S. is by far the most intricate novel I have read in the past few years. Even the monumental work of James Joyce in Ulysses cannot quite compare to th S. is by far the most intricate novel I have read in the past few years. Even the monumental work of James Joyce in Ulysses cannot quite compare to the full flavour and power of the metafiction and post-modern styling of Doug Dorst's work (inspired by the ideas of J.J. Abrams). Certainly it is a major call to state that a modern work of this kind could be more of a puzzle than Joyce's depiction of Dublin and yet I believe that it is (or at least as convoluted a labyrinth in its way). However, I do not intend to state that this is by any means a work as profound as Ulysses, merely that its design is as wonderfully complex. Yet, it is a work that reminds me more of the writing of Jorge Louis Borges, had he ever written a full length novel.
All hype aside one could easily dismiss this as a poor novel with a clever gimmick. And a poor novel with a clever gimmick is merely a shiny paperweight. However, S. appeared to me as the highest quality literature does. It appeared as a novel with multiple facets, themes and ideas. It is a novel with a nested narrative and so many clever little metalinguistic and postmodern tricks that following them all was a nice little challenge.
At its core, however, S. is a novel within a novel which contains a story within a story within a story ad infinitum. The novel within is a fictional novel, The Ship of Theseus, by reclusive author V.M. Straka. Straka is revealed as an author with a love of bird motifs, hidden messages and the art of writing in foreign languages. However, Straka is a pseudonym (which in this case proves to be a fictionally fictional name for a fictionally real character who is in our reality Dorst himself) and as it occurs, no one knows the secret of his true identity, though many wish to know. This identity is concealed with the aid of F. X. Caldeira, the translator of Straka's novels and an individual who had come to love, but never meet, Straka. This fictional history of this author serves as yet another side story to the overall novel as an entire work and feeds into The Ship of Theseus as another side story.
The Ship of Theseus as a novel in its own right is a clever invention in terms of how it is set up to exist as the work of a fictional author. In the footnotes within the book (the final work of Straka) there are plenty of hidden messages and one discovers that Straka himself has written this work as a message about his life and personality. This fictional world, in a clever touch, thereby presents a fictional reality. Further, the different chapters of the work are supposed to represent the different writing styles of (non-existent) Straka works gone before, a kind of pastiche of his other works so to speak. Or as the book itself explains, this work is a kind of palimpsest over a palimpsest (recurring).
The plot of The Ship of Theseus ultimately follows the adventures of the titular character of Dorst and Abram's work - S. He is a man without a past and with a future and therefore preoccupied with his identity (a theme which continues to be discussed throughout the book - with characters affirming that they know who S. is currently but not who he was). Through a series of events, S. ends up aboard a mystical and almost ghostly ship. Even as S. leaves the ship to go aboard land, become part of a radical group (a group shown to be similar to one Straka himself believed in) and an assassin, and his identity is changing, so too does this ship continue to haunt him. The ship subtly changes and yet it remains the same. And even as time changes (in a kind of fantasy way) and S. seems to remain constant (a hint that he is a kind of metaphor within a metaphor) - particularly in his desire to rediscover one particular woman - so this ship continues to haunt the chapters of Straka's work.
Of course, herein lies the secret to the title of this Straka novel. The ship of Theseus is a philosophical experiment also known as Theseus's Paradox. Essentially this paradox questions whether, if you replace piece by piece, the wood from an old ship with fresh wood, the reconstructed ship would remain the same. Various versions on the same idea have existed ever since, even questioning whether the ship remains the same if for instance you only replaced one part of it with another. Is it the same ship, or is it something new, some hybridised creation? Further as Thomas Hobbes questioned: if you take the old wood and replace it piece by piece and then rebuild that old ship with the old wood which, if any of the two ships created, are the original? Dorst's novel essentially on the whole questions this whole idea through the physically changing ship in the novel and also through the questions of identity: does S. himself stay the same as who he previously was or is he something new due to his lack of a past? Are we constantly changing piece by piece and becoming something new as people or are we always the same person, merely recieving refurbishing and redecorating throughout life? Is the 'me' I am now the same 'me' I was at 19 or am I now at 20 a different individual?
