a bit unnecessary. In a certain way Groskop seems to be moralising these books in a way that almost goes against her initial claims (that these books can be appreciated without attributing to them clever messages and such things). The ‘life lessons’ themselves were rather obvious: Anna Karenina = “life is, essentially, unknowable” Eugene Onegin = “Avoid hubris. Stay humble. Keep an eye out for self-defeating behaviours. Don’t duel.” From chapter six she also begins to talk in terms of hedgehogs and foxes (from Isaiah Berlin's essay titled The Hedgehog and the Fox) which didn't strike me as being an incredibly profound analogy and she returns to this hedgehog/fox problem time and again... Groskop's humour was very hit or miss. At times her digressions, which usually appeared in brackets, were spot on funny. For the most part however these asides seemed out of place and forced (“I am not saying that Tolstoy is Oprah Winfrey with a beard […] Well, I am saying that a bit. And in any case, it’s just fun to think of the two of them together.”). Also this happens to be the second self-proclaimed work of ‘light’ unpretentious criticism that mentions popular culture one too many times (I am so sick and tired of the Kardashians). At times she seems to play into this role of ‘amateur’ critic when in actuality she happens to have two university degrees in Russian and can speak fluent Russian. Lastly her constant digs against Nabokov were childish. We get it, the man was punctilious and big headed...can we move on? All in all I would recommend this only to those who are thinking of reading more Russian literature but have yet to read the classics as The Anna Karenina Fix makes for a readable and quick introduction to prominent Russian authors. ...more |
Notes are private!
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1
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Nov 15, 2019
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Nov 19, 2019
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Nov 10, 2019
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Kindle Edition
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9781542008235
| 3.50
| 3,639
| Dec 19, 2019
| Dec 19, 2019
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it was ok
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| | blog | tumblr | ko-fi | | “Had Harold Pardee killed his wife? In hair salons, at lunch counters, the question was posed. Such a death, in Bake| | blog | tumblr | ko-fi | | “Had Harold Pardee killed his wife? In hair salons, at lunch counters, the question was posed. Such a death, in Bakerton, was without precedent.” This being the first work I've read by Jennifer Haigh, I wasn't sure what to expect. I'm not sure if this story fits in the Inheritance collection. While others authors who have contributed to this series have focused on themes of reconciliation: Alice Hoffman and Anthony Marra, respectively in Everything My Mother Taught Me and The Lion's Den , focus on the fraught dynamics between a children and their parents, while in The Weddings Alexander Chee turns towards a complicated 'friendship'. Zenith Man has a very different tone that sets it apart from the rest these stories. It seems closer to a work of Souther Gothic or Noir. Similarly to Shirley Jackson Haigh's presents us with a slightly unsettling depiction of on an 'ordinary' town and its people. There is a sense of unease as well as a good dose of dark humour. Haigh's is a good storyteller who creates and maintains this uneasy atmosphere, one that makes us pay attention to the specific language she uses. “In Bakerton a murder would not have been forgotten. The local memory was a powerful tool, an instrument so sensitive it recalled events that hadn't actually occurred. So while Haigh' writing style is definitely enjoyable, I wasn't as taken by the story itself. It was okay, but I was expecting a more interesting storyline. Read more reviews on my blog / / / View all my reviews on Goodreads ...more |
Notes are private!
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1
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Nov 08, 2019
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Nov 08, 2019
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Nov 08, 2019
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ebook
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9781542010184
| 3.48
| 3,558
| Dec 19, 2019
| Dec 19, 2019
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liked it
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| | blog | tumblr | ko-fi | | “I won't introduce you to my father, not personally, not yet. Changes are you already know him.” This Inheritance co | | blog | tumblr | ko-fi | | “I won't introduce you to my father, not personally, not yet. Changes are you already know him.” This Inheritance collection is turning out to be a rather good one. Anthony Marra's contribution adds a bit of humour to this series. The narrator's father was responsible for a leak of classified documents, landing his own family in the spotlight. Some thought him a hero, others a traitor. Years later, after publishing a memoir on his childhood, our narrator tries to reconcile himself with his now ill father. The tone of this short story is somewhat satirical and it definitely provides its readers with quite a few amusing lines: “His Bluetooth is so firmly rooted in his ear that may, technically, qualify as a cyborg. .” There is a realistic awkwardness between the various characters' interactions which made all the more realistic. “Honesty comes in an infinite variety, none crueler than a teenager's tedium.” The narrator quotes Natalia Ginzburg, so yes, this story definitely a plus fo that. However, the nitpicker in me couldn't help but notice that our narrator (someone who can quote Ginzburg) fell for the classic Frankenstein slip (where instead of saying that someone looks like Frankenstein's monster, he refers to them as looking like Frankenstein): “Father Carlson's student have that Frankenstein look of being assembled from different limbs that don't quite fit together.” Anyway, this was an entertaining short story. It may focus on self-involved individuals (who seem rather disconnected from everyday life) but it also manages to explore compassion and acceptance in very natural (non schmaltzy) way. ...more |
Notes are private!
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1
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Nov 08, 2019
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Nov 08, 2019
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Nov 08, 2019
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ebook
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9781542008488
| 3.36
| 2,844
| Dec 19, 2019
| Dec 19, 2019
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really liked it
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| | blog | tumblr | ko-fi | | 3.5 stars “Why am I here? he asks himself. What am I doing?” In just under fifty pages Alexander Chee examines a man's ch | | blog | tumblr | ko-fi | | 3.5 stars “Why am I here? he asks himself. What am I doing?” In just under fifty pages Alexander Chee examines a man's changing relationship to his old college friend. The weddings of the title are the backdrop to our protagonists' personal crisis. Jack Cho is a forty-something man in a committed relationship with Caleb. When they are invited to attend the wedding of a friend of Caleb's, Jack finds himself, for the very first time, wondering if he too will marry. Soon after the couple is invited to the wedding of Scott, Jack's college 'friend'. Jack is forced to confront his own repressed feelings for Scott. As certain details come to light, he becomes aware of having idealised this past relationship. There were many realistically awkward moments and some great commentary regarding marriage (the pressure to marry, the way weddings become displays of the couple's love). Jack's self-analysis was detailed in a poignant prose that conveyed his hurt and unwillingness to see Scott for who he truly is. This short story also touches upon: fetishisation (naive as I am, I had no idea what 'rice queen' and 'rice king' meant), the double 'rejection' that Jack often feels being Korean American (Koreans will not view him as truly Korean and white Americans will question his nationality). My only 'complaint' is that there was the occasional twee phrase: “Scott was so much trouble, whatever the reason was. A beautiful disaster.” Overall however this was a short yet intelligent story that pays careful attention to those awkward pauses and heavy silences that can fill a conversation. It reminded me a bit of Come Rain or Come Shine: Faber Stories by Kazuo Ishiguro and certain short stories by Jhumpa Lahiri. “Even then, ha he would endlessly be a curiosity and not a person. He would forget this was true and then be reminded this way, this he most recent in the jarring series of moments that threaded thorough his whole life in America. When did it end? When would they all just get used to him—to all of them?” ...more |
Notes are private!
