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166802568X
| 9781668025680
| 166802568X
| 3.85
| 20,508
| Nov 07, 2023
| Nov 07, 2023
|
liked it
| It was dark already at the airfield. Lenk Sketlish’s bone-conducting mini-pods were playing The Rolling Stones� Gimme Shelter. Inside his skull, the B It was dark already at the airfield. Lenk Sketlish’s bone-conducting mini-pods were playing The Rolling Stones� Gimme Shelter. Inside his skull, the Beatles had broken up, the sixties were over, violent revolution was in the air and now, anything could happen. He felt alive, he thought, truly for the first time in his life. The night drive out, the music beating in his head, the future was just moments away. This was what he’d planned for. This was the midnight beginning. This was the smooth running-out of the old world and the birth of the new. Set a few decades ahead of where we are now, The Future imagines us trudging inexorably forward along our current dangerous path: with climate change and income disparity both worsening, power and wealth further concentrating in the hands of a few tech billionaires, and the internet manipulated by algorithms to anger or placate us into partisan camps. This is an interesting plot-driven read � with a Bible-study subthread that I did find particularly fascinating � but honestly, nothing felt like we were any further into the future: the world is not the polluted hellscape of Ready Player One or the dystopic authoritarian state imagined in The Handmaid’s Tale; this reads like the billionaire heads of Amazon, Facebook, and Apple (just slightly more monopolistic and going by other names) collude to further enrich themselves, knowing that if the world were to end tomorrow, knowing that they had hastened that ending, they would have remote luxury bunkers in which to weather any storm. And I assume that this could be set in our current year and that that would still be true. Still: I was intrigued by the plot (even if I didn’t connect to it on a deep level as I did with Naomi Alderman's last novel, The Power) and I enjoyed the read. Three and a halfish stars, rounding down to three. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) Although it was strictly against the protocol, Ellen checked the big survivalist site, Name The Day. If anything was out there, if anyone knew the big one was coming, it’d be somewhere on the site. But there was nothing out of the ordinary. Troop build-ups in the South China Sea. A pipeline explosion in eastern Europe. The same old prepper rants. Nothing that those people knew had boiled over. Still, somewhere out there something was happening. Alarms don’t go off for no reason. Somewhere in the world, a situation that used to be just about under control was slipping into ‘not under control at all�. A chain reaction. Somewhere in the jungle, there was a tiger. As The Future begins, the three main tech heads are at an ecological convention in Northern California when an alarm, which only they have access to, goes off � prompting them to board a jet to safety, long before anyone else on Earth knows that civilisation is about to collapse. Through flashbacks, internet posts, and updates on current events, Alderman weaves together a satisfying and unpredictable storyline with a Blake-Crouch-sci-fi-light vibe. The tech billionaires themselves are blandly interchangeable with the Zuckerbezogates-type we’re all familiar with, but Alderman puts more colour into the people in their sphere who benefit from the money, but have a bit more moral conscience: the smart Black wife, the gay businessman who was squeezed out of his own company, the nonbinary child with the hacking skills. And tying both camps together is Lai Zhen: the lesbian POC, former refugee with a Masters degree (in Archaeology?) who has made a name for herself on the internet as a tester of prepper/survivalist gear. When Zhen lands on the wrong side of a fundamentalist doomsday cult, she and her hacker pals find themselves peeking behind the tech billionaires� digital curtain. That’s the plot set up, and it works as a pageturner. I really did like the philosophical bits from the survivalist website as a former member of the doomsday cult tries to explain what its founder, Enoch, meant by the parable of the foxes and rabbits (which explains the animal line-drawings on the novel’s cool graphic cover). In words that evoke the writings of Yuval Noah Harari and Jean-Jacques Rousseau (about humanity domesticating and diminishing ourselves with the dawn of agriculture and private property), the username “OneCorn� explains that right from the start, the Old Testament divides people into farmers vs. hunter-gatherers-pastoralists (Cain vs. Abel, Jacob vs. Esau, Lot vs. Abraham [incidentally, I didn’t know that Lot was Abraham’s nephew and that the destruction of Sodom reflected their different lifestyle choices]) and that the “civilised� farmers/city-dwellers are generally the immoral ones; folks who were more interested in accumulating wealth than respecting the rhythms of the Earth, and that there is a straight line from them to us today. �(Genesis) is about a war. The first great war. The war that lasted five thousand years and ended the world as all human beings had known it before. When the farmers won, they created a new future and we’re living in it.� Alderman also writes in passing that it is in order to justify our own lowly domestication that we settled people want to chase away or harm the Indigenous, the Travellers, and the Homeless; and I need to keep thinking on that. “We hate them to convince ourselves that we’re OK and safe. The story of Sodom is about urban people who had the illusion of a plan, and how they found out that there is no such thing as a plan.� Whether I agree with everything Alderman says or not, it’s the philosophical bits that elevated this beyond potboiler for me. The sky was grey and saxe-blue*, the air very still. Small birds swung through the sky describing a parabolic curve between invisible infinities, snapping at flying creatures too small to see. Everything that has ever begun in the history of the planet has started with one tiny change, invisible to the naked eye. The sperm says to the egg: knock knock. The egg says: I’ve no reason to let you in. There are no guarantees. And yet, the egg opens up. And yet, the sperm wriggles in. And yet, two packets of information merge. That’s how all of us got here. That’s how nothing turns into something. That’s how a bare ball of rock ends up with gulls and shearwaters, with moss and lichen, with unfurling pale green leaves and scuttling millipedes and rabbits and foxes. That’s how we get life. (*Not only can I not picture “saxe-blue�, but I was distracted by how many different shades of sky Alderman describes here: the blue can be bright, light, pale, dark, lucent; stone-blue, slate-blue, water-washed blue, “the blank blue chalk of the sky�. Not really a complaint, but not ignorable.) It was interesting to read this at the same time we’re watching the TV show , the same week that billionaires were lost during the implosion of the submersible, and while I would agree that there’s something immoral about anyone hoarding assets by the billions (“eat the rich� is so obvious a thesis as to be lazy), the line that Alderman draws between some of our oldest writings and their inevitable consequences through today and into the future is a compelling point that I haven’t encountered before, and that elevated the whole for me. Better than good, maybe not great. ...more |
Notes are private!
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1
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Jun 23, 2023
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Jun 26, 2023
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Jun 23, 2023
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Hardcover
| |||||||||||||||
0385685459
| 9780385685450
| B0BR4YR8LP
| 3.82
| 2,379
| Sep 26, 2023
| Sep 26, 2023
|
really liked it
| “God alone ordains the state of things,� he said. “God alone ordains the state of things,� he said. Set in the same timeframe (late eighteenth-century) and along the same stretch of Newfoundland’s northern coast as The Innocents (the Best siblings from that novel are referenced a few times here), The Adversary trains its focus onto those few who knew wealth and power in the isolated fishing port of Mockbeggar (to wit: we immediately meet the Mr. Strapp to whom the Best orphans were indebted). With a struggle for dominance at play between two rival operations � and with gender, class, and race imposing their own pressures � this gritty historical fiction is really the story of how the whims, egotism, and greed of those at the top translates into helpless misery for the working class. Plus ça change. Once again, Michael Crummey has brought breathing life into his characters and setting � with the sensibilities of a poet, his word choices are always evocative without being florid � and while his powerseekers are thoroughly unlikeable, it’s the little people caught in the crossfire that give the reader someone to root for. I was absolutely captivated by the storytelling here � from the sentences to the overall story arc � and I loved the whole thing. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) In the days after the killing, several men took young Solemn Lambe aside to advise him against doing anything rash to avenge Dallen’s death. Abe Strapp was best left to God’s judgement, they said. Solemn was not quite twelve and the notion of God’s judgement was too hypothetical to offer comfort. You won’t be helping anyone if you winds up dead like your father, people insisted. As if they wanted to make the boy complicit in their own infuriating helplessness. “Infuriating helplessness� is the abiding atmosphere in Mockbeggar: Left to the whims of climate, disease, unreliable cod stocks, and marauding privateers, those trying to eke out a living on this fogbound stretch of rock can hardly keep their families fed at the best of times. Layer on the companies who hold everyone in debt � with the power of the Church and State backing their interests � and it’s a wonder anyone survived this life at all. But it’s in the small moments of resistance � the love between youngsters and newfound friends, the Quakers who refuse to meet violence with violence, the outsiders unafraid to stand up to petty tyranny � that grace may be found. Even so: the innocents may find themselves but pawns in the inscrutable games of their local gods. She lifted her head to look away from that feeling and caught sight of the mirror above the fireplace, the shattered glass reflecting her back in slivers that almost adhered, the figure there riven and distorted and still undeniably herself. It made her think her instincts had been right all along � the world agitated against coherence, against concord, and the truest portrait a person could manage was fragmentary, incomplete. I’ve tried to avoid spoilers with the overall plot (which was compelling and surprising), but I have to say that it was in the details that Crummey most engaged me: the disinterment of the Pilgrim, the horrific game of “mumble the sparrow�, the impenetrable slang of the ark ruffians; rough scenes told in the voice of a poet go down smoothly. And I want to end by noting that I was delighted to make the connection between The Adversary and The Innocents and would happily read anything else Crummey wants to set in this world. ...more |
Notes are private!
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1
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Jun 19, 2023
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Jun 23, 2023
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Jun 19, 2023
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Kindle Edition
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9781039003576
| B0BPX78H5M
| 3.82
| 319
| unknown
| Sep 12, 2023
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really liked it
| I loved being an observer, not a participant. I got a nice shot of two old guys who reminded me of Hardy’s grandfather and mine, both named Horace. I loved being an observer, not a participant. I got a nice shot of two old guys who reminded me of Hardy’s grandfather and mine, both named Horace. Heads close together as they talked, probably because they were deaf, their intent communion looked like a Fellini movie. I wrote down their names and hoped/prayed the photo would turn out. The Observer reads as chatty and candid � as though the main character, Julia, is conversationally recalling the highlights of a past experience � and that is fitting as this is a novel based on Marina Endicott’s own early years as the spouse of an RCMP member in 1990s rural Alberta. As Julia puts her career as a playwright on hold in order to join her partner, Hardy, on his first posting, she’ll find herself not only distanced from the long-term residents of this tight-knit community but also increasingly distanced from Hardy as he struggles to deal with his policing duties (from domestic disputes to countless fatal car accidents) on the understaffed force. Salvation comes for Julia in the form of an intermittent job with the local newspaper, The Observer, and as she gets out into the community, she makes friends with both locals and other RCMP spouses, growing to understand what pressures the stoic Hardy is truly suffering with. Set in a time before a Mountie would have felt comfortable asking for mental health supports, this novel admirably exposes the stress and sacrifices historically expected of RCMP members, and their families. The chatty style makes this seem like a breezy read but Endicott uses it to creeping and devastating effect; this is true and tragic life exposed and I loved the whole thing. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) Whatever a life ever means, in the end it’s a set of stories you tell yourself, or whoever will listen. Old Mabel, wanting to be left alone out there in the woods � I had always imagined that it was better to have company, better for people to be together than alone. But then I thought of Mrs. Benson, with her broken arm. And Jim Miller, finding that difficult old maid stiff and strange in the bed, and that became his life from then on. With her. I thought about my own parents, and Hardy’s. We live, as we dream � alone together. Overworked and underpaid, forbidden from discussing the details of his duties with anyone outside the force, as a new recruit, Hardy was rarely home � and when he was home, he was increasingly exhausted, shaky, and bottled up. Lonely, worried about the bills, and unable to get any work done on a new play she was supposed to be writing, Julia jumped at the chance to become an interim editor at The Observer. As she interviewed locals and chased down stories, Julia began to realise the trouble stewing beneath the surface of their sleepy town; trouble that Hardy needed to deal with every day, and then keep to himself. The pair stays at the posting for four years � their arrival and departure marked by passing comets � and along with exposing the pressures Hardy’s job imposed upon their lives, this is a lovely story of a relationship made stronger by those pressures. People in Medway helped me, were kind even when I was blanked out with fear and grief. I made a few good friends. But I was always standing to one side looking on, seeing what was none of my business. The things that were my business stand out in strong relief: Hardy and the state of his mind and body and soul; my child, who needed my good attention; and in a sideways sense my self, standing and observing me, just as I did the world. Without giving away any more of the plot, I’ll just stress that this story is relatable and engaging and feels like a slice of true life; for, after all, it is based on the author’s own experiences. All good stuff. ...more |
Notes are private!