The concept doesn't stop here. That would be selling this artwork short I believe. No, there is another story continued in the margins and highlighting the love affair we biblophiles have with those works we cherish. It is a flirtation with words, a marginalised relationship which is discussed and observed by us as onlookers as two individuals begin a detailed discussion of life the universe and everything! , love, literature and everything in between. It is this unfolding development (accompanied by inside notes, photographs and attachments) which turn S. into more than just a mysterious work of fictional post-modern indulgence, instead creating a monument to honour contemporary literature as a whole.
Is this a literary piece, a fantasy, a romance, a mystery? The beauty of this entire work is that it is an experience of literature: containing many genres, many pastiches and many re-workings of old ideas and yet seemingly becoming something new. That said, in essence the entire creation is a ship of Theseus paradox for the potential to ask - is this a new creation or something old replaced piece by piece and refurnished? - exists. I fully endorse anyone up for a challenge to attempt to put some time away and read this. However, before entering into reading this novel I also would first ask that you choose your particular method of reading this novel. I read it as a linear novel, despite its particularly eccentric chronological scale, and was able to follow the goings on after cottoning onto the particular method by which the footnotes, sidenotes and various stories jumped around. That said if you would like a reference as to the various ways of reading this novel I recommend checking this site out: And then? Well I recommend enjoying the overall experience as it flows for you. That is what reading and living is all about....more
When I finished the Riyria Revelations most of the puzzles and ideas were properly filled in for me, except for the full story of how Royce and HadriaWhen I finished the Riyria Revelations most of the puzzles and ideas were properly filled in for me, except for the full story of how Royce and Hadrian met and what some of their other exploits were. In the two books in the Riyria Chronicles, the rest of these gaps have been filled in, leading to a full set of Riyria stories which complete the entire world nicely. Personally, while it would be nice to get more of Royce and Hadrian I feel that these two novels adequately complete their story arc and that any concluding stories would be impeding on a good thing and trying to milk a marketable good rather than necessarily existing as a piece of art. But if the right story does exist I challenge Michael Sullivan to prove me wrong! Personally I'd just love to see a story set in the future following descendants of these individuals...
So I don't think I can say too much without spoiling the plot. Let me say that it is a wonderful plot: full of twists, turns and little surprises that all tie into the beginning of Theft of Swords nicely and yet stand alone in their own right. I feel that these books are perfect prequels because I could imagine reading them in order chronologically or as published and still loving them all the same. For what I feel I can say is that the book does include the short story The Viscount and the Witch and builds on from there into a plot featuring vengeance enacted by Royce, mistakes made naively by Hadrian, rescues of damsels and thefts of earrings... But the greatest part of the plot involves a plan to murder the royal family.
The wonder of this book is that for the aware reader one can see how the characters progress to the point of becoming the Riyria you see in Theft of Swords. This sense of progress instils the idea that this is an organic and almost real world (if you took out the ). For all its aims to stick to a more traditional fantasy route, this story ends up appearing more realistic than many of those gritty fantasies out there populating the market now.
I said before, and let me use this again to conclude, that this book is made strong by its characters. The description and worldbuilding is strong enough with its mix of colloquialism and tight phrasing but it is the dialogue and character building that makes this book addictive and readable. So, it should not need to be said, but if you are a fan of the original books read these. And if you are looking for something new in the fantasy world to read then take a look at these.
The Man Who Was Thursday is my first venture into the writing of G.K. Chesterton having discovered the existence of this writer earlier in the year. O The Man Who Was Thursday is my first venture into the writing of G.K. Chesterton having discovered the existence of this writer earlier in the year. Of course the first I heard of him was in reference to his Father Brown stories, one volume of which I have on my to read stack. I then heard that his most recognised book is this one, so naturally I organised to read it.
The Man Who Was Thursday is truly a classic detective tale, yet it is also an allegory. I didn't realise the book was an allegory when I begun reading until I read up on the book and discovered that fact. However on finishing this book I can clearly see the allegorical nature of this book.
What did I love about this book? I loved the whit and humour in the writing. I loved the philosophical asides in the novel and the way in which G.K. Chesterton views humanity. I loved the uniqueness of this book. I may have seen the plot twists way before they happened but I still found everything else wholly unique.