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1
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Nov 06, 2019
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Nov 06, 2019
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Nov 06, 2019
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ebook
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3.66
| 72,857
| Nov 07, 2019
| Nov 07, 2019
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liked it
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| | blog | tumblr | ko-fi | | (mini-Italian review at the end) “L'amore è opaco come i vetri delle finestre dei cessi.” (I'm no Ann Goldstein but the | | blog | tumblr | ko-fi | | (mini-Italian review at the end) “L'amore è opaco come i vetri delle finestre dei cessi.” (I'm no Ann Goldstein but the above quote can be roughly translated to: “Love is as opaque as the windows of a shit-house”). In this latest novel by Elena Ferrante, La Vita Bugiarda degli Adulti (or The Lying Life of Adults in its English translation) we are confronted with a narrative that challenges the myth of happy family (in altre parole il mito della 'famiglia del mulino bianco'). The novel opens in what could be regarded as the story’s ‘inciting incident’, one that sets off our protagonist on a fraught journey from childhood to adulthood. Set in Naples during the nineties, the very first line of La Vita Bugiarda degli Adulti informs that: “Two years before leaving home my father said to my mother that I was very ugly” (“Due anni prima di andarsene mio padre disse a mia madre che ero molto brutta”). Our narrator, Giovanna, remembers with painful clarity the effect that these overheard words had on her at the age of twelve. Once heard, they could not be unheard. It is perhaps because this word, ‘ugly’, is uttered by her loving father—a father who used to tell her of how gorgeous (‘bella’) she was—that it has such devastating consequences. Giovanna, the daughter of two well-educated teachers, who mainly move in intellectual circles and appear to be well-adjusted in life, begins to see her parents through a new lens. Her parents are not part of an invincible and united entity whose main purpose in life is her happiness and wellbeing. Once Giovanna begins to see these ‘cracks’ in their marriage and in their parenting, she begins to resent them for their lies. The word ‘ugly’, her newfound awareness of her parents’ and other peoples’ lies, weigh heavily upon her, so much so that her life seems to take a downward spiral. A key player in Giovanna's fracture from her parents is her father's estranged sister, Aunt Vittoria. When Giovanna starts questioning why she has never met her father's side of family she unearths a decades old feud between her father and Vittoria. In many ways it is discovering that her father 'cut off' Vittoria from his existence deeply perturbs Giovanna. However, as she begins to spend more and more time with Vittoria, she seems to experience some odd sense of satisfaction from the possibility of angering her parents or of damaging their image of her. The more her parents stress Vittoria's 'ugly' personality, the more Giovanna feels compelled to imitate her, modulating her behaviour in a way that makes her rather misanthropic. Vittoria's way of existence seems to Giovanna to be diametrically different to the other adults in her life. Unlike her parents and their acquaintances, Vittoria lives in what many consider to be a disreputable area, she gets by working 'menial' jobs, she speaks in a strong dialect, and she's frequently blunt to the point of vulgarity. Vittoria's mercurial personality, her propensity to hold a grudge, and her endless tirades, reminded me a lot of another anti-intellectual, Emerence from Magda Szabó's The Door (their only difference seems to be that Vittoria is religious). Vittoria seems to plant a seed of doubt in her niece's mind. Is Giovanna's father the mean spirited man Vittoria makes him out to be? Is he lying to Giovanna? Is everything he told her a lie ? Giovanna's identity crisis is dominated by an almost pathological self-hatred. She obsessively checks her face and body, looking for traces of Vittoria's 'uglyness' in herself. Later on she seems almost elated in discovering the ability to say things to hurt others and finds some sort of power in discovering that a lot of older boys find her biting words and those physical attributes she herself hates to be enticing. This novel focuses on the way in which Giovanna's teenage years are clouded by bitterness and a general ill-feeling. Her parents, like many other parents, seem to believe that as long as she does well in school, she is fine. Giovanna however has no wish to keep adults' pretences of happiness, politeness, and decency. She wants to denigrate others as well as herself, she wants to hurt and lie to other people. Giovanna would not be out of place in a novel by Ottessa Moshfegh. She is egocentric, morbid, and deeply alienated. She is bored by her peers and sick of her parents' falsities. And while it is clear that she wishes to be an adult, her self-hatred and deep-seated insecurity do not really allow her to mature. More than once readers might find her rage and unhealthy behaviours as signs of adolescent angst. Giovanna however takes herself very seriously: small gestures and or words uttered in distraction can, and often will, have a debilitating effect on her. While I was reading this novel Ferrante's writing reminded me more than once of Gustave Flaubert. Their proses give the impression of having being laboured over: each word seems to have been especially chosen and placed in the right position. Also, this novel's opening lines (where Giovanna overhears her father saying that she's ugly) seem Madame Bovary : “How strange,” thought Emma. “The child is so ugly!” (for those who are wondering, the child in question is Emma's own daughter). I wasn't surprised to discover that Ferrante's La frantumaglia mentions this passage: “Now I read Flaubert’s letters, his other books. Every sentence was well shaped, some more than others, but not one—not one ever had for me the devastating force of that mother’s thought: C’est une chose étrange comme cette enfant est laide! ” Time and again the narrator returns to these words. Her fear of being ugly, that is of having a disagreeable if not bad personality, plagues her during her teenager years. While at times Ferrante could be a bit tedious (especially when we read how many times Giovanna feels or believes herself to be horrible) I was somewhat fascinated by her narrator's self-loathing diatribes. Ferrante manages to depict the way in which Giovanna is affected by each one of her negative emotions or thoughts, paying incredible attention to the nuances that accompany these complex feelings. Giovanna often feels many things all at once. Her self-hatred is often accompanied by a sense of self-satisfaction; when she speaks cruel words to her mother she feels both empowered and vaguely disgusted. Ferrante is almost meticulous in the way she identifies and describes Giovanna's various states of mind. Her Italian is simply captivating and I often found myself in awe of her word choices, her use of repetition, alliteration, and specific tenses. The fluidity of her writing distracted me from Giovanna's overwhelmingly negative worldview. Still, I can't say that Ferrante's writing completely makes up for her rather uneventful story. Giovanna seems to go into frenzies over the smallest things. While most readers are aware that teenagers often tend to 'magnify' certain events, they might find Giovanna's tendency to think and feel in extremes and her perpetual state of self-torment to be rather testing. And while Ferrante's writing is strikingly ambivalent, eloquently crisp, simultaneously expressive and subtle , there were certain passages that seemed rather self-indulgent. While for the most part Giovanna's exploration of her sexuality struck me for its realism, the way in which she describes male bodies seemed unnecessarily apathetic. Ferrante has the tendency to describes male genitalia as if it was an abstract sculpture. Giovanna never uses the more common Italian word for penis (or vagina for that matter) resorting instead to old-fashioned terms (the story is set in the nineties, not the fifties). This is a rather heavy going novel. Our main character spends most of the narrative hating herself or others. The bitterness, loathing, repugnance, and envy experienced by Giovanna, as well as her solipsism, her growing aversion towards her parents, her general ill-disposition, and her frequent lapses into bouts of truculence, make her rather hard-going, if not downright unsympathetic, character. While Ferrante is precise when she articulates these painful and disruptive teenage years, her characters could have been more fleshed out (they all seem to play the one role in Giovanna's life: the parents are liars, Vittoria is chaotic). Still, if you are interested in reading of a realistic passage into adulthood and/or you are a Ferrante devotee you might find La Vita Bugiarda degli Adulti to be a deeply compelling read. Giovanna's narrative is simmering with barely concealed rage: towards our parents' lies, their expectations, their hypocrisy, their falsehoods, and their very vulnerability. Ferrante is unflinching in her portrayal of Giovanna's early adolescence and provides a context to her existential malaise and fury. Through her incisive prose she chronicles Giovanna's despair, her paranoia, her crippling self-loathing, her despair (over her changing body and her family's circumstances), and her obscure, wilful, and frankly perplexing states of minds. As Giovanna becomes aware of her own limitations and of her own misperceptions, she seeks to protect herself by embracing a more ephemeral existence. The ending of this novel is almost jarring and does not feel as cathartic as Ferrante seems to imply it is. Nevertheless I probably would pick up another novel by Ferrante. Due righe in italiano: Premettendo che il mio italiano ormai è stato anglicizzato (insomma, si è arrugginito) volevo esprimere un attimo il mio parere riguardo La Vita Bugiarda degli Adulti. Ferrante è una scrittrice eccezionale, su questo non ci sono dubbi. Ammiro davvero il suo modo di scrivere, i termini che usa (come e dove li usa). Purtroppo i suoi personaggi erano eccessivamente sgradevoli. I ragazzi, con l'eccezione di Roberto, erano tutti uguali (capisco che ci sono gli ormoni in balla ma potevano avere delle personalità un poco più complesse). I genitori di Giovanna e zia Vittoria finiscono ai margini della storia. Roberto e la sua ragazza erano blandi. Giovanna mi ha dato abbastanza sui nervi (nella sua testa si sussegue una smania dopo l'altra). Anche se la Ferrante tratta temi un pò deprimenti, scrive in una maniera così magnetica e scorrevole, che diventa facile perdersi nelle sue righe. ...more |
Notes are private!