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1
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Jun 14, 2023
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Jun 17, 2023
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Jun 19, 2023
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Kindle Edition
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164445081X
| 9781644450819
| 164445081X
| 3.93
| 10,475
| Apr 12, 2022
| Apr 12, 2022
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really liked it
| Question: If an Egyptian cannot speak English, who is telling his story? Question: If an Egyptian cannot speak English, who is telling his story? If an Egyptian Cannot Speak English had me captivated from the start: Throwing us into a disorienting, alternating POV � between an Egyptian-American woman who decides to move to Cairo against her immigrant parents� wishes and a poor cocaine-addicted Egyptian photographer from the countryside who became disillusioned after the fizzling out of the Arab Spring revolution � author Noor Naga creates a freighted love story that explores power imbalances, identity politics, and the absolute inability of anyone to understand life from a different culture’s lived experience. And just when a reader might get too relaxed with the novel’s unusual format (each short section starts with a puzzling “koan� as in the opening quote, followed by quick jumps between the POVs; a format that eventually becomes rote), Naga flips the script in the second section (omitting the introductory questions) and begins to insert frequent footnotes (which even retroactively explain undefined terms from the first section), and I was further intrigued by the change in the format. When the third section changes format yet again, I was gobsmacked by how, in a fairly short work, Naga was able to demonstrate just how hard it is to tell a relatable story: not touch nor words nor photographs can be understood separate from the entire history of the person who offers them. From the sentences to the overall effort, I loved absolutely everything about this novel. We believed, we really believed that the revolution would succeed on the strength of our brotherhood, and the nobility of our cause. Had we been less occupied with documenting the losses, circulating names and dates, video footage, we might have noticed earlier that everything was not as it seemed. There was money pouring in from overseas, along with vested interests. We thought we were toppling a regime, but the whole world was involved. It seems so obvious now, but if you weren’t there, you can’t possibly judge. I can’t tell you what it was like. The unnamed “boy from Shobrakheit� happened to arrive in Cairo before the start of 2011’s revolt; and while he was able to sell his photographs to the foreign press for an unimaginable price, he became disillusioned when he learned that in the revolution’s aftermath, his pictures had been used to identify � and penalise � activists, and as the novels opens, he has not taken a picture with the camera he still wears around his neck for eleven years; living in a rat-infested rooftop shack, he has decided to cold turkey his addictions just as he meets a beautiful young foreigner at a friend’s cafe. As the (also unnamed) young woman decides to return to her roots � living in an airy Cairo apartment and working as an English teacher; both of which her mother arranged for her in advance � she meets the photographer, and with her “baby Arabic� that doesn’t quite create understanding between them, she finds herself performing a subservient role for him (cooking and cleaning and washing his shabby clothes after working all day as he � unbeknownst to her � detoxes and watches videos on his phone in her apartment all day), and they spend their time both loving one another and using one another until the disconnect reaches a breaking point. The results are explosive. William doesn’t even realize what’s at stake when I am asked by shopkeepers and street children and sugar-cane juicers where I’m from. And why should he realize? They ask him too. Those outside of a language, of a culture, see furniture through a window and believe it is a room. But those inside know there are infinite rooms just out of view, and that they can always be more deeply inside. I’ve read reviews by readers (presumably authentic Egyptians) who are offended by the female character’s cultural ignorance and poor opinions regarding Cairo’s underclass residents, but to me, this feels like the point: she had ideas about who she was (a lost Egyptian who was actually a privileged American slumming her way to authenticity), and without a true language or lived history in common with those around her, her disdain of her freedoms and advantages were bewildering and off-putting to life-long Egyptian residents (and especially to her outcast lover). The fact that the third section of this novel dissects those ideas felt brilliant and elevating; as much as Naga (who is also an Egyptian-American who has made the move to Cairo) might be accused of not understanding the true Egyptian experience, I believe that this novel is an acknowledgement of the impossibility of anyone achieving precisely that understanding across cultural lines. This is a bold and subversive novel of social and literary commentary and it all worked for me. ...more |
Notes are private!
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1
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Jun 08, 2023
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Jun 09, 2023
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Jun 18, 2023
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Paperback
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0771002904
| 9780771002908
| B0C1BCYFTH
| 3.74
| 1,151
| Jan 02, 2024
| Jan 09, 2024
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liked it
| Something merciless, frigid, and cruel was descending upon Toronto. Many would say it was too late in the season for such an anomalous and severe w Something merciless, frigid, and cruel was descending upon Toronto. Many would say it was too late in the season for such an anomalous and severe weather manifestation to develop. Spring was technically just a few weeks away. Then there were those who were frequently ignored, but whose understanding of the world was far older, and they would say the icy climate was being called, beckoned even. In the age of science, who had ever heard of such silliness. Regardless, the cold came. And something, deep in the city, was delighted. Cold is a twisty thriller, set in modern-day Toronto and overlaid with Indigenous mythology, and while it was consistently entertaining � and very often funny � I didn’t find this to be particularly deep or meaningful. Still, an engaging read that I took with me on a plane, despite knowing that it starts with a crash; I do enjoy Drew Hayden Taylor’s voice and I look forward to reading his work again in the future. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) Cessna 206s are generally designed to fly higher than this particular plane was at the moment. A good, reliable utility aircraft, barely twenty years old, it was currently finding the principles of aerodynamics versus the laws of gravity somewhat problematic. It was in an argument of lift versus acceleration versus gravity versus ice on the wing, and to be blunt, the plane was losing. A small plane crashes in the frozen muskeg of Northern Ontario, and after a brief and tense narrative focussed on the flight’s two survivors, the story jumps to a year later as one of those survivors is on a Canada-wide book tour with her rushed-to-print memoir of how she found her way to safety. Interwoven with her tale is that of Paul North � a defenceman in the Indigenous Hockey League who, at thirty-five, might be about to age out of semi-pro hockey � and Elmore Trent � a professor of Indigenous Studies who, despite having been born on a reserve and raised in a Residential School, treats his First Nations ancestry more as a subject for academic study than as culture to be lived. These strands, and characters, intersect in unpredictable ways, and the thriller is set up. “Hmm, interesting. So, are you saying legends, in whatever their form, are restricted to time immemorial? There are no potential legends in the making today? The days of free-ranging legends or traditional stories regarding Indigenous people, places, and things are unfortunately a thing of the past? That’s a very dim view of contemporary life, Ms. Fiddler.� As an unseasonable cold descends upon the city and a series of gruesome murders occur � which put both Elmore and Paul, unrelatedly, on the investigating detective’s radar � the professor is forced to wonder if the murderer is actually a legendary monster from his people’s mythology come to life. And if that is so, where can he find a modern day warrior to help him defeat it? All of this was sounding crazier and crazier. But sometimes in life, the world became crazier and crazier through no action of your own . And coincidently, leaning in to the absurd was the only way you could fight back. In the frozen blizzard of the conundrum that had suddenly enveloped him, Elmore Trent could see a trail sketched hesitantly ahead of him. The question was: would he be walking it alone? That’s as much plot as I’ll share, but I also want to note that Taylor discusses many other Indigenous authors� works in this book. In the voice of his professor character, he positively recommends both Waubgeshig Rice’s novel Moon of the Crusted Snow and Cherie Dimaline’s The Marrow Thieves (which I also enjoyed as dystopic explorations of the fears of Canada’s modern day First Nations peoples), and it makes sense that Elmore would recommend Richard Wagamese’s Indian Horse to Paul (as it’s about hockey). Less enthusiastically, he refers to Joseph Boyden’s Three Day Road as “well-written but contextually questionable� and Tomson Hiway’s play Dry Lips as “more a misogynistic play than a play about misogyny.� And it’s in the context of these other works that Taylor references that Cold felt lacking to me: it’s a decent mystery with thrilling elements, but I didn’t learn anything from it. Still: entertaining for what it is and I am happy to have read this. ...more |
Notes are private!
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1
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Jun 06, 2023
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Jun 07, 2023
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Jun 18, 2023
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Kindle Edition
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0671706101
| 9780671706104
| 0671706101
| 3.85
| 26,180
| 1944
| Sep 01, 1990
|
liked it
| Esa paused and said slowly: “Nofret is beautiful. But remember this: Men are made fools by the gleaming limbs of women, and lo, in a minute they are b Esa paused and said slowly: “Nofret is beautiful. But remember this: Men are made fools by the gleaming limbs of women, and lo, in a minute they are become discolored carnelians…� Her voice deepened as she quoted: “A trifle, a little, the likeness of a dream, and death comes as the end…� It’s commonly known that Agatha Christie accompanied her archaeologist husband (Sir Max Mallowan) on digs throughout the Middle East; and while those settings served as inspiration for some of her more famous novels, Death Comes As the End is the only mystery that Dame Christie actually set in antiquity. This makes for an interesting tradeoff: the reader doesn’t get the familiar experience of watching Hercule Poirot or Miss Marple unravel mysteries, but we do get an insider’s view of a wealthy functionary’s domestic life in Ancient Egypt (maids are forever counting the linens; scribes catalogue the granaries; the bodies pile up on the banks of the silver Nile). There is quite a lot of domestic melodrama here � the sons of an ageing Ka-priest have their prospects diminished when their father brings home a beautiful young concubine who has ambitions of her own � and I ɲ’t necessarily invested in the mystery itself, but as always, Christie makes astute psychological observations about her characters, proving here that people (and their self-interested motivations) haven’t changed at all in four thousand years. An enjoyable read; a little different than the typical Christie mystery. From her early childhood Renisenb could remember hearing these elder brothers of hers arguing in just those selfsame accents. It gave her suddenly a feeling of security…She was home again. Yes, she had come home…Yet as she looked once more across the pale, shining river, her rebellion and pain mounted again. Khay, her young husband, was dead…Khay with his laughing face and strong shoulders. Khay was with Osiris in the Kingdom of the Dead � and she, Renisenb, his dearly loved wife, was left desolate. Eight years they had had together � she had come to him as little more than a child � and now she had returned widowed, with Khay’s child, Teti, to her father’s house. As the novel begins, recently widowed Renisenb returns to her childhood home and is comforted by the bustle of her brothers and their families. The eldest brother, Yahmose, performs their father’s rituals during his frequent absences � and is assured of inheriting the position of Ka-priest at his death � but two other brothers (the cocky and handsome Sobek and the young and impetuous Ipy) both believe that they deserve to one day assume their father’s role. When their father, Imhotep, eventually returns home from his estates in the north in the company of a beautiful and haughty concubine, Nofret, Renisenb’s sisters-in-law will begin a back-of-the-house “women’s campaign� against the upstart that will come back to undermine their own positions. And after several characters say that they would like to see Nofret dead, her body is discovered at the bottom of a cliff: was it an accident or a murder? And why is her spirit spotted on the nights of other deaths? “What persecution � what vindictiveness � is this! My concubine whom I treated well, to whom I paid all honor, whom I buried with the proper rites, sparing no expense. I have eaten and drunk with her in friendship � to that all can bear witness. She had had nothing of which to complain � I did indeed more for her than would have been considered right and fitting. I was prepared to favor her to the detriment of my sons who were born to me. Why, then, should she thus come back from the dead to persecute me and my family?� There’s a large cast of murder suspects (and, as seems to be Christie’s usual schema, the list gets shorter as the bodies pile up), but again, the mystery aspect ɲ’t the most interesting part of this novel for me. I did like the setting and the way that Christie used it, and I did like the psychological observations (even if I didn’t love that Renisenb was so naive that other characters needed to be constantly explaining to her how people and the world really work), and overall, this was a worthwhile entertainment. ...more |
Notes are private!