The plot of this novel follows one man, a Philosophical Policeman/Poet as he goes undercover to infiltrate a bizarre group of anarchists. These anarchists each have a name of the week as their title and the main protagonist, Gabriel Syme, is given the title of Thursday. However he quickly discovers that it may be harder to hide who he is in the group than he realises as he discovers some surprises about the anarchists themselves. As for the allegory of the book? It seemed to me that G.K. Chesterton was suggesting that Christian believers are undercover agents if you will in the world and must go nearer to the devil at times than they do. What I mean by that is that I know of churches that believed dancing or drinking slightly was an evil and I think G.K. Chesterton is saying that Christian believers need to be less aloof and religious and more down to earth. That is what I saw in this book anyway...
I will admit I didn't 'get' the entirety of this book. Maybe study would be needed to fully grasp the hidden complexity of this novel. Do I recommend it for everyone? Not for everyone. I recommend it for those who like an allegory, a mystery or a laugh. I recommend it for those who want to read about the many faces we as humans wear to hide our true identities from the anarchists around us.
Postscript:
Others have suggested that the book was about people experiencing pain and hurt in order to also experience joy. I may have to re-read this book or those sections. Is it dated? A little, but still highly readable. It's very surreal and crazy, still can't stop thinking about it's ending and what it all means...
Post-postscript:
I have since reading this days ago discovered more about G.K. Chesterton. He's apparently a noted literary theorist, poet, novelist, short story writer, a friend of George Bernard Shaw, influencer of C.S.Lewis with his apologetics work and witty journalist. He is known as the 'prince of paradox'. I look forward to reading more of his work!...more
Four stars, or even four and a half stars cannot adequately define this novel, yet five stars appears overgenerous. Though Ghostwritten is a brilliant Four stars, or even four and a half stars cannot adequately define this novel, yet five stars appears overgenerous. Though Ghostwritten is a brilliantly ambitious novel it is also a tangled and convoluted novel. If you as a reader disliked Cloud Atlas it is unlikely that you would find this novel any better. Where Cloud Atlas seemed a more whole and structured novel this felt a little more twisted and in sections muddled knots of prose appeared to form. That said it shall receive five stars as a standing indication of the type of novel this was revealed as in the end.
My perception of the author's work
David Mitchell appears to be, like most authors and readers, interested in stories. He appears particularly interested in the stories that bind together cultures, identities, individuals and events. He is also fascinated in challenging and analysing the various perceived realities of the world. In many ways this makes him a relatable author to myself, appealing to me through his novel's thematic values and his metalinguistic approach to writing. He reminds me, in how his characters reappear in various novels of Brandon Sanderson. However where Sanderson in Mistborn: The Final Empire and other books is interested in creating a shared fantasy universe of different worlds and magic systems David Mitchell seems to throw his characters into different books simply as part of playing around. He seems to genuinely enjoy playing with words and seeing what can be done. His work is experimental literary pulp and often comes across as too sterilistically* pristine or in some ways smug. However I view this perceived smugness as more the personal fancy of an author playing about with ideas and words slightly beyond him in some measures. Certainly this novel lacks the same linking ability and refinement I enjoyed in Cloud Atlas but the big ideas and interesting ideas are still present in this novel.
Reality
Ghostwritten had two main themes which I particularly found interesting. In following nine characters across nine stories with links between each Mitchell I believe attempts to discuss the idea of how realities intersect between individuals. By this I mean the ways in which my reality might interact and cut across the reality of another person. Mitchell links together each story in a way that while less structured than Cloud Atlas ends up forming a unique loop of continuity. Lovers witnessed by one character may become key characters in the next story, an artificial intelligence may be seen as the god figure of a death cult and so on the links continue until you end the story in a manner not dissimilar to the film Memento (though I believe that film is far more fascinating than this book's plotted course). What I mean to say is that Mitchell starts with one line and almost ends virtually on the same line. In this way he questions how various characters intersect in life and how there is some kind of continuity despite differences in continuity. I believe that what Mitchell tries to do is challenge his readers to question their realities. As one of his characters notes: "Disbelieving the reality beneath your feet gives you licence to print your own."**
Stories
The interesting thing that I reflected upon while reading this book was how many stories had gone into creating this one work. Originality in literature is a hotly debated topic*** particularly in genres which depend upon originality to develop such as fantasy and science fiction. My view on the subject is that originality develops through a unique mixture of the stories that have gone before. It is impossible for someone to have a story completely free of other stories. If those stories are mixed correctly there will be a unique narrative. That is what I love about childhood favourites such as The Lord of the Rings, The Chronicles of Narnia or even Peter Pan as I come back to them in young adulthood. I see that they build upon stories gone before in their own special way.