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1
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Nov 15, 2019
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Nov 17, 2019
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Oct 29, 2019
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Paperback
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4.20
| 71,639
| 2019
| Sep 03, 2019
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it was ok
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| | blog | tumblr | ko-fi | | 2.5 stars In spite of its promising beginning The Chestnut Man implements far too many cliches for my liking (a few of w | | blog | tumblr | ko-fi | | 2.5 stars In spite of its promising beginning The Chestnut Man implements far too many cliches for my liking (a few of which are listed on CrimeReads). This book centres on a series of gruesome killings in Copenhagen. On each crime scene the killer leaves behind a chestnut doll. Although the writing is detached it does pay attention to the visual aspect of its scenes, pointing out something in the environment where the characters are, and emphasising some of their gestures and or habits. In this it had an almost cinematic feeling to it, and perhaps this shouldn't be surprising given that the novel's author is also a screenwriter (of the successful The Killing, and the not quite as well received The Snowman). While I initially thought the novel unsentimental tone worked in its favour, making most scenes much more chilling, but I soon noticed that it wasn't as impartial as it seemed. Even when the narrative follows other characters, it clearly favours its two 'protagonists'. The narrative's voice seemed to treat characters other than Hess and Thulin with dislike, or it addressed them by their nationality (the narrative calls Hess' former colleague François the Frenchman...even after we already have been informed that yes, François is French), vices, or the role they play in the story. For example, when the narratives follows the two 'bad' detectives that work against our two main leads, it is quick to present them as stupid, since it has to emphasise that they are CORRUPT and STUPID. While the chapters' shortness occasionally did create a sense of suspense, they often seemed to end on rather silly note, and it seemed that the author was make even the most boring or ordinary scenes abruptly end witha sort of 'cliff-hanger'. Here are a lists of the clichés that I could have personally done without : ✓ The Brooding Male Lead With A Past In spite of his intelligence, this temperamental guy often behaves in a way that makes his superiors see him as insubordinate. Yet, he is the only who notices the chestnut men, and he is the main drive behind the investigation's process. I really disliked Hesse. I thought he was arrogant and difficult for no reason (yes, he has been 'relocated', but would he really act like such a sulk? ). He made no attempt to form a work-relationship with his colleagues, so I'm not sure why I should feel bad that they regard him with hostility (very tit for tat if you ask me). ✓ The Hot Female Detective Who Is Good At Her Job But Not The Greatest Mother She takes no shit from her male colleagues, who often try it on with her. While I'm sure that there are cases where male detectives try to sexually harass their female colleagues, I'm getting kind of tired of reading of the same scenes, especially if they are included just to make her seem more 'badass'. Allegedly Thulin is smart, but her expertise lies in certain computer programs (she wants to join the department for cyber crime) so she is surprisingly useless for most of the investigation. In addition to her supposedly intelligence, she also has a banger of a body. I get that being strong or fit is an advantage in her line of work but it's one thing to have a muscular body, it's another to have the perfect body (much is made of “her slender waist and shapely backside”). When questioning a doctor she 'uses' her looks and acts “coquettishly” to trip this guy up. Couldn't she have been able to question him effectively without having to rely on her physical appearance ? What about her brains? Not enough? And because the story has to stress that she is not like other women, in that she is focused on her career, she also has to have an active sexual life. And no, she doesn't do 'romance'. Nor does she have time for her child (which is perfectly reasonable given the type of job that she does, yet she is made to seem like a careless mother). Anyway, she is too busy and badass for any of that sentimental stuff. ✓ Corruption Ahoy We have these two detectives who are clearly there just to make our leads look good. They are racist, sexist, stupid, amoral, and incompetent. Yep. Because they are jealous of our main leads they try to make their life harder. The narrative makes it clear that these are BAD detectives. In fact, most of the police personnel seems unfit to work. ✓ The Detective's 'Crazy Wall' You know the wall that appears in shows like The Wire and True Detective. It's full of strings, scribbles, articles, and all of that sort of stuff. Well Hess happens to have one of his own, and the narrative reveals this in such a dramatic way, as if it's a huge reveal or something when it is anything but. ✓ Consulting a Convicted Killer This whole interaction was laughable and full of poorly veiled allusions. ✓ The Twist Knowing the killer's identity doesn't always detract from my overall reading experience. Here however I found the killer's character and motivations too be rather overdone. This was a very bland thriller. I disliked both the narrative's judg-y tone and its shallow characters. The plot went on and on, but I wasn't all that interested. ...more |
Notes are private!
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1
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Oct 26, 2019
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Oct 30, 2019
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Oct 26, 2019
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Kindle Edition
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9781542091459
| B08LDD8KXK
| 4.01
| 27,271
| Dec 19, 2019
| Dec 19, 2019
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really liked it
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| | blog | tumblr | ko-fi | | Alice Hoffman is an exceptional writer. This was a short yet striking tale that captivated me from its very opening lin | | blog | tumblr | ko-fi | | Alice Hoffman is an exceptional writer. This was a short yet striking tale that captivated me from its very opening lines: “There are those who insist that mothers are born with love for their children and place them before all other things, including their own needs and desires. This was not the case with us.” As per usual Hoffman showcases the way in which her insightful prose beautifully lends itself to the subjects of her story. The narrator paints an uneasy picture of her relationship with her mother. There is some recurring 'Hoffman imagery' (red shoes, sailors, the sea) which made the story all the more enthralling. I particularly liked the way the landscape mirrors the narrator's feelings. “The sea was a dangerous enemy, and we were surrounded by it. But I remembered what my father had told me. You could grow to love something so strong and elemental, but you'd have to value the beauty of it more than you did your own life.” I definitely recommend this to fans of Hoffman. While her latest novel, The World That We Knew is a triumph of motherhood, in this short story, we are confronted with a mother who is unwilling or unable to love anyone but herself. Hoffman conveys the resentment and hurt of this ultimate rejection though the daughter's perspective. Quick and atmospheric Everything My Mother Taught Me is not to be missed. “I closed my eyes and went through a list of everything I wished I could thank him for giving me. Patience, loyalty, trust, and hopefully, in time, kindness.” ...more |
Notes are private!
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1
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Nov 05, 2019
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Nov 05, 2019
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Oct 26, 2019
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ebook
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1542099471
| 9781542099479
| B075177SLF
| 3.97
| 99,004
| Oct 14, 1905
| Nov 07, 2017
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it was amazing
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| | blog | tumblr | ko-fi | | 4.5 stars “The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.” As ma | | blog | tumblr | ko-fi | | 4.5 stars “The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.” As many readers have already pointed out, there is little mirth to be found in The House of Mirth (and I thought that The Age of Innocence and Summer had despairing endings...I was clearly misguided). As with the majority of her works, Edith Wharton's The House of Mirth is chiefly concerned with depicting the conflict between social and individual fulfilment, and it focuses on the experiences of American's upper social class during the turn of the last century. Wharton demonstrates incredible social nuance in her almost anthropological-like study of New York's elite society. Her commentary regarding the prevailing behaviours found within this group of people is insightful, satirical, and witty. Her portrayal of this privileged class emphasises its pettiness, giving us the impression that beneath their refined appearances and manners lies hatred, envy, and hypocrisy. Wharton throws light upon the discordance between their behaviour and their values. They are little more than jealous gossips, ready to temporarily forget their strict sense of propriety if it means to tarnish someone else's reputation. It's very much an every person for themselves type of world (or as I like to call it, a shark eat shark kind of world). Someone's ruin or misfortune might not result directly to your advantage but it's guaranteed to entertain (and possibly detract attention from your own ongoings). This group of selfish and wealthy individuals make for a rather unhealthy environment. Yet, socialite Lily Bart, strives to belong to it. While this is a story that follow's a woman's unsuccessful attempts at social climbing to define it simply as such doesn't do it justice. Throughout the course of the narrative Wharton constructs and deconstructs Lily's character, making her into much more than a social climber. Lily's story provides a keenly observed social commentary, and Wharton does so without employing a heavily didactic or moralistic tone. Throughout the course of her novel Wharton interrogates themes of gender and class. The narrative’s discourse of personal vs. social identity is epitomised by its main character, Lily Bart, and by her eventual downward path (view spoiler)[which tragically results in her death (hide