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1
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Jun 02, 2023
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Jun 04, 2023
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Jun 04, 2023
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Paperback
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0593467043
| 9780593467046
| 0593467043
| 2.97
| 2,093
| Oct 10, 2023
| Oct 10, 2023
|
really liked it
| Despite their appalling faults, Dani really did like the Normal Women. She really, really did. Usually. Sometimes, anyway. And maybe, eventually, s Despite their appalling faults, Dani really did like the Normal Women. She really, really did. Usually. Sometimes, anyway. And maybe, eventually, she could persuade the Normal Women to not be dicks; show the Normal Women, at the very least, that all the best-looking people held the same views that Dani did. Just as with her last novel, Motherthing, Ainslie Hogarth has written a truly strange/entertaining/relatable/feminist work of fiction this time around with Normal Women. And it maybe won’t be for everyone, but I winced and laughed and nodded my head with recognition throughout; and while straight married women might benefit from seeing themselves in this, men might benefit even more by getting a peek inside their wives� secret thoughts. I loved the whole thing. (Note: I read an ARC through NetGalley and passages quoted may not be in their final form.) As I did with Motherthing, I’m going to start with a longish quote that gives a representative sense of the style (and to keep the review from getting too long, I’ll put it behind spoiler tags). (view spoiler)[Here, the main character, Dani, is remembering being out for lunch with a group of moms (the “Normal Women�) while pregnant and having asked what a “fourth degree tear� is during childbirth (and one having replied that it means a bad rip, from “poo hole to goo hole�) : Maybe that’s why the C-section happened. Because Dani had just wanted it so very badly: sweating, panicked, coiled helplessly around every contraction, incapable of just letting go, of breathing, her mind’s eye yoked to Ellen’s salted lips, tight around the vowels: “poooooo hole to goooooo hole.� And the body is just such a mysterious thing, especially as it pertains to childbirth. In fact, after reading book after book about the connection between fear and pain, the orgasmic, ecstatic, rapturous birth experience, the power of visualizations � I am petals unfurling, I am huge, I am opening wide as a cave, exactly as I should, for my baby to spill without pain � one might even come to the conclusion that the body is only mysterious as it pertains to childbirth. That otherwise it’s actually pretty predictable: a system of sphincters and pipes and cables that harmonize chaos like the warming of an orchestra pit, ins and outs and organs thumping, processing fuel, petals unfurling, becoming huge, ejecting waste and sometimes life, and that was Lotte, Dani’s precious baby, who mercifully bypassed her vagina, cried only when she really meant it, and completed a truly sublime figure eight when she pressed her face into Dani’s breast to eat. That’s not going to be for everyone, but it worked for me. (hide spoiler)] No one had to tell Clark to be good. He simply was good. He bought ethically sourced coffee. He donated a dollar when prompted by cashiers. He never took a sick day and doggedly pursued promotions and took on extra projects and stayed late and mentored his juniors. Clark did everything correctly, and all he asked for in return was everything. While pregnant with their first child � and living in a cramped one bedroom condo in the city � Dani’s husband, Clark, announces that he’s up for a big promotion � one that means Dani can be a stay-at-home mom if she wants � but the catch is that they would have to move back to Dani’s hometown; which is complicated given the well-known family legacy that she had tried to run away from. On the one hand, Dani (with a degree in philosophy) doesn’t have a “career� per se � and they already know that finding day care will be an issue � but on the other, Dani understands the power and freedom that she’ll be giving up if she allows Clark to make all the money. In the end, moving closer to her mother and her oldest friend (who introduces her to her mommy group, the “Normal Women�), and being able to buy a large family home, convinces Dani to make the move. But when one of Clark’s coworkers is diagnosed with colon cancer, Dani realises how financially vulnerable she and her infant daughter are; and when she notices how glamorous and carefree the staff of a local yoga studio/spa/nightclub/ (brothel?) appears to be, she begins to wonder if working somewhere like that could be her safety net. The relationship between Dani and Clark is 100% believable: they are both a little selfish, a little guarded, but make efforts to take care of one another (with both feeling resentful when those efforts aren’t recognised). They are also unequivocally devoted to their daughter, Lotte � Clark being the kind of dad who bristles when someone calls it babysitting as he cares for his own child; Dani being the kind of mom who scrolls online mommy forums to confirm her ideas about motherhood � both of them giving Lotte constant attention and love and care. Dani’s new friends are wealthy and chic � with their cocktail brunches, athletic tights, affogatos, and momfluencer blogs � and while the details of Dani’s modern experience are different from my days as a stay-at-home mom, Hogarth absolutely captured the ambivalence of the situation; of feeling both gratitude and resentment; being both anchored and trapped. When Dani starts a friendship with the owner of The Temple, this Renata explains that men, too, are trapped in their roles, as they have had the “crucial feminine� stamped out of them since birth: “Imagine if men could enjoy tenderness, could connect with other people, the way they did when they were infants. Imagine the world this could be. Right now, a lot of men, not all men but a lot of them, when they indulge in tenderness, when they experience vulnerability, they become enraged, ashamed, humiliated. It makes them want to kill us, literally. Hurt people. But the men that come to The Temple, the men we work with, they’re changing. And they’re changing each other. They’re changing their brothers, their nephews. Their sons. We’re making a difference here, Dani. Maybe even saving the fucking world.� I’m just hitting some of the beats here � there’s plenty more plot going on to develop the characters and relate the truths � but again, I winced and laughed and nodded my head with recognition throughout; this reads like lived experience, and I saw myself in it. I enjoy Hogarth’s voice and style and I will read her again. ...more |
Notes are private!
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1
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May 26, 2023
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May 29, 2023
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May 26, 2023
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Paperback
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0063072645
| 9780063072640
| 0063072645
| 3.82
| 64,994
| Jan 18, 2022
| Jan 18, 2022
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liked it
| At the top, I can feel my body wanting to shoot upward into the black sky, as if a puppet master is pulling on marionette strings. Two hands grasp At the top, I can feel my body wanting to shoot upward into the black sky, as if a puppet master is pulling on marionette strings. Two hands grasp my ankles as I nearly lose my balance. But even at this height, the force is not enough to fully lift me. I unwrap the infant from the jacket and hold them tight to my chest. Breathe in the smell of innocence and youth. More a collection of related short stories than a traditional “novel�, How High We Go in the Dark explores many cool sci-fi ideas as people in our near future attempt to deal with climate change and the attendant release of a deadly virus as the Siberian permafrost begins to melt. The jumpy format, however, doesn’t really allow for the ideas � or the characters � to fully develop (to my satisfaction, anyway), and as author Sequoia Nagamatsu is Japanese-American, this is, at its core, an examination of the pressures (to succeed, to honour family, etc) within his culture that could have been set anywhere/anywhen. I was entertained throughout, eager to see how Nagamatsu would pull it all together, but this won’t stay with me. Maksim assured me the quarantine was precautionary since the team had successfully reanimated viruses and bacteria in the melting permafrost. He said government officials watch too many movies. Standard protocol. No one at the outpost seemed sick or concerned. The story begins in 2030 with an archaeologist arriving at his recently deceased daughter’s remote worksite, where he hopes to understand what compelling mysteries were keeping her from returning to her home and young daughter back in the States. As he reads her journals and examines the fascinating burial site of a Neanderthal girl (whose presence was uncovered by the melting permafrost and resulting sinkholes that are currently appearing in the Russian north), Cliff will feel closer to his daughter, even as the virus the dig has unleashed begins to take a devastating toll on people � and especially children � around the world. “Have you heard of a euthanasia park?� he asked. It was early in the morning. I was pulling on my janitorial coveralls. I paused. Of course I had. The next chapter begins with a young man (an aspiring comedian who needs to take odd jobs in this near future of empty nightclubs, unemployment, and widespread homelessness) who gets hired as a mascot at The City of Laughter: a theme park built on the site of a former penitentiary, where terminal children can go to have their last, best day. Each chapter that follows focuses on someone who works a new job in this new, bleak reality � a concierge at an elegy hotel (“We were just glorified bellhops for the mountains of Arctic plague victims awaiting cremation, for the families who wanted to curl up in a suite beside the corpses of their loved ones and heal�), a forensic pathologist studying the decay of plague victims on a “body farm�, an artist who lands a berth on a spaceship leaving Earth in search of a new planet � and death is so prevalent in this new world that the mortuary business has taken over the banks, with people paid in funerary tokens (“mortuary cryptocurrencies tied to ad-ridden phone apps�) and empty apartment towers are turned into high tech columbaria for the storage of millions of urns. And throughout, the main character in each story is a Japanese-American, who sounds the same no matter their sex or age, and who is somehow estranged from their family. Characters interweave throughout the stories � the artist who leaves on the spaceship is married to the archaeologist in the first story; one of her paintings hangs on the wall of the girlfriend of the elegy hotel concierge, etc � and there’s a mysterious something (hinted at in my opening quote) overhanging everything that threatens our basic understanding of reality. Lieutenant Johansson, the navigation officer, was telling me there’s an invisible web that ties the stars and planets and galaxies together. We don’t know what it is or how it works, but it’s out there, all around us. In the first story, the archaeologist remembers how his daughter had a “UFO stage� and dragged him to a Bigfoot convention and liked to watch Ancient Aliens, and here’s the thing, I like to watch Ancient Aliens, too. I like hearing the stories of ancient mythologies from around the world and watch as people explore those sites today; and when each episode inevitably leads to a wacky conclusion, I can turn my brain off and still feel like I had enjoyed the journey, if not followed all the way to the destination. And Nagamatsu gives us the same sort of format here: there’s a bunch of interesting stories that describe a new future world, and then the final chapter ties it all together, wackily. And you can either enjoy the journey and be wowed by the destination, or, like me, appreciate elements of the journey and turn your brain off as you reach the end. This ɲ’t a waste of my time, but it ɲ’t much more than a time-waster for me. ...more |
Notes are private!
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1
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May 22, 2023
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May 25, 2023
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May 22, 2023
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Hardcover
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0425173739
| 9780425173732
| 0425173739
| 4.12
| 286,693
| Nov 01, 1937
| Jan 2000
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liked it
| Silence fell on the three of them. They looked down to the shining black rocks on the Nile. There was something fantastic about them in the moonlig Silence fell on the three of them. They looked down to the shining black rocks on the Nile. There was something fantastic about them in the moonlight. They were like vast prehistoric monsters lying half out of the water. A little breeze came up suddenly and as suddenly died away. There was a feeling in the air of hush � of expectancy. I read some of my Mom’s Agatha Christie mysteries when I was a teenager � and I can’t say for sure whether or not I had read Death on the Nile before � so perhaps that’s why the solution to this whodunnit ɲ’t much of a surprise to me. What was a surprise: how sentimental the great Hercule Poirot is about love, (view spoiler)[even allowing a subplot’s jewel thief to go free without incident because he had found love aboard the Nile cruise (hide spoiler)], and it seems this sentimentality is what Kenneth Branagh most wanted to play upon in his recent (awful) adaptation of the book for film (I found it interesting to read that Dame Christie removed Poirot from this storyline when she adapted Death on the Nile for the stage � not wanting the character to overwhelm the mystery � and yet Branagh made the opposite decision). So, yes, there is a closed room mystery for the little Belgian detective to solve as death visits the Nile steamship The Karnak conveying a group of the idle rich through 1930s Egypt, and while, with an oddly Shakespearean twist, several suddenly engaged couples among former strangers will disembark at the end, Poirot himself seems more concerned with the fate of a killer’s soul than the actuality of a dead body. This is a satisfying enough mystery (albeit one that I may have read before and therefore unknowingly spoiled for myself), with what I found to be odd subtext, and all I can say for sure is: read the book for some light entertainment, skip the Branagh adaptation. “What a lot of enemies you must make, Linnet.� Linnet Ridgeway has it all � beauty, poise, an immense fortune which the twenty-year-old is currently using to renovate an English country home she recently bought from the bankrupt Sir George Wode � and although she has received an offer of marriage from the very eligible Lord Windlesham, Linnet concludes that she would rather think of herself as the queen of Wode Hall than queen consort of Windlesham’s family seat: the even more impressive Charltonbury. Linnet is used to getting everything she wants, so when she is helplessly lovestruck while being introduced to an old friend’s fiance � the “big and square and incredibly simple and boyish and utterly adorable� Simon Doyle � it is perhaps unsurprising that in the next scene, Simon and Linnet Doyle are arriving at the Cataract Hotel in Assuan for the Egyptian leg of their honeymoon. What is surprising: Simon’s former fiance Jacqueline de Bellefort also checks into the hotel and we learn that she has been hounding the couple throughout their honeymoon, showing up wherever they go, hoping to spoil their happiness by her mere presence. And although the Doyles will attempt to give Jackie the slip by surreptitiously boarding The Karnak, she will appear onboard, along with a vacationing Poirot, his colleague Colonel Race (who is investigating an unrelated case), and an assortment of fellow travellers (a romance novelist and her daughter, a sick old woman with her nurse and a poor relative companion, a rich widow and her son, a doctor, an archaeologist, a Communist agitator, Linnet’s business agents, etc.), and death and romance and investigation ensues. Despite being set in one of the world’s most intriguing locales, Death on the Nile could have happened anywhere (the group does visit Abu Simbel and a bit of its history is shared, and there is the usual racist-ish Christie denigration of the locals [in this case, children hawking goods and asking for “backshish”] which Poirot dismisses as a “human cluster of flies�, but there’s not much singularly Egyptian about the story). Its setting in time is interesting, however: Published in 1937, the Communist agitator’s views � declaring that all rich people should be eliminated with a bullet to the brain � were considered impolite for general conversation, but they hadn’t yet been challenged by the real world application of Stalin and Mao. Poirot correctly surmises that Linnet’s trustee was worried about handing over her inheritance early (due to her surprise marriage) in light of the recent Depression. And this was maybe the last era that saw the shabby-genteel following the sun on trust fund interest. Time was better captured than place for me here. Once I went to an archaeological expedition � and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do � clear away extraneous matter so that we can see the truth � the naked shining truth. So, with a fairly large cast of characters � many of whom had motive for murder � and various unrelated subplots, Poirot spends more time publicly clearing away what isn’t germane to his case than discussing the proof that he says he held from the beginning. (Branagh handles this by eliminating subplots, amalgamating characters, and adding in Poirot’s backstory to stretch his pared down mystery to a two-and-a-half-hour-long film; it’s a different story altogether.) And in the end, love will be shown to be the greatest force of all; another fact that Poirot knew all along. Liked, not loved, by me; but I find myself satisfied to have read (re-read?) this. ...more |
Notes are private!