In the same way Ghostwritten is a novel created out of the various stories Mitchell has no doubt devoured. I felt hints of Douglas Adams, F.Scott Fitzgerald, Anton Chekhov, Samuel Taylor Coleridge and Franz Kafka to name a persona few and caught references to other writers such as Nabokov****, Tolstoy, Graham Greene*, Samuel Becket** and perhaps even Dostoyevsky***. In this way the book serves as an argument in many ways as to the power of literature and the novel. Non-fiction teaches us many truths but so too can fiction by cognitive estrangement, taking those things, those realities we accept into a strange environment and forcing us to consider the truth of it all.
The characters of this novel (arcane terrorists, seductress art thieves, body snatching spirits, men struggling to get by, radio jockeys, vilified women, travellers, young lovers...) may not be typical. I for one am yet to find a parasitic body jumping spirit for instance. However in their atypicality there is an example of humanity, elements which by taking them out of the normal environment serves to reflect upon the seething mass of people who exist. They remind the reader that every person, no matter where they come from, is an individual amidst a crowd of different individuals, individuals whose stories are often lost - as ghostwriters are lost behind the story of another individual.
Conclusion
As the book states: "The act of memory is an act of ghostwriting." Mitchell's overall unsubtle exaggeration in this book is that we are all ghostwriters for the world around us. However despite Mitchell's tendency to often 'lay it on thick' this is well worth reading. I highly recommend this novel particularly if you liked Cloud Atlas and could navigate that book easily enough. David Mitchell may appear more profound than he is at times but its in the things he hints at for the reader personally that the beauty and magic of his writing exists.
*this should be a proper adjective **p.401 for anyone who cares (i.e maybe me) ***I'm very glad everyone is so different since it means there are people to debate with ****Okay I promise to get around to reading him some time soon, suggestions? Him too! *And him! **Him too! ***And yeah I have books to read :)...more
So...I was looking back at the books I'd read this year and to my surprise there was no review for this book. So of course I have to put this little s So...I was looking back at the books I'd read this year and to my surprise there was no review for this book. So of course I have to put this little snippet in here. This is the ninth book in the series and:
a) The witch assassin Grimalkin uses her dark magic a few times b) She faces a foe she can't defeat despite all her incredible skill c) She has some kind of an assassin apprentice d) She teams up with the Spook and Tom to set a trap for The Fiend (yup they physically set up a trap for the devil himself)
Which all leads to the question: is this really a young adult book? Or is this an adult book targeted at younger people?
Either way it's great entertaining reading with lots of mythological creatures, deaths and three dimensional magical characters. ...more
As a fan of John Flanagan's Ranger's Apprentice series I was not sure what to expect with the first in his The Outcasts series. However I soon settledAs a fan of John Flanagan's Ranger's Apprentice series I was not sure what to expect with the first in his The Outcasts series. However I soon settled into this novel and came to appreciate and enjoy what he had written. Of course while his work is aimed predominantly at older children and younger teens it can be enjoyed by various age levels in my opinion.
There was a reasonable amount of various nautical terms floated around but nothing too technical. Flanagan does do an excellent job of helping the reader experience this almost historical world (after all his fantasy world is based on past civilisations) through the finer details without overloading them with information. But what really sells his work is the care he applies to his characters.
Each character is no stereotype even though they may at times appear that way. And it would be easy for him to fall into using stereotypes. However he fleshes out each character as a unique and interesting creation in a very humble manner that's incredibly accessible to the reader.