spoiler)]. Alongside her satire of New York's high society, with its oppressive customs and its pretence at niceties, Wharton criticises binary thinking. Unlike her characters, Wharton does not pass judgement on Lily's transgressions, rather she makes her protagonist's changing circumstances make her aware of the way in which her values have brought about her own ruin. Although Lily is not painted as the story's victim, the narrative informs readers of the limited options available to women in Lily's position. Lily Bart is one of the many tragic heroines who is ruined by her own materialism and romanticism. These fictional women are often frivolous (Rosamond Vincy), selfish (Emma Bovary), inclined to transgress social norms (Sula Peace), mostly concerned with their own economic elevation (Becky Sharp), and often branded as evil or regarded unsympathetically. Yet, Lily's character subverts notions of good and bad, as Wharton does not seem to equate her protagonist's self-interest with vice. While other characters within this novel are quick to label and condemn Lily, we read of her various internal struggles (whom she wants to be vs. who others want her to be) and of her many ill-fated attempts at love and happiness. Lily very much plays a role in many of her relationships, making herself into what others want her to be. Above all she is an actress, a performer. Yet, her self-fashioning aggravates the disconnect between who she is and who she pretends to be (and often results in problematic situations in which others expect her to do or act in a way that goes against her wishes). Lily's solipsistic nature did not make her into an unlikable character. Even when she seems to exhibit the same hypocrisy as those she criticises, I still found her to be a beguiling individual. While her debts are certainly a consequence of her own materialistic desires, if not opulent impulses, we come to understand the significance that appearances (such as one's dresses) play in one's fortune and reputation. Lily can charm those in her circle as long as she continues to live a certain lifestyle, she has to keep up with their expensive tastes and habits. Lily often falls prey to ennui, a boredom that is tied to a sense of sublime potential, one that makes her feel superior to her environment. Lily is frequently unsatisfied by those paths that are open to her: to Lily, marrying a dull man would inevitably result in a life of ‘mediocrity’ and, more important still, in a restriction of her freedom. So Lily remains adamant in her certainty that she been cast into the wrong role (or life), believing instead that she deserves to live as freely as she pleases, possibly married a man who is both sophisticated and wealthy, and more importantly surrounded by riches. While she certainly longs to and works toward belonging to this upper crust, she finds them to be both petty and shallow, and is often repulsed by their bad tastes, appearance, and behaviour. This sense of self-importance allows her to manipulate those around her. Lily is a schemer, prone to self-pitying, and not very emphatic. Yet it is her very cleverness and charm that make into a formidable figure. The novel mostly focuses on Lily's attempts to find wealth (whether this is through a husband or fortune, she initially doesn't seem to mind), and the way in which her plans often backfire. As her reputation is shredded beyond all repair, Lily slowly begins to reconsider herself, her values, and her past actions. Her character's development is realised through extensive acts of introspection, and Wharton's narration lends itself beautifully to Lily's self-analysing. What more can I say write? This story is populated by gamblers and gossips, who are eager to use and walk over Lily (and I hated them, how I hated them), but there are those who show compassion and love towards her. And yes, I am a sucker for a doomed romance (not sure if that makes me a romantic or a bit of masochist). In spite of its satirical tone, this novel tells tragic story. (view spoiler)[After Lily is rejected by her circle, death seems a last attempt to get away from a reality that she cannot endure. Still, I hoped against hope that she could finally find some happiness with Lawrence Selden. (hide spoiler)] ...more |
Notes are private!
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1
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Oct 19, 2019
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Oct 25, 2019
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Oct 19, 2019
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Kindle Edition
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140918952X
| 9781409189527
| 3.29
| 468
| 2019
| Jul 25, 2019
|
did not like it
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| | blog | tumblr | ko-fi | | I guess that I’m but a fickle creature: I saw and fell for the cover of this novella (the neon colours, the pose of the | | blog | tumblr | ko-fi | | I guess that I’m but a fickle creature: I saw and fell for the cover of this novella (the neon colours, the pose of the model, the simple font...I was a goner). Sadly the actual contents of Dolores have little in common with its fantastic cover design. Written in a prose that manages to be both sickly and apathetic, this novella isn't all that concerned on mapping out Dolores' psyche and turmoils (yes, its title is rather misleading), rather it devotes itself to create a gallery of intentionally repulsive bodies. Curtis' writing style had this sticky quality that can at times have an almost nauseating effect on the reader. Rather than using this aspect of her prose to create atmosphere or render the novella's setting (which actually takes place in part in an unmade country, and later on in what should be Spain...but could be any place in particular) it often goes to emphasise our discomfort towards the various characters populating this story. These characters are often introduced to us in terms of their physical flaws: we have Dolores who is possibly 'big' or 'voluptuous' (other characters praise or ridicule her for her 'largeness' but we never get a description of her actual body), the nuns have all crooked teeth or misshapen jaws/faces. They are made to be repulsive, to inspire a sense of abjection in us. These characters' are defined by their 'repugnant' bodies, they do not seem to possess actual personalities or a sense of self, but rather they are little more empty shells made to disgust us. This obsession with 'the body' and its functions was tedious. Curtis seemed to go out of her way to stress the ugliness of her characters. The nuns shower once a week, and apparently that makes them filthy. Given that they do little work outside, and they are covered head to toes, isn't an exaggeration to make it seem as if washing once a week would have them in such a state? There were many instances when Curtis' descriptions seemed gratuitous , especially since the narrative seemed to gleefully revel in detailing the inadequacies of the human body. And to dedicated a whole novel to the fallacies of our bodies is a bit much. Dolores doesn't have a voice. She does some things, but we never know what impels her to do what she does. What did she actually think of those Love Hotels? Was she having sex because she enjoyed it or did she feel pressured to became sexually active? What did she think of her pregnancy? I have no idea! That this novella doesn't bother to develop its central character is somewhat frustrating. Dolores seemed reduced to her 'large' body, as if that vague description equated a personality. The majority of male characters want to use, and possibly abuse, Dolores...and sadly I have no idea of the way in which that affected her. Did she even realise that she was being manipulated? Or was she the one exercising some form of control over them during their encounters? This detachedness is never clearly explored, rather we are made to be content with a character who is as responsive as a rag doll. Additionally, he novella fails to explore the possibility of there being a language/cultural divide between Dolores and the nuns. The setting of the story is completely murky, so much so that throughout the narrative there was no sense of place or time. There is no heart in this story nor in its characters. The narrative is so concerned with making its characters as repelling as possible that it completely forgets to endow them with even a speck of personality. ...more |
Notes are private!
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1
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Oct 16, 2019
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Oct 17, 2019
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Oct 15, 2019
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Audiobook
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0062890026
| 9780062890023
| 4.26
| 47,617
| Feb 06, 2020
| Apr 28, 2020
|
really liked it
|
| | blog | tumblr | ko-fi | | “It’s best to start with the beginning—or at least what feels like it. I realise now that we never much talked about ou| | blog | tumblr | ko-fi | | “It’s best to start with the beginning—or at least what feels like it. I realise now that we never much talked about our pasts. Maybe it would changed something if we had, maybe we would have understood each other better and everything would have been different. Who can say?” Swimming in the Dark is a strikingly elegiac novel. The story, in its broadest terms, explores a young man’s identity and sexuality under Communist Poland. In December 13th 1981 martial law is declared in the Socialist Republic of Poland. Ludwik Glowacki, a young Polish man, now living in America, hears this on the news. This Western 'acknowledgment' of his home country’s political unrest triggers a recollection of his past. Rather than reiterating his whole childhood, Ludwik lingers on some of his more meaningful experiences: starting at age nine, when he became infatuated with a Jewish boy, to his longer-lasting relationship to Janusz, a young man he meets while working on an agricultural camp. Throughout the narrative Ludwik addresses Janusz in the second-person (which will probably elicit comparisons to Call Me By Your Name), giving his reminisce the impression of being an unwritten letter of sorts: “You listened, really listened, gentle eyes taking me in without judgment, making me feel more heard than I knew I could be.” But this is only partly a love story. Ludwik’s examination of his time in Poland will make you feel uneasy. We read of Ludwik’s early struggle to reconcile himself with his sexuality, of his self-discovery (aided by a copy of Giovanni’s Room), of his attempts to create a future in a growingly alienating society, and of the way Poland's tumultuous political and economical landscape affect him and those around him. “To my own surprise, I was unable to accept the shame he wanted me to feel. It was too familiar to be imposed: I had produced it myself for such a long time that, right then, I found I had no space left