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1
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May 21, 2023
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May 22, 2023
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May 21, 2023
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Mass Market Paperback
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1644452294
| 9781644452295
| 1644452294
| 3.61
| 8,750
| Apr 06, 2023
| May 02, 2023
|
really liked it
| He leaves the room dark. Shy’s room minus Shy. Eve 1965 carved in the beam. A wonky heart carved in the beam. 1891 carved in the beam. Shy 95, fresh a He leaves the room dark. Shy’s room minus Shy. Eve 1965 carved in the beam. A wonky heart carved in the beam. 1891 carved in the beam. Shy 95, fresh and badly scraped in the beam, with a jagged S like a Z. Couldn’t even get that right. For such a short work, I found Shy to be incredibly affecting. Centred in the brain of a disturbed and confused young man as he sneaks out of a reform school in the dead of night, the story and the sentences and the tone are all off-puttingly disturbed and confusing. We wincingly watch Shy struggling under the weight of a flint-stuffed backpack as he effects his escape, and the many questions that that initiating scenario brings up will eventually be answered by the thoughts and memories and jumbled emotions that swirl uncontrollably through Shy’s mind. His memories are filled with rage and violence and uncontrollable tears; he suffers terrifying dreams and waking shame; every bad thing he’s ever done plays on an unbidden loop in Shy’s mind and he responds with aggression and destruction that he neither understands or attempts to control. I was similarly affected (mentally and emotionally) by Max Porter’s Lanny, but while that novel was luscious and enthralling in its fabulous language, Shy is abrupt and confrontational; perfectly capturing the experience of being trapped inside the disturbed mind of a young fella who can’t control his thoughts, emotions, or actions. Captivated, and disquieted, throughout. (Note: I read an ARC through NetGalley and passages quoted may not be in their final form.) I said to him, there’ll be rapists, violent offenders, not murderers I don’t think, but some very disturbed young men, and he stood up, came round the table and said, Mum, I’m a very disturbed young man, and I said, No poppet, you’re lost, that’s different, and he said, Mum, listen to me, I know you love me, but it’s not different. I’m not lost. I’m right where I got myself, and I said Oh, darling, no, and he said, Mum, shh. Whatever. A new school. My last chance. I’m going to take it. Shy’s brain pings around through disjointed thoughts and scenarios as he makes his way across the grounds of the Last Chance school; pinging from his earliest to his latest memories; pinging from first person, to third person, to transcribing a documentary made about the program at his school. We learn about Shy’s long-suffering mother and stepfather (who seem to have tried everything to help their son, not understanding what might have hurt him along the way); we learn about his cousin Shaun introducing him to “jungle music� and drugs; we learn that Shy has had friends and a girlfriend and is capable of academic success, but he just can’t help blowing up the good things in his life. The Last Chance school seems to be staffed by extraordinarily caring and capable teacher-councillors, but despite their efforts to share calming techniques and forge understanding between the boys with group therapy sessions, every small slight drives Shy to respond with his default rage. Weary of his own violence, plagued by nightmares and shame, Shy struggles under the weight of his flint-stuffed backpack as he heads through the fields for the nearby pond. His thoughts are lopping along in odd repetitive chunks, running at him, stumbling. Feels brave, feels pathetic, feels nothing. Panic. Calm. Mad clatter in the roof of the break like machine guns then swirling calm, home, school, years ago, yesterday, his mind all tight, then slackening, then something buzzing under like a tectonic plate, then marching, then pure noise, then snapping traps, then humming, bassline in his migraine, under the bathwater private time, then a dancey synth part in the clear sleepless noise of his insomnia, piano choon, one step forward two step backward, building a real thing, into the movement, which is like, oops, slippery on the leaves here, haha nearly went down. The jumbled storytelling can be hard to follow, and the violence and mental illness don’t make for a “nice� story, but it feels like Porter has captured something true and worth considering from the inside of a disturbed mind. Shy might not be likeable or relatable, but he’s a broken teenager and it’s provoking to be asked to care about him and his fate. I was correspondingly provoked and captivated; I couldn’t ask for more from a novel of triple the length. ...more |
Notes are private!
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1
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May 18, 2023
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May 19, 2023
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May 18, 2023
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Hardcover
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B0DT3VF3QX
| 4.11
| 197,008
| Apr 04, 2023
| Apr 04, 2023
|
liked it
| The day Ruthie went missing, the blackflies seemed to be especially hungry. The white folks at the store where we got our supplies said that Indian The day Ruthie went missing, the blackflies seemed to be especially hungry. The white folks at the store where we got our supplies said that Indians made such good berry pickers because something sour in our blood kept the blackflies away. But even then, as a boy of six, I knew that ɲ’t true. Blackflies don’t discriminate. But now, lying here almost fifty years to the day and getting eaten from the inside out by a disease I can’t even see, I’m not sure what’s true and what’s not anymore. Maybe we are sour. To be honest, I was a little disappointed with The Berry Pickers: Somehow both highly melodramatic � with multiple misfortunes befalling one undeserving Mi'kmaq family � and completely unsurprising in its predictable plotting. But I’ll also add that I found this to be overdramatic and predictable in the vein of Nicholas Sparks and Jodi Picoult � both highly successful authors with big fan bases � so I don’t mind concluding (and especially in light of this novel’s high rating on ŷ) that this just ɲ’t a fit for me personally and I wish much success to debut author Amanda Peters. Slight spoilers beyond here (but as everything is given away in the first chapter, I wouldn’t consider them plot-ruining). In the years since Ruthie went missing, Mom had come to a soft understanding of the situation. She would try her damnedest to not be sad. She couldn’t promise complete happiness or fully rid herself of the anger, no matter how many times a week she put on those shoes and walked to the big stone church in town, but she would harness the sadness. She would harness it and tame it and keep it still and quiet. And she did this by believing that Ruthie was out there somewhere, growing up, eating ice cream, reading books and remembering her mother. We let her. But we still looked. In 1962, while her family was working an annual blueberry harvest in Maine, four-year-old Ruthie disappeared; and although her family would eventually be forced to go home to Nova Scotia without her, the tragedy would go on to affect her parents and siblings for the rest of their lives. As The Berry Pickers opens, the story of her disappearance is told from Ruthie’s brother Joe’s perspective as he lies dying of cancer in the family home in the modern day. Perspective in the next chapter shifts to that of a young girl named Norma narrating her unhappy life with cold and overbearing parents in the 60s, and it’s immediately clear that this is Ruthie growing up in the family that snatched her. POV rotates between Joe in the present � mostly telling the story of his hard life to his estranged daughter � and watching Ruthie/Norma grow into adulthood, always feeling a sense of disconnection from her ersatz parents. (view spoiler)[And as the prologue ends with Joe and Ruthie’s sister Mae saying, “There’s someone here to see us. And I think we might have some catching up to do.�, there’s no intended surprise that Ruthie/Norma will eventually learn about her birth family and go to see them. There’s truly no narrative tension in the plot. (hide spoiler)] As a Mi'kmaq, Joe experiences episodes of racism throughout his life, but I don’t know if Peters did the character any favours by portraying Joe � despite coming from a stable, loving family � as an angry and violent heavy drinker (which another character defends as understandable for someone with a history of intergenerational trauma which we just don’t see: Joe’s parents are hard-working, church-going, family-first and thoroughly present and supportive; the loss of Ruthie and other family drama notwithstanding). And when two major episodes of systemic racism are faced by the family � the local sheriff in Maine won’t help search for Ruthie, and when they return home, the local Indian Agent wants to take away the remaining children for their supposed protection � the family’s dad is aggressive and defiant without consequence (which on the one hand feels like grandiose wish-fulfilment, and on the other, makes it sound like if only more fathers would have levelled shotguns at the authorities, fewer children would have been stolen and sent off to the Residential Schools.) Despite some very dramatic events in the life of this family, this novel didn’t give me any feel for what it was like to have lived through those events as First Nations people. (view spoiler)[And there were some logical inconsistencies, as with Joe concluding on his deathbed, in the quote I opened with, that maybe his people are “sour�, despite twice agreeing with a stranger that that’s not true; it seems like Peters liked the sound of that sentence, without really believing it, so put it there. (hide spoiler)] I’ve always wondered at the secrets the dead take with them. Some are unintended secrets, things they never got around to saying, like “I’m sorry� or “The money is hidden in the shoebox at the back of the closet.� Some secrets are so dark that it’s best they remain buried. Even people who exude light and happiness have dark secrets. Sometimes, the lie becomes so entrenched it becomes the truth, hidden away in the deep recesses of the mind until death erases it, leaving the world a little different. Secrets and lies can take on a life of their own, they can be twisted and manipulated, or they can burst into the world from the mouth of someone just as they are starting to lose their mind. Overall: This was interesting enough, and plenty happens � and I was not entirely unaffected emotionally � but The Berry Pickers was a middle-of-the-road read for me (but highly rated, so take my opinion for what's it's worth). ...more |
Notes are private!