Flanagan's world is never kept too distant from the reader, his down to earth writing allowing reader's the chance to fall in love with what they read. Certainly some element of cliche exists in his work and he is no world-builder like Tolkien but what he does well is balance out the elements to create a story perfect for his target audience. He creates likeable characters, just enough details to realistically portray this as a real world and moreover adds warmth and passion to his writing. The characters and world come alive because the writer believes them to be and clearly loves writing for children and young teenagers.
That all said I fully enjoyed this and look forward to seeing if he can develop this series into one equally as interesting as The Ranger's Apprentice. And do I encourage you to read this? Certainly and not only because John Flanagan is an Aussie with a nice down-to-earth manner of writing. I recommend this because I see that he writes books that subscribe to the perfect children's writer manual: they are accessible at ten and equally accessible at 15, 20, 30, 40 and so on. So read them simply to enjoy the storytelling ability and life of the books....more
This is yet another (the eleventh in fact) addition to a wonderful series of YA books. I love them for their characterisation, for the rich world, forThis is yet another (the eleventh in fact) addition to a wonderful series of YA books. I love them for their characterisation, for the rich world, for the fact that both men and women are heroes in this world, for the fact that it is set in a more pure older time with a clear distinction between good and evil and just because it's great entertainment as a series. And like all great book series both the target audience of 12-16 year olds and adult readers can enjoy them. I know this to be true because my mother loves them just as much as I do.
Obviously my world views are going to be different from other readers and so while I like the clarity of morality in these novels others may not. Although I choose to believe that that indicates more about a reader and their beliefs than about any novel itself. Still I feel that while some may hate the apparently cliche nature of these books they should not be judged for that. There are so many good things to enjoy such as rich writing (for a YA novel the vocabulary used is quite excellent), the down-to-earth humour and verbal jousting between characters and the enjoyable plotting. Only one thing really frustrates me across the series and that is John Flanagan's need to remind the reader later in the books about things he mentioned earlier in the same tale.
This book is no different to the others in quality despite the fact that it is made up of short stories rather than full tales. Yet each story is a brilliant gem of its own and for any fan of the series is well worth a read as a stand alone short story. Yet putting them all together equated to a brilliant novel all in all.
I for one cannot wait for the next John Flanagan book whether I'm 18 or 19 at the time I read it. Because these books are good stories on the whole and fully worth reading. So go read this book and enjoy it as it is. ...more
The last time I finished one of the (soon to be seven) Obernewtyn books would have been three to four years ago. As such when I began this massive booThe last time I finished one of the (soon to be seven) Obernewtyn books would have been three to four years ago. As such when I began this massive book (the 1000 pages is one reason I did not get into it years ago) I found my going slow at first as I struggled to re-adjust to the world of the misfits. However once I did I re-found my love and appreciation of this world.
The Stone Key is unusual for a modern day YA novel. It does not move with bristling pace, many of the characters are young adults rather than teenagers and the book is of course 1000 pages long. Add to that the fact that the tone is not quite like that of The Hunger Games or The Maze Runner and you have an intriguing book considering the target audience.
What I found particularly interesting having finished this book also is that it reads as a character development novel more than anything. While nothing much new happens in the story and you lose a lot of the fighting and warfare of previous books this actually added to the storytelling as I saw characters be truly morally and mentally tested (ignoring the fact that they have mind powers of course). As such their maturity developed naturally rather than in a forced manner. What anyone interested in starting this series (from the first book Obernewtyn) is that also this series used the whole female first-person protagonist way before Hunger Games and Divergent hit the block. And I must say that I think this series uses the perspective better than either of them.
What this series focuses on is one misfit (a young woman with mutant mental powers) who finds herself at a misfit house called Obernewtyn and strives to fix the corrupt post apocalyptic government set ups. There are evil councils, fanatical religious movements, an evil misfit and a few different cultural groups. Think X-Men with a first perspective, semi-scifi and semi-fantasy plot. Oh and throw in a prophecy about our protagonist being the Seeker who will save the world by defusing the Beforetime (our time) weapon machines. Like the sound of that and you are looking for some smarter YA fiction? Then read this. Buy it for 19 or so dollars at your local bookshop....more
This is the story of September, a girl caught between possessing and lacking a heart, who is whisked away by the Green Wind to Fairyland. Once in Fairyland she meets a host of unique characters such as: the Wyvervary (a mix between a library and a Wyvern - don't ask it only makes sense in the book's logic); the future-telling witches and their husband; the Panther of Rough Storms; and the villainous Marquess. The plot itself is spread out in such a way that while reading you may find yourself caught up in the little details while still finding that the overall story is not making a great amount of sense. However everything winds up neatly right at the end and with a unique conclusion that fits the story like a key.