for it any more.” Ludwik's daily life is permeated by an undercurrent of fear one that forces him into secrecy. Yet as Ludwik struggles to maintain his identity in an increasingly watchful city, he finds himself not only holding but voicing dissident opinions. Because of this, his relationship with Janusz, who is much more complacent, becomes strained. “Selfish. Growing into yourself is nothing but that.” Jedrowski's writing is by turns allusive and explicit. Ludwik's intimate narration is one that might make readers feel almost uncomfortable, as if were encroaching upon his privacy. Yet, this intimacy also allows us to experience some of Ludwik's emotions, to understand the depth of his feelings for Janusz, his apprehension and guilt for having moved away from his grandmother, his growing sense of dislocation. “I even attempt a smile. But I sense that either way my foreignness somehow absolves me from their judgment. To them, it must explain my strangeness completely.” Jedrowski renders in an almost painful clarity what it means to live in a country in turmoil, a country whose government and (collapsing) economy worsen its citizens quality of life. Against this bleak backdrop, Jedrowski's prose seems almost startlingly luminous. He emphasises the more striking nuances of the English language, and his word choices perfectly lend themselves to conveying the beauty and anguish in Ludwik's life. “I was transported into a vision of my life that made me so dizzy my head began to spin. Shame, heavy and alive, had materialised, built from buried fears and desires.” Jedrowski's writing also showcases a propensity for metaphors: “‘Perverts’ — the word falling from her lips like a two-limbed snake, dangerous and exciting”. At times these metaphors could be beautiful, often bringing certain moments or images from Ludwik's memory into the foreground, so that certain scenes are rendered in almost snapshot clarity. In other instances these seemed to accentuate Ludwik's impression or feelings towards someone or something. “My life was a tiny narrow corridor with no doors leading of it, a tunnel so narrow it bruised my elbows, with only one way to go. That or the void, I told myself. That or leave.” Certain metaphors however stood out for the wrong reason, seeming over-written, silly, a bit too impressionistic, and made me wonder whether Jedrowski had an aversion for calling things what they are (for instance: “Tears started to slide down my cheeks like melted butter” / “Warm cave of his mouth” / “your ass was powerful, like two great smooth rocks sculpted by the sea” / “breasts like overripe fruit”). Still, Jedrowski is a clearly skilled writer. The imagery he creates make his narrative into an almost sensory experience. His prose is acutely lyrical, and there were many instance in which I became lost in his language, in his rich, if occasionally high-flow, expression, and in his arresting juxtapositions. Jedrowski's flair for metaphors brought to mind authors such as André Aciman and Ocean Vuong, while the ambivalent tone that shapes much of Ludwik's retrospective narrative reminded me of L'Arminuta and Lie With Me. In spite of his novel's tragic undertones, Jedrowski's prose remains luminous, and there are some rare moments of true beauty in Ludwik's deeply personal tale. Still, a sense of disquiet seemed ever present. Perhaps Ludwik's hindsight distorts some of his memory, turning blissfully happy moments into bittersweet memories. “One day your country is yours, and the next it isn’t.” Living in a country that through its laws and policies imposed uniformity on its subjects, Ludwik not only does he hold onto his individuality but he tries to overcome the shame and guilt that seem irrevocably ingrained in him. Ludwik's psychological turmoil is temporarily alleviated after he comes across an illicit copy of Giovanni's Room. He begins to draw parallels between himself and its protagonist, and soon he fears that he too will behave in a cowardly way. I too became increasingly afraid for him, especially as he is repeatedly forced into morally distressing situations. Yet, to go against the tide is no easy feat, and there were many challenging occasions where Ludwik has to fight not to stray from his values. “But like stones thrown into the sky with all one’s might, pieces of that night - the boys and the men who wanted them, the flirtation, the codes of seduction I could only guess at - returned to me with even greater intensity than I had lived. The law of gravity applies to memories too.” Ludwik's relationship to Janusz is rendered with poignancy. There are moments of vulnerability, of frailty, of emotional and physical abandon, of weariness, and of grief. Due to the secret nature of their relationship Ludwik seems to be perpetually longing for Janusz. However, Ludwik's anxiety for his/their future, Janusz's job and acquaintances, and their contrasting political views, create conflict between them. “I wondered about your role in all this, what kind of pact you’ve made with yourself. Because we all make one, even the best of us. And it’s rarely immaculate. No matter how hard we try.” This novel is a deeply intratextual work. James Baldwin's Giovanni's Room appears throughout the narrative, at times it alleviates Ludwik's despair, in other occasions it appears to him almost as a cautionary tale. Baldwin’s novel allows him to read from a perspective he can understand. “I was paralysed by possibility, caught between the vertigo of fulfillment and the abyss of uncertainty.” In navigating his past Ludwik demonstrates incredible self-awareness. He acknowledges early on that his recollection of his past is imperfect and possibly biased. Retrospective blurs his memories. Yet, its is his present knowledge that allows him to 'dig' deeper, to discern his own motivations and feelings as well as those of others. In fact, as Ludwik ruminates his way through his past, he seems also to be trying to understand or question some of his choices. “How does one bond with another child, as a child? Maybe it’s simply through common interest. Or maybe it’s something that lies deeper, for which everything you say and do is an unwitting code. ” Swimming in the Dark presents its readers with an examination of a young love that is filled with passion, misery, contrition, and jealousy. Simultaneously graceful and unrestrained, this novel is brimming with sensitive and penetrating observations about youth, love (of being gay in a society that deems same-sex love unacceptable), family, and freedom. Written in a fluid prose Swimming in the Dark tells a moving story one that struck me for its piercing realism, for its painful subject matter, and for its believable and compelling characters. “It sounded like an appeal, a right violated and invoked. My hand on the door handle, my back to you, heart pulsing in my temples. I could sense the word throbbing in the air. My name, claiming me. It wrapped its fingers around my shoulders and tried to hold me back.” Read more reviews on my blog / / / View all my reviews on Goodreads ...more |
Notes are private!
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1
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Nov 06, 2019
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Nov 07, 2019
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Oct 15, 2019
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ebook
| ||||||||||||||||
1542099560
| 9781542099561
| B0756ZBJGW
| 3.97
| 177,539
| Oct 1920
| Nov 21, 2017
|
really liked it
|
| | blog | tumblr | ko-fi | | “I mean: how shall I explain? I—it’s always so. Each time you happen to me all over again.” A few months ago I read | | blog | tumblr | ko-fi | | “I mean: how shall I explain? I—it’s always so. Each time you happen to me all over again.” A few months ago I read Edith Wharton's novella, Summer. Although I thought its obliqueness to be rather fascinating, I was frustrated by its relatively short length, and thought that the characters would have benefitted from having some more depth. The Age of Innocence, by comparison, is a much more detailed story, one that focused on a cast of interesting characters, who regardless of their likability, struck me as incredibly realistic. Through their words, mannerism, and motivations, Wharton makes her characters into fully formed individuals. Newland Archer is one of the novel's central figures. Archer is a gentleman lawyer who will soon announce his favourable marriage to the young May Welland. All is seemingly well until May's cousin returns to America to escape from an inauspicious marriage to a Polish Count. Rumours and gossip abound, and to begin with Archer is merely vexed by the attention that his social circle seems to paying to her. Yet, he soon becomes intrigued by the way in which Countess Ellen Olenska seems either oblivious or uncaring of the rules of civility that dictated New York during the 1870s. For the majority of the narrative Newland Archer and Countess Ellen Olenska exhibit great restraint over their attraction and romantic feelings for one another. Their relationship is one that is punctuated by periods of tenderness, broodiness, fascination, and abnegation. There are stretches of time in which they hardly see one another, and yet they remain quietly devoted to the other. Archer, through the tumultuous passion he harbours towards Countess Olenska, seeks to escape, if not transcend, from the artificiality and limitations he perceives within his society. Countess Olenska becomes his objet petit a, that is an unattainable object of desire, who he desperately longs for perhaps because he knows that a future with her would be impossible. It is the very act of longing for her that allows him to envision a future free of all that he finds wanting in May Welland his actual fiancee. It is the very forbidden nature of his feelings for Countess Olenska that seems to inflame his passion for her. He assigns to her the role of ‘beloved other’, regarding their ‘affair’ as an inescapable outcome of their ‘true love’. Alienated by the majority of her relatives, regarded as 'other', Countess Olenska is lonely and unhappy. I admired both her strengths and her weaknesses, and found her to be on of the few characters to actually have dignity. Even in America, in other continent from the Count, she seems unable to escape from the shadow of their unhappy marriage. In Archer she finds an ally of sorts, yet, her experiences prevent her from falling into old patterns. Archer, on the other hand, attempts to escape from the strictures imposed on him by his family, acquaintances, and New York’s ‘polite’ society, by engaging in an illicit affair which if made public would likely ruin his reputation and career. In his feelings for Countess Olenska, Archer experiences a romantic love untethered by concepts of duty and tradition; while his engagement with May is dictated by notions of propriety and decorum, Archer believes that his relationship with Countess Olenska is unaffected by the social constraints and rituals that otherwise mar his