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1
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May 11, 2023
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May 16, 2023
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May 11, 2023
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Paperback
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1324093870
| 9781324093879
| B0BWL68F6D
| 3.67
| 4,496
| Sep 19, 2023
| Sep 19, 2023
|
it was amazing
| He is a Pole, a man of seventy, a vigorous seventy, a concert pianist best known as an interpreter of Chopin, but a controversial interpreter: his He is a Pole, a man of seventy, a vigorous seventy, a concert pianist best known as an interpreter of Chopin, but a controversial interpreter: his Chopin is not at all Romantic but on the contrary somewhat austere, Chopin as inheritor of Bach. To that extent he is an oddity on the concert scene, odd enough to draw a small but discerning audience in Barcelona, the city to which he has been invited, the city where he will meet the graceful, soft-spoken woman. The Pole, if I’m understanding it correctly, is all about what’s lost in translation between people: from what’s lost by an author as he attempts to translate his nebulous ideas into words on the page, to what’s lost when two strangers are forced to resort to “global English'' in a necessarily superficial effort to understand one another. And as this comes from J. M. Coetzee � a native of South Africa who does not consider English to be his mother tongue, and who has released his last two novels first in Spanish after having them translated from his English originals � there are layers of meaning and irony beyond what might appear to be a simple girl meets boy story. This is about art, and the effort to use art to transcend what can be put into words, and about the basic impossibility of any two people understanding one another at all; if I’m understanding this correctly. I loved every bit of this short novel. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) Producing a concert, making sure that every thing runs smoothly, is no small feat. The burden has now fallen squarely on her. She spends the afternoon at the concert hall, chivvying the staff (their supervisor is, in her experience, dilatory), ticking off details. Is it necessary to list the details? No. But it is by her attention to detail that Beatriz will prove that she possesses the virtues of diligence and competence. By comparison, the Pole will show himself to be impractical, unenterprising. If one can conceive of virtue as a quantity, then the greater part of the Pole’s virtue is spent on his music, leaving hardly any behind for his dealings with the world; whereas Beatriz’s virtue is expended evenly in all directions. As it opens, we meet Beatriz: not exactly beautiful, but graceful and well-built; a wealthy banker’s wife, approaching fifty, who organises events for the Concert Circle in her native Barcelona. At the last minute, Beatriz is put in charge of entertaining the visiting Maestro, whose name has “so many w’s and z’s in it that no one on the board even tries to pronounce it � they refer to him simply as ‘the Pole’�; and as she has no idea if he speaks any Spanish, or even simple English, Beatriz invites an elderly French-speaking couple along for a post-concert dinner; after all, Chopin spoke French, didn’t he? Conversation at dinner proceeds in basic English, with imperfect understanding, and although Beatriz assures the reader that she is not “chatty�, she can’t help but confront this Witold Walczykiewicz over what she thinks is his improper interpretation of Chopin, even if Witold has been widely celebrated for his “controversial� efforts. After they part, and Beatriz files the evening away as unremarkable, she will begin to receive emails from Witold in which he proclaims an undying love for her � referencing Dante and his Beatrice in the old Italian � and she then proceeds as though she doesn’t even understand her own mind: “I’ll certainly not email him back,� until she does; “I’ll certainly not go to Mallorca when he’s playing there,� until she does; “I’ll certainly not invite the Maestro to visit our family vacation home after my husband leaves,� until she does. Long after these events, after Beatriz has filed them away as ultimately unremarkable, she will come into possession of a series of poems that Witold has written for her, and as she tries to have them appropriately translated from Polish to Spanish (discovering along the way that computer programs have no sensitivity for the task), she will need to confront the fact that maybe she never really knew Witold at all. Years later, when the episode of the Pole has receded into history, she will wonder about those early impressions. She believes, on the whole, in first impressions, when the heart delivers its verdict, either reaching out to the stranger or recoiling from him. Her heart did not reach out to the Pole when she saw him stride onto the platform, toss back his mane, and address the keyboard. Her heart’s verdict: What a poseur! What an old clown! It would take her a while to overcome that first, instinctive response, to see the Pole in his full selfhood. But what does full selfhood mean, really? Did the Pole’s full selfhood not perhaps include being a poseur, an old clown? As for the layers of what’s lost in translation: The first chapter, in its entirety, reads 1. The woman is the first to give him trouble, followed soon afterwards by the man. And who is the “him� who is given trouble? Coetzee himself. He never lets us forget that we are reading a novel � a later passage reads: It is only a matter of chance that the story being told is not about Loreto and her man but about her, Beatriz, and her Polish admirer. Another fall of the dice and the story would be about Loreto’s submerged life. � so it’s interesting to begin with the notion that getting first the woman, and then the man, “right� had given the author some trouble. Coetzee is said to have released his most recent novels first through an Argentinian press, after having had them translated into Spanish, as an effort to combat the cultural hegemony of the English language and the Global North. For The Pole, I read (in ) that Coetzee even followed the advice of his Spanish translator, Mariana Dimópulos, and her suggestions for how a Spanish woman like Beatriz would actually “think, speak, and act�. So not only do we have a male author writing from a female POV about her inability to understand a foreign man’s intentions, but this male author enlists the help of his female translator to get his female character right � before she alters it all into a different language with its different shades of meaning. (I also found it nicely ironic that in a Dutch publication [netherlands.posten.com; the website won’t let me link it] � the language in which Coetzee previously had first released some novels � the English translation has the title of this novel as “The Pool�.) Beatriz and Witold not only face the barriers of sex and language, but there's a generational gap as well � the Maestro having been born in Poland at the height of WWII might explain his old-fashioned infatuation � and when Beatriz eventually travels to his apartment in Warsaw to retrieve the poems, she'll realise that she never asked him one question that challenged the way that she imagined he lived. But this novel is about more than what’s lost in translation (or omitted) with the spoken word: Witold interprets Chopin “austerely�, which Beatriz doesn’t understand or like. We see Witold literally evoking Dante and Beatrice as a parallel for their relationship (which Beatriz does not understand or like), while in the background, we are to understand that their meeting in Mallorca metaphorically parallels events in the relationship between Chopin and George Sands. And when Beatriz attempts to get Witold’s poems translated � by a person from the university who usually deals with legal documents, and who warns that she can translate words but not a poem’s meaning � Beatriz does not understand (or like) them either. How much of this misunderstanding, through multiple art forms, is due to what is lost in translation, and how much of it simply represents how unknowable we necessarily must be to one another? This is a long review of a short book because it gave me so much to think about. Totally recommend it, rounding up to five stars for the extended experience. ...more |
Notes are private!
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1
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May 08, 2023
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May 09, 2023
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May 08, 2023
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Kindle Edition
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1982159405
| 9781982159405
| B0BHTM3KZ7
| 3.68
| 290
| unknown
| Jul 25, 2023
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it was amazing
| It’s a civilizational achievement to be able to extrinsically see the universe “from the outside.� It is also a civilizational achievement to be able It’s a civilizational achievement to be able to extrinsically see the universe “from the outside.� It is also a civilizational achievement to be able to intrinsically see the universe “from the inside.� The two perspectives are the sources of our greatest triumphs, like our ability to observe galaxies light-years away, and also the elegance and beauty of the stories we tell. Although not technological marvels we can take a picture of, the intrinsic and extrinsic perspectives are conceptual marvels, and took as much intellectual work to create as our greatest institutions and constructions. They are, if judged by their fecundity, the cognitive Wonders of the World. What a crazy trip is The World Behind the World: Dr. Erik Hoel, a Forbes 30 Under 30 scientist, starts this history of scientific navel-gazing in Ancient Egypt (handily disproving the misconception that they had no understanding of stream of consciousness and believed that all interior monologue came from their gods) and ends with modern efforts with Artificial Intelligence (making the case that machines will never gain true consciousness). Quoting from poets, philosophers, mathematicians, and scientists throughout the ages, Hoel presents equal parts narrative and theory to explain why Neuroscience is in need of a paradigmatic shift (along the lines of Relativity’s impact on Physics or the double-helix structure of DNA on Genetics), because as it stands, the field is “floundering�, and “secretly, a scandal.� Hoel writes, for the most part, at the layperson’s level (I have no background in Neuroscience and could follow along), but I got the feeling that he was maybe not writing for me: this has the feel of a disruption, a wake up call for the small group of researchers and their post-docs who control research into the nature of consciousness, and more than anything, the narrative-lover in me would like to know how this disruption plays out. Fascinating, beginning to end. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) Who am I to write this book with such a span it involves not just history, but literature and neuroscience and philosophy and mathematics? It is impossible in scope. But if not me, then who? For I have lived for years ensconced in both perspectives, and feel, at a personal level, the tension in their paradoxical relationship. I grew up in my mother’s bookstore and, later in life, became a novelist. Yet I am also a trained scientist. And in graduate school for neuroscience I worked on a small team advancing the leading scientific theory of consciousness. So for decades I have lived in the epistemological hybrid zone where the intrinsic and extrinsic perspectives meet. What I saw nearly blinded me with its beauty and paradox. This book is an expression of what I’ve learned living in the hybrid zone. Basically, the question is: Can we understand how the brain works only using tools developed by that same brain? Poets and novelists have long attempted to describe the interior (“intrinsic�) experience of humanity, but starting with Galileo � who argued that science should concern itself only with those properties (size, shape, location, and motion) that can be described mathematically � a “serious� study of any phenomena (from human consciousness to the speed of light) was to be considered solely from this “extrinsic� perspective. As far as Psychology is concerned, Hoel names B. F. Skinner as the “villain� of the story: Failed novelist, rejecter of the intrinsic perspective. Due to the popularity of his (black box) approach consciousness became a pseudoscientific word and psychology was stripped of the idea of a “stream of consciousness,� stripped of everything intrinsic, for almost a century. In order to survive as a science, psychology only kept the reduced elements of consciousness � attention, memory, perception, and action � while throwing out the domain in which they exist, the very thing that gives them form, sets them in relation, and separates one from the other. In the middle of the twentieth century, modern research into consciousness divided into two camps which continues to this day: the empiricists (following in the footsteps of Francis Crick), “who focus on brain imaging and finding the neural correlates of consciousness�, and the theorists (following the work of Gerald Edelman), “who make quantitative and formal proposals to measure the content and level of consciousness�. With regard to the empiricists, Hoel doesn’t have much respect for their reliance on fMRIs to map brain functions (In a notorious study in 2009, a dead salmon was put in an fMRI scanner and shown the kind of standard fMRI task of “looking� at photographs that depicted humans in social situations. The dead salmon, quite obligingly, showed a statistically significant response to a common analysis pipeline. Also: I was stunned to read that my mental picture of neurology is all wrong � neurons are actually “squishy quark clouds�?) And as for the camp of theorists: Hoel did his postgraduate work with a leading neuroscientist who had studied under Edelman � Giulio Tononi � and although Hoel had been captivated by Tononi’s integrated information theory (IIT), Hoel would eventually co-author a paper that demonstrated the theory’s shortcomings. Hoel goes on to explain that perhaps the nature of consciousness is unknowable. Referencing the 2017 paper, “Could a Neuroscientist Understand a Microprocessor?�, I found it fascinating that, using the same methods they would to map out a human brain, neuroscientists were unable to locate any specific function in a 1980s era Nintendo-running MOS 6502 microchip (despite knowing its complete wiring diagram). Further: No one knows how the large-parameter models that show early signs of general intelligence, like GPT-3 or Google’s PaLM, actually work. We just know that they do. And this is because there is often no compressible algorithm that an ANN is implementing. Applying this same reasoning to neuroscience leads to some uncomfortable conclusions. Neuroscientists often assiduously avoid such discussions, since asking “How does the brain perform this transformation between input and output?� is a far more complex version than that same question put to ANNs, and with ANNs we know that often in principle we can say very little about this (and that’s with the complete and perfect access to the connectome, or wiring diagram, of the ANN, unlike the brain, which comes to us piecemeal via invasive surgeries or coarse-grained neuroimaging). So it’s not a lack of data about the brain that’s the problem. It’s the approach. Hoel spends a lot of time on mathematicians Gödel and Boole (and their realisation that “formal systems built on axioms are necessarily incomplete�), and eventually references Stephen Hawking as acknowledging that science � using as it does the language of mathematics � is, by extension, also necessarily incomplete. So maybe uncertainty is simply a feature of reality and neuroscientists are asking all the wrong questions (and it's this conclusion that feels disruptive for the gatekeepers of academia). From here, Hoel goes on to briefly explore the possibility of consciousness surviving death and presents an examination of the case against free will. All fascinating stuff and well worth the read. We may be hairless apes, but we are conscious, and that is indeed something special and unique, as the paradoxes around it attest to. Studying consciousness scientifically requires exploring the hybrid zone where the qualitative meets the quantitative, a unique metaphysical ecosystem. And it is possible that this zone will never be resolved to our satisfaction in the way other fields of science are, that it, and therefore we, will always remain paradoxical, mysterious as a deep-sea trench. ...more |
Notes are private!