I found the witty writing captivating and also highly poetic. Catherynne Valente wrote in a way that did not distract, but rather added to the story and drove it along. She even somewhat broke the fourth wall on occasion! If I had to compare this writing with any recent novel I would say it is familiar to Jonathan Strange & Mr Norrell if it was sped up, the unnecessary detail removed and targeted at a younger audience. Which when I mention it causes me to realise it's not that familiar to the above novel (I merely had to fulfil my quota of mentioning other books in this review to distract from this one).
If you're an adult, a child or a young adult (or some other category entirely) then I would recommend this book. You do like novels with sharks, talking furniture, talking animals and fairies right? If not please take the first exit on the right toward the non-fiction or literary fiction zones they'll be more to your liking (I hear they offer fancy words and cookies). But if you do like something with a bit of whimsy (and I assume you do considering you read to the end of this review - you did read it right?) then go and get yourself a copy of this book. You won't regret it I promise you. And well if you hate the book I'm sorry, by eating the food of fairies you're stuck with the magical repercussions (in other words the book)!...more
I have now concluded another of the grand pantheon of the classics of the dystopian genre. It is no mere clone of the other works, although incidental I have now concluded another of the grand pantheon of the classics of the dystopian genre. It is no mere clone of the other works, although incidentally it does feature cloning within its story. I would place this on the same level as 1984 in terms of the ideas conveyed within. However I would also say that it completely stands alone as its own creation. It perhaps has less solidity and depth and the words are less lyrical and poetic than Orwell's. That said I was blown away at several key moments in this book. As far as my journeys in the dystopian genre go if you're trying it out 1984 and Brave New World are your first stops. Closely accompanied by Fahrenheit 451.
"'Human beings used to be...' he hesitated; the blood rushed to his cheeks. 'Well they used to be viviparous.'"
The plot follows Bernard Marx originally in a world where everything from people to lifestyle has become a product of the government. Children are no longer born (except in the few refuges where savages or Indians live - is this Huxley's way of making reference to the racial tensions of his era?) they are produced and they are brainwashed by the government in every inch of their lives. From being told that "everyone is everyone else's" to being told about their privilege as a member of their particular caste individuals undergo hypnopaedia or sleep teaching at an early age to condition them to fit into this manufactured society.
"'Talking about her as if she were a bit of meat.' Bernard ground his teeth. 'Have her here, have her there. Like mutton. Degrading her to so much mutton..."
Bernard Marx is one individual who recognises his conditioning and as such does not feel at ease in his falsified world. In this way he reminds in a way of Jay Gatsby from The Great Gatsby as a man also trapped by the expectations of his strange environment. Yet Marx (interesting choice of a name considering the rise of Marxist principles at the time) feels that he can do little about it. Instead he falls into line with the debauchery of life as it stands. For when sex no longer is about reproduction in this society it becomes instead a careless act for these people. They 'have' who they want as everyone belongs to everyone else (a creed reminiscent of the rules of the Party in 1984) and this eroticism is encouraged from the age of childhood an idea appalling to any sensible individual.
"No, the real problem is: How is it that I can't, or rather - because, after all, I know quite well why I can't - what would it be like if I could, if I were free - not enslaved by my conditioning."
Into this environment Bernard brings a 'savage' (a young man taught the ideal of commitment in marriage and of family through mother and father). From then on the reader is left to observe what happens as he with his limited understanding of the world - seen though the forbidden works of Shakespeare - tries to understand what life holds for him in such a gluttonously lustful culture. (view spoiler)[Ultimately he does find the world hopelessly depressing and we are left to witness his sad ending when the Controller of this industrial world tells him the truth in a truly memorable and moving scene. (hide spoiler)]
"Nay but to live In the rank sweat of an enseamed bed, Stew'd in corruption, honeying and making love Over the nasty sty..."