existence. Archer’s interactions with Countess Olenska provide him with a taste of freedom: while his conversations with the naive and sheltered May are interspersed with platitudes and empty phrases, Archer’s exchanges with Countess Olenska—even when consisting of a couple of words—seem to carry depths of meaning. Her language, as well as her very glances and expressions, are loaded with ‘real’ emotions, emotions which Archer believes to be absent in May. His fiancee's personality seems to him a blank slate, one that he ought to fill. In spite of his dishonesty readers will find it difficult to condemn or judge Archer. Tired of the formulaic dynamics of his world, burdened by ennui and disenchantment, Archer feels truly awake and alive when he is in the proximity of Countess Olenska. He grows jealous of men such as Julius Beaufort and often makes unfavourable comparison between Countess and May. The difficulties Archer and the Countess experience are often a result of their own preoccupation with one another. They always perceive something or someone to be in the way of a possible future together (May, Count Olenski, the Mingotts, the scandal itself). As the narrative progresses we begin to see that Archer’s impression of the falsehoods within his society and of other people’s character may not be as clear-cut as he thinks. For example, Archer believes that May’s ‘ingenuousness almost amounted to a gift of divination’. Her later actions however suggests that her ‘intuitions’ may be more deliberate than accidental. The novel examines the way in which desire and happiness are obstructed and influenced by social conventions and notions of duty (what Archer wants for himself vs. what society wants for Archer). Yet, Wharton doesn’t suggest that a union between Archer and Countess Olenska would have a harmonious outcome. It is the very fact that their romance is ‘doomed’, weighed down by denial, guilt, and regret, that makes it all the more ‘sublime’, it is the pain that accompanies their unfulfilled love makes it all the more vivid. While Archer’s relationship to May seems to consist of perfunctory speeches (ones which, much to Archer’s displeasure, echo those between May’s own parents), his interactions with Countess Olenska are often ‘clandestine’, which is why they leave such a lasting impression on him. If urgency and secrecy no longer enveloped their meetings, would Archer feel the same passion for the Countess? In one of the very first pages we are told that Archer was “at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation”. Paradoxically, Archer draws more pleasure from the act of yearning, for something or someone, than from having or experiencing that which he yearns for. In other words, the idea of a future union with the Countess seems to Archer better than an actual union with her. This deferral of his own satisfaction brings about a painful sort of happiness—what could be described as jouissance, that is a ‘backhanded enjoyment’—as it is the very act of longing for the Countess that enables him to entertain the idea that a true and meaningful union can be possible. However, later on in the narrative, Archer seems to want to break free from this self-sabotaging (that is of finding fulfilment in the perpetuation of his non-fulfilment). The narrative, and the characters themselves, seems to have a certain foreknowledge regarding the outcome of this affair. Still, even if we know what their romance will lead to, we still feel invested in their relationship and it is up to the reader to decided whether Archer and the Countess are victims of their time and circumstances or whether they are the ones responsible for their own misfortune. Wharton's rendition of 1870s New York is a strikingly nostalgic one. Yet, in spite of the wistful tone the narrative has towards this Gilded Age, Archer’s story critiques the way in which the customs of his time perpetuated this ideal of a ‘pure’ bride, one whose innocence was, if not performed, carefully fabricated by those around her. “Untrained human nature was not frank and innocent; it was full of the twists and defences of an instinctive guile. And he felt himself oppressed by this creation of factitious purity, so cunningly manufactured by a conspiracy of mothers and aunts and grandmothers and long-dead ancestresses, because it was supposed to be what he wanted, what he had a right to, in order that he might exercise his lordly pleasure in smashing it like an image made of snow.” Wharton’s commentary on class and gender emphasised the way in which individuals were restricted by the time’s social norms. The story also presents us with a compelling interplay of duty and desire, of hope and dissatisfaction, and of passion and indifference. The contrast between American and European values seems to be embodied by the two women in Archer’s life: May (as the American ideal) and Countess Olenska (as the worldly, if not ‘exotic’, European). While there are countless of literary works featuring alienated heroes and ill-fated lovers, The Age of Innocence can offer its readers with a particularly piercing narrative that is written in Wharton’s carefully elaborated prose. Her elegant writing style perfectly lends itself to the ironic and serious tones of her story. The very words Wharton chooses seem to possess a contemplative quality that capture with painful clarity Archer’s feelings for the Countess. This was an incredibly poignant novel that I will definitely be revisiting again (my heart has to recover first). ...more |
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Oct 12, 2019
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Oct 10, 2019
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Kindle Edition
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0374527229
| 9780374527228
| 0374527229
| 4.10
| 13,635
| Oct 1998
| Nov 25, 2000
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it was amazing
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| | blog | tumblr | ko-fi | | 4.5 stars “Books wrote our life story, and as they accumulated on our shelves (and on our windowsills, arid underneat| | blog | tumblr | ko-fi | | 4.5 stars “Books wrote our life story, and as they accumulated on our shelves (and on our windowsills, arid underneath our sofa, and on. top of our refrigerator), they became chapters in it themselves. How could it be otherwise?” Ex Libris: Confessions of a Common Reader is a delightful and uplifting ode to bibliophiles. Anne Fadiman's collection of charmingly written essays examine the way in which much of her life was (and is still) shaped by books. Fadiman pays attention to the physical spaces they occupy. For example, in her first essay,“Marrying Libraries”, she tells us of how she and her husband became truly married when they almost reluctantly 'merged' their collections). In “Never Do That to a Book” she presents us with the many ways books are and can be handled (there are those who *ahem* like me *ahem* are somewhat strict about 'correct' book handling....and there are the scribblers and benders of spines, such as Fadiman's brother and father, who will happily leave their books laying open or facedown). Fadiman also details the seemingly invisible ways in which books can influence us, our worldview, our sense of self, and the relationships we have with other people (books play a dominant role in Fadiman's marriage and family) becoming something akin to a language or a means of communication. This love letter to books is written in a diverting prose. Fadiman's style is amusingly anachronistic, and offers a wide range of humour that can swiftly switch from cheerful to ironic. Fadiman’s witty observations combined with her knowledge and enthusiasm for her subjects (books, bibliophilia, grammar), make for a very interesting book on books, one that I would happily read again. “This model of readers as consumers—one I have abetted in many a book review myself—neatly omits what I consider the heart of reading: not whether we wish to purchase a new book but how we maintain our connections with our old books, the ones we have lived with for years, the ones whose textures and colors and smells have become as familiar to us as our children’s skin.” ...more |
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Oct 16, 2019
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Oct 05, 2019
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B01MU2DWP5
| 4.12
| 8,561
| May 18, 2017
| Jul 11, 2017
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liked it
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| | blog | tumblr | ko-fi | | 2.5 stars Although I did—for the most part—find Lucy Worsley's prose to be compelling, I thought that many of her argum | | blog | tumblr | ko-fi | | 2.5 stars Although I did—for the most part—find Lucy Worsley's prose to be compelling, I thought that many of her arguments were unconvincing and biased. Of course historians have their biases, but shouldn't they at least try to distance themselves from their subject? The problem I have with this biography props up in the author's introduction: “While I’ll try to put Jane back into her social class and time, I must admit that I also write as a signed up ‘Janeite’, a devotee and worshipper. I too have searched for my own Jane, and naturally I have found her to be simply a far, far better version of myself: clever, kind, funny, but also angry at the restrictions of her life, someone tirelessly searching for ways to be free and creative. I know who I want Jane Austen to be, and I put my cards on the table. This is, unashamedly, the story of my Jane, every word of it written with love.” Although in this instance Worsley is being upfront of her lack of objectivity, her biography on Austen seems quick to dismiss and criticise other historians' vision of Austen. She is critical of their attempts to romanticise Austen, both her personality and life. Yet she falls for the very same trap, as the Austen that emerges from this longwinded biography is very much a heroine, one that could easily feature in Austen's own novels. Worsley's cleverly implements certain sections of Austen's own letters to corroborate with her image of this author. At times her suppositions and speculations regarding Austen's character and motivation are made to seem as facts. Unlike other historians and biographers, who often misconstrued Austen's personality and life, Worsley seems to imply at a personal connection to her subject, one that makes her into one few capable to discerning the truth about Austen. Curiously enough Worsley reveals that: “I was once a pupil at the Abbey School myself, and Jane Austen was our most famous ex-student”. And often Worsley used this BBC-type of tone that sounded both patronising and childish. Her attempts to engage the reader seemed a bit cheesy. “What a treat. And just up the road from the cottage, at Chawton Great House, lived one of Jane’s favourite girls in the whole family, Fanny Austen.” There were lots of surelys and no wonders, and a lot of rhetorical questions, which