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1
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May 07, 2023
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May 08, 2023
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May 07, 2023
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Kindle Edition
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0593447344
| 9780593447345
| 0593447344
| 3.33
| 1,182
| Oct 24, 2023
| Oct 24, 2023
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really liked it
| When Anita cut her palm on the chain-link fence or bit herself in the forearm playing dog, playing dawn, she bled all the way home. Her bleeding was w When Anita cut her palm on the chain-link fence or bit herself in the forearm playing dog, playing dawn, she bled all the way home. Her bleeding was widespread. Once, when she cut herself picking windshield glass off the street, saying she was afraid the dogs would step on it or mistake it for sugar, her blood spread itself thin as steam, a red haze floating in the air for days. But I don’t even know what her other insides are shaped like, Rainie said, looking down at the table. Vivian said, Oh, I do. I go to the butcher’s all the time with Ayi, and the organ meats are always the cheapest. Have you had breakfast yet? I really enjoyed K-Ming Chang’s previous works � the novel Bestiary and the short story collection Gods of Want � and especially because they were just so weird; combining Taiwanese mythology with the outsider SoCal queer immigrant child experience, the weirdness seemed the perfect way for Chang to capture that jarring outsider experience. Organ Meats continues in the same vein � with the maybe-more-than-friendship of two girls metaphorically tied together over time with the threads of their belief system � but whereas the previous books combined myth and magical realism to marvellous effect, this one stretches into full-on surrealism, and I found it challenging to follow. I continue to marvel at Chang’s imagination and bravura, but I didn’t feel very much for the story or the characters: like looking at a Dalí painting, I can recognise the skill without really liking the result; and while I might say that I didn’t really like this, I’m still rounding up to four stars and will read Chang again. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) We swim in the thickest cut of shade under the sycamore, smoking a cigarette each, slobbering like the dogs we are. Dogs can see the dead � we come from generations of canines, some dogs and some not, so we know their ways, we still use our hind legs � and they aren’t as interested in the living as you think. And we see the two girls, Anita Hsia and Rainie Tsai, red threads knotted at the plum of their throats, sitting together on the blanched roots of the sycamore, and we know after this summer they will never see each other again, not as daughters and dogs, and that only one of them knows this, the smarter one, Rainie, though both their mothers are fools, naming their daughters after singers, one of whom died early, and we know exactly the kind of woman who names her daughter in front of a TV screen or while dancing in the dark to nothing, and Rainie at least is better at belonging to her loneliness, inhabiting it like a house, ornamenting it with narratives of how she came to live inside it, her mother at work, her brothers out all night snipping the ears off dogs, her best friend belonging to a sycamore tree. Anita and Rainie are ten years old, and at Anita’s insistence, have knotted red threads around their throats in order to tie themselves together, like dogs, for life. They spend their time interacting with a group of woman-faced stray dogs that laze between the roots of a dying sycamore tree in an otherwise empty lot, and if the day gets too hot in their parched urban environment, the girls will take off their clothes and stretch out on the concrete floor of the pesticide-filled garage on Rainie’s side of the duplex their families share. Through stories from their mothers and interviews with the dogs, the girls (and the reader) learn where they (and the not-quite-canine) dogs came from, and with pages filled with banana ghosts, pearls, feces, and red thread, a messy history and a mythology are invented for this pair. But when Rainie’s family moves away � mostly to get away from her friend’s strange influence � Anita loses herself in that mythology, and it will take Rainie a decade to follow the thread back to her lost friend. As with her previous works, I enjoyed Chang’s strange metaphors in Organ Meats, as with: They tried to cut the thicket of hair off her skull, though the blade bent against her strands. Her hair had the tensile strength of time. and The moon dragged its tassels of light, licking the windows bright. But, as I wrote above, this stretches into surrealism and I was never quite sure what I was meant to take literally, as in: Look, Abu said, scraping at the plaster walls of our house with her nails. Beneath the first layer was flesh. The wall licked her hand and gloved it in slobber. I pressed my hand to the opposite wall and felt it pulse and flex like a belly, and beneath it I could feel the snaking of intestines and the drumbeat of a tongue as the house swallowed and swallowed around us. One day when the plaster collapses like a broken wing and the wood beams rescind into the dirt, the house will finally succeed in digesting us, returning to its first life, lifting our beds like tongues and drooling all over our bones until we glow. And I found the surrealism distancing: I don’t really understand what happened to Anita after Rainie left (what is written could be a metaphor for just about anything), and as the friendship seemed less important to Rainie, her return a decade later didn’t provide any emotional catharsis to me: What she felt for Anita ran through the ground, beneath her feet, like those dogs racing on the underside of the pavement, erupting through a rain puddle. She wanted all the miracles of being near her. All the births she beckoned. I’ve chosen, was all Rainie said. And yet: the banana ghosts and the woman-faced dogs and the bunks full of oyster shuckers on the underside of the home island give a sense of the pressures faced by Taiwanese women that might be hard to convey in a straightforward narrative, and I recognise the artistic skill that Chang has brought to bear here. I just wish that more happened on the page to make me understand and care about Anita and Rainie; I felt distanced and unconnected throughout. Still four stars. ...more |
Notes are private!
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1
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May 04, 2023
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May 06, 2023
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May 04, 2023
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Paperback
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1541789016
| 9781541789012
| 1541789016
| 3.89
| 337
| unknown
| Jun 27, 2023
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really liked it
| Self-Made is an account of how we began to think of ourselves as divine beings in an increasingly disenchanted world and about the consequences � poli Self-Made is an account of how we began to think of ourselves as divine beings in an increasingly disenchanted world and about the consequences � political, economic, and social � of that thinking. These consequences have both liberated us from some forms of tyranny and placed us into the shackles of others. It is a story, in other words, about human beings doing what we have always done: trying to solve the mystery of how to live as beings both dazzlingly powerful and terrifyingly vulnerable, thrust without our consent into a world whose purpose and meaning we may never be able to truly know. The publisher’s blurb describes Self-Made as “a series of chronological biographical essays on famous (and infamous) ‘self-creators� in the modern Western world�, and essentially, it reads like author Tara Isabella Burton is presenting a lecture series on our society’s evolution from enforced (cultural and religious) conformity to the pressures we feel today to each be striking individuals with marketably unique brands. Each chapter tells the stories of those who pushed the limits of what was acceptable in their day, and from these individual biographies to Burton’s overall thesis, I found this to be totally fascinating and readable. If I had a complaint it would be that this felt too comprehensive � there are so many stories here, spanning centuries, that I find it hard to sum up succinctly � but that’s hardly a complaint at all (if this had been a lecture series, I would have enjoyed taking it in over several weeks or months, but as it was, I still enjoyed reading this slowly.) Note: I read an ARC through NetGalley and passages quoted may not be in their final forms. All of us have inherited the narrative that we must shape our own path and place in this life and that where and how we were born should not determine who and what we will become. But we have inherited, too, this idea’s dark underbelly: if we do not manage to determine our own destiny, it means that we have failed in one of the most fundamental ways possible. We have failed at what it means to be human in the first place. In opposition to Thomas Aquinas� Prime Mover theory (which stated that in addition to creating the world, God had immutably “determined the shape of human life, including rank, blood, and station�), German philosopher Immanuel Kant would later write that the Enlightenment was “man’s emergence from his self-imposed immaturity�; no longer would men be “grasping at the leading strings� to follow the way of their parents. The Renaissance saw men (and it was always men with the opportunities) determined to reinvent themselves. This ranged from notorious self-creator Albrecht Dürer (“hailed as many things: one of the Renaissance’s finest artists, the inventor of the selfie, the world’s first celebrity self-promoter�) to Baldassare Castiglione (whose 1528 book The Courtier served as a guide for those who wanted to learn the art of “sprezzatura� and serve the royal courts) and Niccolò Machiavelli’s The Prince: a guidebook for the self-reinvention of would-be rulers. Burton shares the French freedom-seeking philosophies of Montaigne, Montesquieu, Rousseau, and the Marquis de Sade. She writes of Regency England and the “bon ton� of public figures like Beau Brummell and Oscar Wilde, and throughout, makes the point that in Europe, the quest for self-creation had an “aristocratic� bent: anyone could become princely, if not an actual prince, with the right attitude. (Burton intriguingly points out that this attitude inevitably led to the fascism of the Twentieth Century, with figures like Gabriele D’Annunzio, Adolf Hitler, and Benito Mussolini peddling “the fantasy of superhuman specialness to a population all too willing to treat their neighbors as subhuman�.) If the social Darwinists had envisioned human progress as a linear march toward perfection, then the advertisers of the early twentieth century helped clarify what, exactly, that perfection looked like: a whole nation of stars, all expressing their own singular, unique personality by using the same few products. On the other hand, the quest for self-creation in America had a more “democratic� bent: From Frederick Douglass� pulling-up-of-the-bootstraps get-to-work philosophy to Phineas Quimby’s New Thought movement (“you can think yourself to wealth�), the American Dream, from the beginning, was thought to be attainable by anyone (and those who failed to attain great wealth had only themselves to blame: you only need to work harder; think harder). Between Hollywood and Madison Avenue, “It� (the ineffable sprezzatura and bon ton of earlier ages) was presented as desirable and attainable � for a price, anyway. And this attitude inevitably led to the rise of self-promoters like Donald Trump and the Kardashians, and today, the belief that anyone could become an internet sensation if they only found their niche and marketed themselves properly (Burton writes that “‘social media star� is now the fourth most desirable career for contemporary teenagers�, and that just doesn’t sound attainable or psychologically healthy to my aged sensibilities.) The story of self-creation, at its core, is not only a story about capitalism or secularism or the rise of the middle class or industrialization or political liberalism, although it touches upon all these phenomena and more. It is, rather, a story about people figuring out, together, what it means to be human. It is a story about trying to work out which parts of our lives � both those parts chosen and those parts we did not choose � are really, authentically us, and which parts are mere accidents of history, custom, or circumstance. It is, in other words, a story about people asking, and answering, and asking once again the most fundamental question human beings can ask: Who am I, really? Burton concludes that the modern day answer to “Who am I, really� � “whoever I want to be� � is dangerous because it not only disregards very real limits to outward change and social mobility but it also discounts the fundamental truths (shaped by the environment, community, secret longings) we hold within ourselves: and why should the outer presentation be considered more authentically “real� than the inner experience? It’s undeniable that shaking off the yoke of Mediaeval-style societal/religious control is a boon for mankind, but why has public acclaim become the only marker of self-worth? Burton covers many more thinkers and their lives than I can recount in a review � making it slightly challenging to share her thesis and its proofs � but I can say that I loved every bit of this. ...more |
Notes are private!