The writing of Huxley may not match the poetic lyricism of George Orwell - and Brave New World may not be the best written novel of all time - but it is still solid writing. My favourite chapter was probably the third when Huxley chose to use a variety of quick, short, sharp sentences and phrases as paragraphs to create a flow of thoughts. It read very much like an onslaught of clashing advertising ideas and really struck home the idea of conditioning for me. Normally such use of words proves gimmicky but somehow Huxley succeeded in channelling meaning through such a barrage of confusing statements.
"'But I don't want comfort. I want God, I want poetry, I want real danger, I want freedom, I want goodness. I want sin."
The real power of Huxley's work is not in his choice of words but in how he manages to convey so many ideas in such a brief amount of time (only a little over 200 pages). There are so many themes resonant within this book from: the need of humans to manipulate environments to the idea of how morality, commitment and sexuality are linked. Then there is the desire of humans to escape the natural programming we live under and the controversial topic of genetic manipulation and whether we as humans really have the right to mess with life at the level of embryos and foetuses. And that is only a handful of the ideas within this novel. Like Franz Kafka in The Metamorphosis Huxley creates a novel full of ambiguity and obvious ideas which enables the reader to take away what they wish. It is truly a powerful classic in that regard.
"'O Brave new world that has such people in it."
Again as with 1984, the story of Brave New World is linked to other events and textual ideas. The title was itself taken from The Tempest (one of the classic Shakespeare plays I am yet to read but may soon). The title was as such a curious foreshadowing of how Shakespearian texts are used intertextually in Brave New World. Where 1984 was linked to the 'threat' of Communism however, Brave New World is Fordism taken to its most extreme level along with the ideas of Freud. There was an almost religious connection to those two figures where they were called Our Ford or Our Freud. The thought was that the commercialisation techniques created by Ford could be taken too far and be applied to human lives. The other thought was that the psychological techniques of Freud and in particular his idea that human beings are carnal creatures could be taken too far. Considering that he was writing when these were new and now wholly trusted ideas his work is profound and also almost reads as a judgement against the 'immorality' of the rolling 20s when lifestyles were more carefree. It was this era which led to the Great Depression in many ways and perhaps Huxley was writing an indictment of the selfish lifestyles which triggered such a catastrophe.
Ultimately for a book that is designed to be uncomfortable and dark Brave New World is a fascinating novel. Its links with history, psychology and philosophy lift it from fascinating to insightful and its message raises it further again. This is a true classic: dark and profoundly inspired. In many ways its message is prophetic reaching out across time to make us question how we are conditioned by our world and how we turn life into a consumer's market....more
In recent years I have discovered the wonder of the short story through the genius of writers such as Chekhov, Lovecraft and Poe. In turn I have also In recent years I have discovered the wonder of the short story through the genius of writers such as Chekhov, Lovecraft and Poe. In turn I have also discovered the satisfaction that arises from writing a short story that works as fiction. To complement this I have also in the past year discovered the wonder of one of the great fantasy works I have ever read in Jonathan Strange and Mr Norrell.* In The Ladies of Grace Adieu Susanna Clarke combines both of these two separate entities which I have discovered a love for with great power. As such she is quickly becoming one of my favourite female authors and would have to feature on a top ten list of all favourite authors.
The stories in The Ladies of Grace Adieu are perhaps not so polished and smooth as Jonathan Strange and Mr Norrell yet as short stories each one is a single gem within a fine collection. Susanna Clarke delivers again with wit, storytelling and sly asides to the reader. If Jonathan Strange and Mr Norrell is one of the most controlled and beautifully written debuts (and novels) I have read then these are perhaps the finest debut short stories I have read to date.
Each of the short stories contains a touch of the fae and as such is required reading for anyone who loves fairytales and fairies in general. Not all of the stories are set in the alternate history world devised in Jonathan Strange and Mr Norrell yet each story feels as if it should belong in that world (even the story set within the world of Neil Gaiman's Stardust feels right at home in the mixed world of magic and Victorian England that Clarke created). My personal favourites were, however, the three stories which clearly were written as part of Jonathan Strange's world: The Ladies of Grace Adieu, Tom Brightwind and John Uskglask and the Cumbrian Charcoal.