yeah, didn't really work. If anything they reminded of her presence. “But if you follow me this far in the idea that Jane was undermining the very moment where you’d expect marriage to be most praised, there could be an explanation. Remember that ‘double-voiced’ nature of Jane’s letters? The same applies to her novels. At first reading, these are stories about love and marriage and the conventional heterosexual happily-ever-after. Only at the second does a sneaky doubt perhaps creep in to suggest that maybe marriage is not the best thing that could ever happen to these women.” Worsley's biography on Austen isn't as poignant or as revolutionary as its biographer seems to think. She treats her subject with too much familiarity, and her interjections had an almost jarring effect (there were a lot of “I think” and “I wonder”. An example being: “I hope that he hadn’t told Jane what he was doing, so that she did not have to face the instant rejection.”) Worse still is that Worsley bases many of her arguments regarding Austen's personality and actions on the author's own novels. While I'm sure that when writing her novels Austen will have drawn inspiration from some of her own experiences, to solely link her life to those of her fictional characters makes for a rather skewed account of the author herself. These comparisons were thin at best, and most of the time plainly misleading. “It has been suggested that with these clever layers of meaning, Jane was perhaps even more subversive than we give her credit for.” Worsley tries to elevate herself, suggesting time and again that only she views the true Austen (going against her very own words since she initially stated that her Austen was very much hers). Yet, to me, the Worsley's Austen is an unconvincing and unabashedly fictionalised version of the real author. This is a less a biography than a fictionalised take on Austen, one from a self-confessed ‘Janeite’ who is quick to knock down other historians accounts and readings of Austen's life and letters The biography also had this weird insertions that seemed adverts of some sort: “While Jane did not forget Lyme, the town did not forget her, either. You can still eat at Jane’s Cafe, walk in Jane Austen’s Garden, and buy souvenirs in the Persuasion gift shop today.” Still, I did find that when Worsley was merely writing about the Georgian era (the lifestyle and traditions of those of Austen's class). There were some interesting tidbits abut their customs and daily routines. Overall however I don't recommend reading this if you are looking for to read some informative, or credible, material about Austen. Worsley's constant snubs at her 'competitors' were tiring, especially considering that she seems to do exactly the same thing. Just because she is a fan doesn't make her opinion of Austen more valid or true. Yes, while everyone can certainly believe that they have a certain connection to an author or historical figure, to use this 'connection' to validate one's interpretation of this person is ill-advised. Excusing your partiality by saying that it was done 'with love' is a bit of a cheap trick. “I like to think that this last, insubstantial image of Jane running through the Hampshire grass in fact shows her running away from all the eager hungry biographers keen to get their teeth into her.” ...more |
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Oct 23, 2019
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Oct 28, 2019
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Oct 05, 2019
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B07R1N43GS
| 3.92
| 9,596
| Oct 01, 2019
| Oct 04, 2019
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DNF 10% Reasons I did not finish this book: 1) Slut shaming ahoy! 2) Eyeliner, shorts, and long hair: bad. No makeup, dad's jeans, big shirts, shaved he DNF 10% Reasons I did not finish this book: 1) Slut shaming ahoy! 2) Eyeliner, shorts, and long hair: bad. No makeup, dad's jeans, big shirts, shaved head: good. 3) Our protagonist is one TALL girl, so yes, a lot of tallgirlproblems (*ahem* she is not like other girls) 4) Her parents...? Laughably unbelievable. 5) Hot guy alert within pages of our character swearing off love ...more |
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Oct 05, 2019
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1683691393
| B07M9HGBGV
| 4.06
| 4,020
| Sep 17, 2019
| Sep 17, 2019
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DNF 40% Monster, She Wrote: The Women Who Pioneered Horror and Speculative Fiction is an accessible guide/introduction to both major and minor female G DNF 40% Monster, She Wrote: The Women Who Pioneered Horror and Speculative Fiction is an accessible guide/introduction to both major and minor female Gothic, Horror, and Speculative writers (from the 17th century until now). The illustrations are lovely, the writing is fairly engaging, and it seems to be catered towards younger audiences. It is not work of criticism or theory but a compendium that offers a few key biographical facts, the titles or summaries of these women's works, and recommended reading list. I previously read their collection Shirley Jackson: Influences and Confluences, which had a much more academic and serious tone, and examined in much more depth the work of its subject. Here however I just couldn't get used to the constant references to popular culture. Why why why compare Margaret Cavendish to the Kardashians? Isn't our everyday culture saturated enough by this family? And while I appreciated references to books or tv-shows that actually take inspiration from the work (ie: the characters of Victor Frankenstein and his Creature from Penny Dreadful) I found that the links to Marvel, Star Wars, and even Dungeons & Dragons to be completely unnecessary (as if we don't hear about the first two on a daily basis...). These references were clearly trying to grab the attention of younger readers...but I don’t think that they added anything. The women included in this collection are interesting and fascinating enough on their own. I also found it pretty objectionable that most chapters seemed to imply that these women believed in the supernatural...merely because they wrote about it (with the exception of one work Radcliffe always provided rational explanations for the seemingly 'supernatural' elements within her Gothic narrative; Jackson's 'witch-act' was a very smart move on her part as it boosted the readers' interest in her fiction). With the exception of one or two names, the majority of writers included in this book write in English...and maybe it would have been nice to have a chapter dedicated to those female writers who wrote or write in other languages. Hopefully readers who aren't fussed by the things I mentioned above will be able to enjoy this. ...more |
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not set
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Oct 05, 2019
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0062913468
| 9780062913463
| 0062913468
| 3.96
| 189,802
| Oct 29, 2019
| Oct 29, 2019
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it was amazing
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| | blog | tumblr | ko-fi | | “I had the children. They caught on fire. I had to keep them from catching on fire.” As soon as I read Kevin Wilson's de | | blog | tumblr | ko-fi | | “I had the children. They caught on fire. I had to keep them from catching on fire.” As soon as I read Kevin Wilson's dedication (“for Ann Patchett”) I had a feeling that I was in for a treat (and I was right). There was something about Wilson's surrealism that reminded me a bit of Charlie Kaufman's films (in Synecdoche, New York a character moves into a house that is permanently on fire). Comparisons to Wes Anderson would also not be amiss (dysfunctional families + parental abandonment + quirky protagonist). And, in its unapologetic eccentricity it reminded me of The Sundial by Shirley Jackson. Yet, Nothing to See Here also struck me as being a wholly original tale. Equal parts funny and heart-warming , Wilson's touching novel can be read as an oddly realistic fairy-tale in which children catch fire. Wilson injects a plausible scenario with a dose of the surreal: in the late spring of 1995 Lillian Breaker, a rather aimless twenty-eight year old, receives a letter from Madison Roberts, her former boarding school roommate. Madison, now married to a senator, has a job opportunity for Lillian: for the course of the summer she is to move into their estate to look after the senator's ten-year old twins (from his previous marriage). The catch? Having recently lost their mother the twins are going through a bit of rough patch...and when angry or upset they burst into flames. Like any good fable, Nothing to See Here has plenty layers. The children's spontaneous combustions can be seen as a metaphor for 'undesirability', since due to their propensity to catch fire they are regarded by their father, and by Madison too, as unfit for the public, a source of embarrassment, and as potential dangerous (as their fire may not harm them, but it can burn the people and objects around them). In order to avoid a scandal, one that could put an end to the senator's promising career, the twins are to stay under Lillian's constant supervision. In spite of her complicated feelings towards Madison, Lillian agrees. The driving force of this novel is its brilliantly matter-of-fact narrator. Lillian is uninhibited, she says what she wants, doesn't seem to care much about most things (whatever is one of her favourite words), some of her actions make her come across as a bit thick, and she leads a rather aimless existence. She isn't all that concerned about her future or interested in taking care of herself. Yet, once she becomes responsible for the senator's twins, she finds herself wanting to do good by them. There was something gratifying about her frankness...I immediately liked her and both understood and sympathised with some of her hang ups (about money, her education, her parents, Madison). “I don’t know why, but I had just assumed that the kids would one day appear at the estate, maybe stuffed inside a giant wooden crate, packing peanuts pressed against their rickety bodies. I thought I’d just take them in my arms and place them in our new home like dolls in a dollhouse. ” In spite of their bizarre condition Bessie and Roland are just like any other children: they are funny, easily bored, and perpetually hungry. After experiencing a tragic loss however the twins find themselves struggling to trust others. Realising that their father is ashamed of them only cements their mistrust of adults. Quite naturally then hey experience some difficulties acclimatising to their new circumstances. “We were a world unto ourselves, even though I knew it was temporary. Eventually we would have to figure something out, a way to integrate the children into the real world. I imagined a time when they sat at that huge dining room table in the mansion, eating eggs