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1
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Apr 21, 2023
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May 02, 2023
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May 04, 2023
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Hardcover
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1039006752
| 9781039006768
| B0BZ3JK7ZB
| 3.79
| 1,534
| Sep 05, 2023
| Sep 05, 2023
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it was amazing
| Do you remember being born? the software asked me. Do you remember being born? the software asked me. This was a WOW for me: Do You Remember Being Born? tells the story of a much celebrated poet in her seventieth-fifth year, Marian Ffarmer (based in many ways on the real-life ), who is asked by a Big Tech Company to collaborate with their poetry-writing AI and produce an “historic� six page poem over the course of one week at their Silicon Valley HQ. It just so happens that the offer comes with a big paycheque � at the exact moment Ffarmer’s middle-aged son is in need of money � and with an unshakable regard for her own talents and legacy, and a curiosity for the project itself, Ffarmer agrees. As the novel unspools, it is fascinating to watch as an artist attempts to demonstrate what art is and where it comes from, and in scenes from the past that divulge Ffarmer’s life story, we learn specifically where her art came from and how it changed the world. As Ffarmer “converses� and collaborates with the AI (which produces verses with a very uncanny valley vibe), she will learn more about her own humanity, and recognise some of her all-too-human failings. This is everything I like � a dissection of life and art and what makes us human � and set in the heart of our current obsession with machine learning, Sean Michaels has created something both timely and timeless. I loved the big questions and the small details, and especially, the formidable character of Marion Ffarmer herself; I simply loved it all. Rounding up to five stars. (Note: I read an ARC through NetGalley and passages quoted may not be in their final form.) At the desk I told them my name and the young woman pretended that she knew me, or maybe she really did know me; it is not so uncommon these days. “Oh my god, Ms. Ffarmer,� she said, pronouncing the “Ms.� like a glinting rosette. I stared at my feet. I touched my tricorne hat. I signed some documents and she typed something into the computer and now we were simply waiting � for someone to arrive, the next stage of the initiation. I found myself reflecting on the Company’s lack of a front door. Meaning they were never closed, not ever, not on Christmas Day or at 2 a.m. or the morning after their annual staff party. At all hours they were open, available, like the Company’s website or their software, their servers twinkling in a vault. Standing there on lacquered concrete, clouded from the caffeine I had yet to consume, the place’s wakefulness felt wrong. I distrusted it. Like I said: I enjoyed the overall narrative of Ffarmer’s life story, but the real meat of this novel is in her interactions with the AI nicknamed Charlotte, “trained on a massive data set of poetry books and journals, on top of a basic corpus of ten million web pages. Two point five trillion parameters…� The poet recognises that the program can mirror back her own style � picking up on internal rhymes and coining intriguing metaphors extrapolated from inferred references � but the human in Ffarmer senses that (even if she can’t verbalise how) there is no human heartbeat behind the program’s offered lines. Ffarmer attends a late night event with some young poets � who question the Company’s motives behind this project (everything is marketing) � and although she will never really learn the motive, Ffarmer is sanguine; this experience really is about the money for her son and I felt like Michaels handled this character with appropriate dignity: She is tall, unstooped and magisterial, in her cape and tricorne hat (as had been Marianne Moore), and there is no sense that she is being used or manipulated. The poet approaches the program with curiosity and is unsurprised to discover that the machine comes up a bit short. A small observation I want to put behind spoiler tags: (view spoiler)[ Sometimes I pitied Charlotte for how little she really knew of other people. The way her writing was sealed off from the tapestry of relationships and community that could nourish an artist. And then I thought: Well, here we are, then. We were the first threads in her web. It ɲ’t until this reference to her “web� that I realised where Charlotte got her name from, and it makes for an interesting angle on the debate around machine learning. Ffarmer notes about the AI that it’s not truly inventing anything � just rearranging words from other sources according to perceived rules (and surely that’s not what all of poetry is?) � just as in Charlotte’s Web the spider only copies the words that Templeton the rat brings back from the fairgrounds. That seems like a miracle, but is it really a creative act? Is it art? Charlotte appears to be sentient in the story, but that doesn’t make her human. (hide spoiler)] It did not need to be a masterpiece. This, the most important poem of my life, could actually be the worst: a damp squib, a dud, repudiating the notion that technology will replace us. In the absence of anybody greater, maybe it fell to me to humiliate the machine � a simple Ffarmer spoiling the moment I had been asked to engineer. The Company wanted to erect a monument. A memorial for a bygone age, back when only people wrote poems, before my kind had gone the way of lamplighters and travel agents, icemen, video store clerks. “You can blame the AI,� I’d say. “It is insufficient to the task.� The world might then be satisfied for a while, another five years or ten, that the poet is unique. We would not be written out quite yet. In an Author’s Note at the end, Michaels explains that, “all of Charlotte’s poetry and some of the prose in this book was generated with help from OpenAI’s GPT-3 language model as well as Moorebot, a package of custom poetry-generation software, which I designed with Katie O’Nell.� I have no expertise on poetry � even reading some of Marianne Moore’s well-known work in the wake of this novel, I can’t say that I understand its power � but I will say that the stanzas of the invented poem included here did have that uncanny valley not-quite-human (and not-quite-not) feeling that makes me uncomfortable whenever I read chatbot-generated writing. The concept made for a highly satisfying interrogation of where we are with machine learning, but it was this wonderful character of Marion Ffarmer � with her very messy, relatable, and human life � that made this novel feel like art, and I loved the whole thing. ...more |
Notes are private!
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1
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Apr 18, 2023
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Apr 20, 2023
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Apr 18, 2023
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Kindle Edition
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1668006499
| 9781668006498
| 1668006499
| 3.97
| 68,092
| Aug 08, 2023
| Aug 08, 2023
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really liked it
| “We finally have everything back from the lab. The diagnosis is very clear,� Dr. Ramirez said briskly to mask the gravity of what came next. “You’r “We finally have everything back from the lab. The diagnosis is very clear,� Dr. Ramirez said briskly to mask the gravity of what came next. “You’re in the early stages of a Carcharodon carcharias mutation.� As a debut novelist, all I can discover about Emily Habeck is that she has a BFA in Theatre from SMU’s Meadows School of the Arts and Masters Degrees from Vanderbilt Divinity School and Vanderbilt’s Peabody College; and that background is perfectly represented in Shark Heart. Nominally a story about relationships and letting go, this novel asks big questions about finding meaning in life, and especially through art and service to others. Written in a variety of styles � some sections read like a dramatic script, some are in iambic pentameter; some are lyrical and touching, some funny and a few sentences long � and set in a world where it’s just accepted that a person could suddenly start to mutate into an animal (which serves as a metaphor for really any illness or strain in a relationship), there’s a real feeling of Habeck throwing every idea she has at this novel. And that’s a double-edged sword: I found this novel to be charming and moving in its unrestrained scattershotting, but I also felt like it could have benefitted from some restraint; I would have liked this even more if it had been longer and more focussed (for example, either give us more on secondary characters like Rachel and George or leave them out of it), but that’s not to say that I ɲ’t charmed and moved. There is much to like in Shark Heart, and I am intrigued to discover what Habeck might come up with next; rounding up to four stars. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) “This is something different. It’s a contemporary play with mythical undertones. I want it to have the kind of wise humanity that only time and hardship earn. I hope that anyone who reads it will feel immediately connected to the version of themselves that is most alive, ready, and strong.� Shark Heart opens on a love story: Lewis gave up on his dream of being a stage actor and returned from NYC to his hometown of Dallas to become a high school drama teacher, eventually meeting the woman of his dreams, Wren � a person of quiet beauty and self-control who works in finance because numbers are solid and predictable (unlike her childhood). After being together for a few years they decide to get married, but within weeks, Lewis notices changes in his body and is diagnosed with an “animal dementia�, the Carcharodon carcharias mutation. Habeck neatly handles this alt reality: Lewis expects to keep working his job (despite growing rows of razor teeth and succumbing to fits of uncontrollable rage), and while he understands that he will eventually need to be released into the ocean, he wants to spend his last few human months making art (directing and writing) and being in physical contact with the love of his life (even if that means sleeping together in a cold salt bath). Meanwhile, Wren is put in the position of uncomplaining caregiver; and while she is clear-eyed about her husband’s future, she has fantasies about not letting him go. This is an undeniably lovely romance. As their saltwater tears combined with the sea, Lewis finally understood the log line of their love story: He was an aimless kite in search of a string to ground him to the world, but instead, he’d found Wren, a great, strong wind who supported his exploration of the sky. The plot goes back in time to the story of Wren’s mother, Angela: the neglected daughter of a crumbling marriage, I absolutely believed that at fifteen, she could be seduced by the first older houseboat-living hippie-philosopher who paid her any attention. Angela’s story leads into the story of Wren’s challenging childhood, and I’ll put my spoilery observation behind tags: (view spoiler)[I loved how Wren’s experience in the present shows the playing out of intergenerational trauma: Angela’s mother had been a cold and narcissistic drunk, and although Angela had intended to be a much better mother herself, she was diagnosed with a slow-moving mutation that would eventually turn her into a komodo dragon � forcing Wren to become a caregiver to an increasingly forgetful, distant, and cold-blooded “monster� (much as Angela must have viewed her own mother; this animal mutation conceit is a great metaphorical tool). Wren did not see her mother as a sick woman living within a body she no longer knew or controlled. Instead, she saw a pathetic, powerless beast surrounded by murder, a mess of blood and guts. As rage bubbled up and spilled over, Wren sharpened a pernicious, worded arrow and lobbed it at the bull’s-eye, her mother.(hide spoiler)] The storyline eventually spools out into Wren’s future and shows what she has learned from her experiences: She considers how life is like a spiraling trail up a mountain. Each circling lap represents a learning cycle, the same lesson at a slightly higher elevation. Wren realizes she likes to rest as much as she likes to climb. She begins to enjoy the view…Afterward, Wren realizes she herself is the mountain she’s been climbing all along. And so maybe the ending is a little tidy, and maybe all the changing formats is a little gimmicky, but there is heart and meaning here and I thoroughly enjoyed the experience. ...more |
Notes are private!
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1
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Apr 17, 2023
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Apr 18, 2023
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Apr 17, 2023
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Hardcover
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1517915414
| 9781517915414
| 1517915414
| 4.53
| 512
| 1926
| Oct 24, 2023
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really liked it
| God, my God, have You chased me up to the skies and down to the bottom of the sea? Olav had once ended up alone before God’s countenance beneath th God, my God, have You chased me up to the skies and down to the bottom of the sea? Olav had once ended up alone before God’s countenance beneath the ink-blue vault of a winter’s night. That was the time when he lost half of his life. Now that he had lost everything he had tried to put in Ingunn’s place, he was forced to feel God’s eyes on him again, as if peering from the forests of kelp in the darkness of the sea floor. I have found the Olav Audunssøn tetralogy to be delightfully entertaining and immersive (telling, as it does, the tale of one nobleman’s dramatic life story in Medieval Norway), and Winter ties it all up nicely. As the fourth and final volume in this series, the entire thing had the feeling of a denouement or epilogue � everything truly exciting happens in the earlier volumes; this would probably not much satisfy as a standalone read � and I had to keep reminding myself to put it in the larger context; and when I did, I had to admit that author Sigrid Undset ended her epic exquisitely. I am so delighted to have taken a chance on this new English translation (by Tiina Nunnally) of the 1926 classic and can only hope it’s discovered by more modern day readers. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) He no longer gave any thought to himself or his own concerns. He considered himself an old man now, and he’d made his choice as to what would become of him. Yet for that very reason it seemed there was only one purpose behind everything he might still achieve and accomplish until night came to claim him � and that was to protect these two young maidens. How their future might take shape was not something that worried him greatly � he was certain it would turn out in the best possible way. When the time came, he would undoubtedly marry them off, and it would be a most peculiar man who wouldn’t want to bear such treasures through the world on outstretched arms if he ever had the good fortune to acquire them. But there was plenty of time for Olav to consider this matter; both maidens were still so young. The last volume in the series culminated in fearsome battle scenes as the Norwegian king called upon his noblemen to resist an incursion by a Swedish duke. Now an “old man� approaching fifty (“he was now gray-haired and the right side of his face had sunk inward, his cheek crisscrossed with furrows from the fearsome scar� received in that battle), Olav Audunssøn � the Master of the Hestviken estate on the Oslo Fjord � has settled into a calm domestic routine with his daughter, Cecilia, and his foster daughter, Bothild; his son and heir (view spoiler)[the illegitimate issue of the rape of his young wife, Olav had murdered the baby’s father without confessing the deed at his wife’s pleading; this taint on Olav’s soul dogging him his entire life (hide spoiler)] having left the estate years earlier for parts unknown. Olav assumes that settling his daughters into appropriate marriages would be the last official duty of his life, but when his son Eirich does return home (in the company of his handsome but feckless best friend, Jørund), Olav allows the boy to have his say in matters � to everyone’s detriment. This shift to an Austenian focus on courting and marriage might seem like it belongs in a different series, but as Olav is in his twilight years and his lifelong concern was about keeping faith with his ancestors and continuing a respectable family line, seeing how the generations carry on does make for an appropriate finish to his story. After Olav died, folks did not consider his reputation to be as glowing as Brother Eirik would have wanted � and all the grandchildren were fully aware of this. Olav had been a brave soldier, a capable and honest landowner. But he was odd and unapproachable and a gloomy companion in the company of more cheerful men. In the end, Olav’s was a respectable but not a happy life: by keeping a promise to his wife (who suffered and wasted away so young), Olav was forced to live outside the community and fellowship of the Church; punishing himself and those around him with coldness and distance. Undset masterfully demonstrates the consequences of Olav’s early conflict between duty and love, and it warrants the epic length of these four volumes to follow all the ripples through time. And then she ends the whole thing with an ironic, stinging paragraph (view spoiler)[ The Great Death arrived and decimated the lineage, although there were still many descendants alive after the plague had passed. (hide spoiler)] In God’s time, the suffering of any one man doesn’t add up to much, so what was the point of all this pain? ...more |
Notes are private!