Benedict or whatever the fuck while their father read the paper and told them scores from the Braves game the day before.” I could easily summarise the novel as: Lillian looks after the twins, together they spend time in the pool, they eat a few soggy sandwiches, and meditate. Yet, the uneventfulness of the story is somewhat misleading. We get to know Lillian and the children, and we see the way they slowly grow used to each other. We also read of how American aristocrats will try to pass make their selfish behaviour seem as a sacrifice on their part. In spite of their 'friendship' there is a clear divide between Madison and Lillian. Lillian's acceptance, over her past and future, and of the bond she forms with the twins, never seemed forced or cheesy as the novel makes us aware of how imperfect families are. Within the very first pages I became fascinated with the story's peculiar characters and their entertaining conversations. While this novel is definitely brimming with humour, it also offers us many surprisingly tender, if not touching, moments. I soon came to love Lillian, for her witty observations and unfiltered narration, and her charges, who could be both chaotic and charming. The dynamics between the various characters are absorbing, the dialogue is engaging, and the characters are wonderfully dysfunctional. Wilson is an ingenuous storyteller who makes the supernatural seem plausible, so much so that in spite of the children's condition, this novel feels deeply rooted in realism. Lillian's satire is funny but never cutting, while the story, in spite of how outlandish it might sound, remains deeply realistic. It's a brilliant novel about the imperfect nature of parenting, of how odd caring for others can be (especially if you are unaccustomed to having friends or a family), that has plenty of humour. ...more |
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Mar 29, 2021
Oct 30, 2019
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Mar 29, 2021
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Oct 05, 2019
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Hardcover
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9781405941341
| unknown
| 4.29
| 434,935
| Oct 03, 2019
| Oct 03, 2019
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it was ok
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| | blog | tumblr | ko-fi | | 2.5 stars “She wasn’t really one for big groups, but she quite liked this, the jokes and the merriment, and the way| | blog | tumblr | ko-fi | | 2.5 stars “She wasn’t really one for big groups, but she quite liked this, the jokes and the merriment, and the way that you could see actual friendships springing up around the room, like green shoots.” The Giver of Stars is a sweeping rural romance that tells a fictionalised account of the Kentucky Pack Horse Librarians. It is very much a book-club kind of book as it is inspired by a real group of librarians who between 1935 and 1943 delivered books to some of the most remote regions in the Appalachian Mountains. Although this project, and the women behind it, make for a very inspirational subject matter....I'm not sure that this book does them justice. While I enjoyed those parts that focused on the library project, I found much of the story to be bogged down by unnecessary drama. Most of the book focuses on the way in which the big bad Van Cleve tries to 'destroy' this project and the women behind it...and it was all-too predictable. Plus, I found the romance factor to be far too twee for me. When the narrative chronicled the librarians' rounds, swiftly taking us alongside them through their rides across a vast and treacherous landscape, I felt very much engaged. The interactions between the librarians and those who inhabit these remote places were compelling, especially since the people they visit were mistrustful, if not downright aggressive. The librarians rise to the 'challenge' and try to emphasise the importance of literature without causing offence. In these sections the novel outlines the direct correlation between poverty and illiteracy, and the way in which literature can 'unite' people together. Sadly, to deliver some of these deliberately positive messages, the book relies on a cast of shallow characters. We have the clearly good gals/guys (Alice and Margery are very much the heroines of the story) and the comically wicked guy, Van Cleve. Alice would have been more suited, and convincing, in an 18th century novel (something like Clarissa, or, the History of a Young Lady). Her main distinguishing attribute is that she is British, so she has an 'accent' that is different from those around her. She possess only good qualities, and it is other people's (the baddies) lack of understanding or ignorance that makes her seem like a 'rebel' of some sort (she isn't). Margery was the typical 'unconventional' woman, who is opposed to marrying until she (view spoiler)[ conveniently becomes pregnant so she just has to marry her lover/partner, if she doesn't that would make life hard for her child. (hide spoiler)] Why in historical fiction there has to be this female character who is made to seem so 'unlike' other women (often the narrative or other characters will compare her to a man) in that she is against the marriage institution and does not wish to be tied down, and then (view spoiler)[she ends up becoming a wife and a mother?! (hide spoiler)]. Alice and Margery happen to fall in love for two handsome men, who happen to be laid-back, kind, aware of social injustices as sexisms and racial intolerance (ahem...sure....lets remember that this book is set in Kentucky during the 1930s)....and they (view spoiler)[even have marry within pages of each other (hide spoiler)]. The three other librarians are not given their individual character arcs, rather if something happens to them it is usually when either Alice or Margery is there, so that it can be thanks to our heroines that these other women gain self-assurance or whatnot. In fact Alice and Margery seems singlehandedly able to right any wrongs, save lives, unmask Van Cleve... Van Cleve...is all flaws. You name it, he has it. He is corrupt, sexist, racist, cruel (against his fellow humans & animals), greedy, hypocritical...the list goes on. He is the villain. That's all you need to know. His son, Bennett, is presented as a coward who is unwilling or unable to stand up to his father (even when Van Cleve is haranguing Alice, his wife). Unlike the two heroes Bennett doesn't do physical work and doesn't care about women's rights or literature...and that's believable-ish...I guess (after all he does come from a well to do family). What I found pretty objectionable is that his sexual inexperience is made fun of by the narrative and our so called heroines & heroes. For some reason or other Bennett has never learnt about sex, and perhaps because of this he has come to regard sex as a sinful if not 'bad' act. Rather than making it clear that it was his strictly conservative and religious upbringing that has lead to his sexual abnegation/impotence, the narrative implies that it is another facet of his cowardice, something to be ridiculed as it is further confirmation that he is not 'enough' of a man (he doesn't stand up to his father, he doesn't work, he isn't concerned by the inequities around him) and because of this he is 'afraid' of having sex. Ahaha (not). If we were to reverse Alice and her husband's role (so that it was Alice who was reticent or unwilling to have sex ) wouldn't we criticise Bennett for pressuring his wife into having sex? Or of thinking her a coward or less of a woman because she doesn't want to/can't have sex? Wouldn't we disapprove of the narrative and other characters making fun of her because of it? The story started well enough but the cheesiness of the story, the one-dimensional characters, the unnecessary melodrama, were all not to my taste. my blog / / my tumblr / / buy me a coffee ...more |
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Oct 05, 2019
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Oct 09, 2019
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Audiobook
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luce (cry baby) > Books: reviewed-in-2019 (233)
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4.24
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really liked it
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Dec 22, 2019
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3.62
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liked it
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Dec 04, 2019
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Nov 29, 2019
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4.06
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really liked it
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Nov 23, 2019
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Nov 21, 2019
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3.97
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Nov 19, 2019
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Nov 10, 2019
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3.50
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it was ok
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Nov 08, 2019
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Nov 08, 2019
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3.48
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liked it
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Nov 08, 2019
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Nov 08, 2019
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3.36
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really liked it
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Nov 06, 2019
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Nov 06, 2019
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3.66
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Nov 17, 2019
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Oct 29, 2019
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4.20
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it was ok
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Oct 30, 2019
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Oct 26, 2019
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4.01
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really liked it
|
Nov 05, 2019
|
Oct 26, 2019
|
||||||
3.97
|
it was amazing
|
Oct 25, 2019
|
Oct 19, 2019
|
||||||
3.29
|
did not like it
|
Oct 17, 2019
|
Oct 15, 2019
|
||||||
4.26
|
really liked it
|
Nov 07, 2019
|
Oct 15, 2019
|
||||||
3.97
|
really liked it
|
Oct 12, 2019
|
Oct 10, 2019
|
||||||
4.10
|
it was amazing
|
Oct 16, 2019
|
Oct 05, 2019
|
||||||
4.12
|
liked it
|
Oct 28, 2019
|
Oct 05, 2019
|
||||||
3.92
|
not set
|
Oct 05, 2019
|
|||||||
4.06
|
not set
|
Oct 05, 2019
|
|||||||
3.96
|
it was amazing
|
Mar 29, 2021
Nov 03, 2019
|
Oct 05, 2019
|
||||||
4.29
|
it was ok
|
Oct 09, 2019
|
Oct 05, 2019
|