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1
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Apr 14, 2023
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Apr 17, 2023
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Apr 14, 2023
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Paperback
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0063085127
| 9780063085121
| 0063085127
| 3.41
| 21,277
| Jul 04, 2023
| Jul 04, 2023
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really liked it
| “The language-based life of the mind was a needed thing in the syrup-slow era of our elders, but who has time for it now? There aren’t any metalsmi “The language-based life of the mind was a needed thing in the syrup-slow era of our elders, but who has time for it now? There aren’t any metalsmiths anymore, and soon there’ll be no authors, publishers, booksellers � the entire industry will topple into the sea, like Atlantis; and the librarianists will be buried most deeply in the silt.� I’ve read many reviews of The Librarianist that say: If you’ve liked Patrick deWitt before, you’ll like this, too. And as I have read, and enjoyed, every novel deWitt has written so far, I expected to like this one as well; and I did. So this is either more of the samey-sameness that satisfied my set expectations, or it is objectively good � and I would argue for the latter. Centred on retired librarian Bob Comet, deWitt surrounds our reclusive protagonist with outlandish characters who speak in funny, offbeat conversations, and while that is all highly entertaining, as we scroll back through Bob’s history to his young adulthood and further to an adventurous episode from a lonely childhood, deWitt makes some very perceptive observations about what makes a person; what makes a life. I’ve also seen many reviews that call this too sad or plotless and I would argue against that as well: Bob is more an introvert than truly melancholy � taking joy where he can find it, but never really seeking it outside of books over his many years � and it all adds up to a plot that is recognisable as a real, human life. I loved every bit of this and will read anything deWitt comes out with in the future. (Note: I read an ARC and passages quoted may not be in their final forms.) He had no friends, per se; his phone did not ring, and he had no family, and if there was a knock on the door, it was a solicitor; but this absence didn’t bother him, and he felt no craving for company. Bob had long given up on the notion of knowing anyone, or of being known. He communicated with the world partly by walking through it, but mainly by reading about it. Bob had read novels exclusively and dedicatedly from childhood and through to the present. In the “present� of 2006, seventy-one year old Bob Comet lives alone in a mint green bungalow, inherited from his long-deceased single mother, on a nondescript cul-de-sac in Portland, Oregon. While out for his daily walk one day, he discovers a catatonic old woman at the convenience store, and when he returns her to her seniors residence, he is so intrigued by the home’s weird assemblage of residents that he decides to volunteer there. Through interactions with these residents, we learn more about Bob’s personal history; and after a shocking revelation, the story rewinds to Bob’s early adulthood, and then to an episode in which he ran away from home at eleven, before returning to the present. I enjoyed each of these sections, but was most intrigued by the stories of his brief marriage and his running away; and mostly because of the characters and their deWittian conversations (between his eccentric wife and their friends; between the oddballs Bob met, and who took him in, at a dilapidated hotel near the end of WWII). This is excerpted from a conversation between two old vaudevillian performers who discover the runaway Bob in their private train compartment: “Why must you ask me questions I cannot know the answer to?� And the following, spoken by the proprietor of the rundown hotel, would seem to be the life advice that young Bob most took to heart: “Someday, Bob, when you’re an aged specimen like me, and you find yourself suddenly enamored of folding the laundry or edging your lawn, remember your long-gone friend Leslie More telling you to accept whatever happiness passes your way, and in whatever form.� Between young Bob’s passive-sounding “Okay� (or silent shrugging) whenever anyone is speaking to him and his lifelong acceptance of happiness when it came (but reluctance to actively seek happiness or too keenly despair its loss), this seems less like “sadness� to me than a persistent character trait: Bob was made this way, and he doesn’t suffer for it. In what I thought was a really perceptive observation, deWitt writes that as an old man, sometimes Bob dreams of his days at the hotel and wakes with a vague feeling of having fallen in love (although those days were not romantic), and that feels like a really true description of nostalgia to me; and especially nostalgia for the most foundational experiences of what made us who we are (I'm sure there's a German word for that experience). There had been whole eras of Bob’s working life where he knew a lamentation at the smallness of his existence, but now he understood how lucky he had been to have inhabited his position. Across the span of nearly fifty years he had done a service in his community and also had been a part of it; he had seen the people of the neighborhood coming and going, growing up, growing old and dying. He had known some of them too, hadn’t he? It was a comfort to him, to dream of the place. His favorite dream was that he was alone and it was early in the morning, and he was setting up for the day, and all was peaceful and still and his shoes made no sound as he walked across the carpeting, an empty bus shushing past on the damp street. When The Librarianist returns to the present, Bob is making connections with the folks at the seniors residence. He finds some unexpected answers to the small mysteries of his life, and although I would argue that he hadn’t been exactly unhappy during his decades of solitariness, he discovers a more connected way of living; and he finds that he likes it. From the entertaining sentences to the satisfying story arc, this was exactly what I expect from deWitt: and I loved it. ...more |
Notes are private!
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1
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Apr 10, 2023
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Apr 13, 2023
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Apr 10, 2023
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Hardcover
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1487011172
| 9781487011178
| 1487011172
| 3.67
| 208
| unknown
| Aug 29, 2023
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really liked it
| For the fifteenth anniversary, Laura’s murder was featured on a true crime show called Not That Kind of Place: Murder in a Small Town. David’s mom had For the fifteenth anniversary, Laura’s murder was featured on a true crime show called Not That Kind of Place: Murder in a Small Town. David’s mom had agreed to be interviewed for the first time. The show made the case that Greg Dykma, the security guard who lived in a trailer at the gravel pit, was the murderer. This had been a rumour at the time. David had thought his mom and dad believed it, but it never made much sense to David � they’d been neighbours for years. The show had renewed interest in the case. There were more articles and then podcasts. Coming up on the twentieth anniversary of his older sister’s unsolved murder, and immediately in the wake of his mother’s sudden death � his father having passed some years earlier � David McPherson learns that his mom was planning to grant an exclusive interview to a freelance journalist; a relentless investigator who now has his sights set on the reclusive David himself. Nearing forty � alone, disinterestedly employed, and living in a semi-finished “suite� in his parents� basement � David will need to navigate grief and his mother’s estate, all while dodging the journalist and finally facing the true scenario surrounding his sister’s murder. Not That Kind of Place plays out on two levels: It explores the current obsession with unsolved murders � the articles, podcasts, and online citizen-sleuthing that turn personal tragedy into public fodder � and it also explores how living at the centre of such a tragedy affects a victim’s family members. In order to burst David’s bubble of stunted naivety, author Michael Melgaard shows him interacting with several of his sister’s high school friends; and as David learns the sort of pressures his redneck town did, and does, assert on the underprivileged, he’ll need to come to terms with the idea that maybe Griffiths is that sort of place after all. I found the writing in Not That Kind of Place to be a bit straightforward and unadorned for my tastes � and I don’t know if I really understood how David could be nearing forty without ever seeing the dangers faced by the underclasses in his hometown � but Melgaard eventually reached me with the point he was making about the blinders of privilege: Canada on whole likes to think of ourselves as not the sort of place where people are exploited or discriminated against or murdered while out for an evening run, but, of course, it happens every day. Rounding up to four stars; Melgaard totally landed the ending. (Note: I read an ARC and passages may not be in their final forms.) Three days after Laura went missing, her Discman was found on a logging road on the far side of the mountain. Reporters came to Griffiths to cover the story of a pretty blond girl from a good family who got straight As, who volunteered at an old-folks� home, who candy-striped at the hospital, who captained her basketball and volleyball teams, and who was certainly not going to be found alive. As David goes about Griffiths; an hour from Victoria on Vancouver Island � dodging the journalist and taking care of his mother’s affairs � he crosses paths with the same bad cop over and over (a sluggish loudmouth who resents wasting resources on helping “hookers� and the homeless), and while on the one hand that character felt cartoonish, the interactions did force David to wonder if the fruitless investigation into his sister’s murder proved the local cops� incompetence…or their corruption (they never got beyond blaming an ex-con security guard, even if they could never prove it). And as David has interactions with three of his sister’s former friends (one who sought him out, one met by chance, one he laid in wait for), he learns, apparently for the first time, about the drug runners, sex traffickers, and biker gangs that profited from the area blue collar workers (the loggers, miners, and fishermen who worked and partied beneath the notice of his mountainside subdivision), and whose criminal presence in the town represented danger for the vulnerable. I did like the varying perspectives David confronted through his interactions with Laura’s old friends: The still grieving self-declared “best friend� who maintained a relationship with his mom and who now insists she has the duty to meet with journalists, “People cared about her and it’s not your right to judge or to try to keep people away. You don’t own Laura’s story.�; the former dropout, now hippie-dippie yoga teacher who says, “It may be hard for you to face this, but your sister died so that you could become who you are today. Holding onto the past will keep you there; you need to be free. Laura gave us a gift.�; but especially that of the social worker who most understands the roots of violence, “It could have been a hundred different things, but it would have started small, because a guy thinks he can behave a certain way, and maybe Laura pushed back and then he goes farther and realizes he could be caught and named. It escalates to the point where he’s gone too far because he crossed a line he never thought about.� This last viewpoint meshes with a recording David finds of his mom explaining to the journalist how much rougher the town used to be for young women in her day, and that’s the part that really resonated with me: I grew up in a redneck town � my brothers were hard partiers who sought violence as recreation � but we all raised our kids in nice neighbourhoods in nicer towns that gave them a better story about who they are and where they’re from. David’s nice home on the mountainside gave him a better story than his parents had had, and just like it had shielded him from the violent reality of his hometown, that shield may have prevented Laura from recognising danger when it came for her. He could try to explain what he’d learned to James, but David ɲ’t sure he understood it himself. He hadn’t had the words, before. When it happened to his sister. When people got killed here. When things happened over and over and someone would say it ɲ’t that kind of place. He had known that ɲ’t true, but he hadn’t known why. Carolyn knew. Staci knew. His mom knew; she had tried to tell James. But why would James understand if no reporter had before? He would just write the same story, with a few new twists David’s mom had given him. In the end, David will need to decide whether or not to meet with the journalist: Is there value in telling the story again if it probably won’t solve his sister’s cold case? Is there value in exposing Griffiths as exactly the kind of place where underprivileged people go missing and get murdered all the time? Or should he continue to refuse to participate in the true-crime-as-entertainment trend? As I wrote above: I enjoyed both the big picture treatment of this trend and the exploration of the blinders of privilege. In addition to satisfyingly showing David lose his blinders and his naivete, Melgaard wraps this up with a sort of perfect ending. Totally worth the journey to get there (even if I had quibbles along the way). ...more |
Notes are private!
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1
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Apr 06, 2023
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Apr 08, 2023
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Apr 06, 2023
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Paperback
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my rating |
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3.85
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liked it
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Jun 26, 2023
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Jun 23, 2023
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3.82
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really liked it
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Jun 23, 2023
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Jun 19, 2023
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3.82
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really liked it
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Jun 17, 2023
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Jun 19, 2023
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3.93
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really liked it
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Jun 09, 2023
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Jun 18, 2023
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3.74
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liked it
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Jun 07, 2023
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Jun 18, 2023
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3.85
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liked it
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Jun 04, 2023
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Jun 04, 2023
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2.97
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really liked it
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May 29, 2023
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May 26, 2023
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3.82
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liked it
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May 25, 2023
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May 22, 2023
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4.12
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liked it
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May 22, 2023
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May 21, 2023
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3.61
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really liked it
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May 19, 2023
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May 18, 2023
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4.11
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liked it
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May 16, 2023
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May 11, 2023
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3.67
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it was amazing
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May 09, 2023
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May 08, 2023
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3.68
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it was amazing
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May 08, 2023
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May 07, 2023
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3.33
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really liked it
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May 06, 2023
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May 04, 2023
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3.89
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really liked it
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May 02, 2023
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May 04, 2023
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3.79
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it was amazing
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Apr 20, 2023
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Apr 18, 2023
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3.97
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really liked it
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Apr 18, 2023
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Apr 17, 2023
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4.53
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really liked it
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Apr 17, 2023
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Apr 14, 2023
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3.41
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really liked it
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Apr 13, 2023
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Apr 10, 2023
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3.67
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really liked it
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Apr 08, 2023
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Apr 06, 2023
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