I would fully recommend this collection as both a starting point for a reader wanting to read the afore mentioned Jonathan Strange and Mr Norrell or as a companion book. Anyone who enjoyed Susanna Clarke's debut novel should make sure they read this relatively short collection in any case. Particularly while they await news of the upcoming sequel to Jonathan Strange and Mr Norrell or are planning out their next re-read. A highly recommended collection of charming fairy short stories.
*This will have to suffice as a footnote for now. I simply intend to point out that Jonathan Strange and Mr Norrell is also one of the greatest modern fiction works I've read and I would recommend it to anyone who likes character, beautiful prose, magic and spellbinding artistry in a work of fiction. ...more
I can now officially state that Brandon Sanderson is my favourite living fantasy author. There is something he adds to his work that causes me to love I can now officially state that Brandon Sanderson is my favourite living fantasy author. There is something he adds to his work that causes me to love it. The fact that he creates great novels regularly, with that essence that I admire and with powerful storytelling is a gift.
I had bestowed upon his work a rare five star rating for all his novels before reading this one. And I was a little anxious and wary that perhaps this would only be a four star novel, or maybe even a three star (forbid that it should fall lower). However after the prologue I knew that my fears were allayed and after concluding this book satisfactorily I knew that I had read something incredible.
The real reason I feared for Alloy of Law was due to the very premise of the book. I had loved the previous Mistborn trilogy immensely and rank it among The Lord of the Rings, The Wheel of Time and The Chronicles of Narnia as one of my favourite series. However the thought of Sanderson returning to the world of Allomancers made me a little uneasy. I felt that the Mistborn trilogy had neatly concluded everything and felt that there could be no room for an additional book or books. I was thankfully proved wrong.
This book transported the world of Allomancers into the future, three hundred years after Vin, Elend, Sazed and Spook. The characters I had emotionally invested in were no longer a part of this world. Fortunately, however, Sanderson created two new characters that I could connect to: Wax and um…Wayne. Despite my literary penchant for puns even I had to groan a little at that one.
Wax and Wayne are Twinborn and living in a time remarkably similar to Victorian London. When I say Twinborn I mean to say that they are those rare few individuals gifted with Alomancer and Feruchemist abilities. (view spoiler)[ Sad to say there are no more Mistborn in the future but then that was to be expected given the end of the original trilogy. (hide spoiler)]
I loved the change of time and place in this novel. I loved the new characters by the end and I am glad that I did given that it seems Sanderson will continue the storyline he begun in this novel. I particularly loved the idea of how guns and bullets are adapted to cope with Allomancers and I highly appreciated the new Allomancer and Feruchemist abilities put on display in this novel.
If you loved the original Mistborn trilogy and have not read this book yet then you likely will. Sanderson appears to have the knack of creating intriguing worlds and packing them with more things and characters than you realise until you suddenly reach the end of the book and find yourself reflecting on how much had just happened within three hundred odd pages.
The story begins with a bang and a shock. There really is nothing like a fast paced action scene to kick things off. In fact I think I appreciate that the most about this novel, the fact that there is no slow build up but that Sanderson kicks things straight into high gear with action and death. This of course allows for the author to slow things down with delving into the world details in the next few chapters. I personally think that is a brilliant storytelling technique.
Anyway if you want an action packed fantasy then this is the book to read and is even more highly recommended if you loved Mistborn as I did. You will find it at once similar with the religious ideas, political intrigue and action and also find it a completely different world to enter. And thus you will see that fantasy worlds do not have to be stagnant at all � they do change with time. ...more
This edition of Jane Eyre had the best cover of a classic I've seen in ages. Of course that's rather a superficial reason to claim to like a book and This edition of Jane Eyre had the best cover of a classic I've seen in ages. Of course that's rather a superficial reason to claim to like a book and is not linked in any way to the real reasons I like this book.
I loved this book because of its story and the underlying themes. The basic themes which addressed morality, repentance, forgiveness and in many ways also sacrifice. This was no romance based upon a one night love affair but rather a truer romance based upon proper attraction. The very ending of the book proved the truth of such love in effect.
(view spoiler)[ To me Edward Rochester was the epitome of a man hiding his sin behind a mask of righteousness. Externally everything was perfect. He was rich and he had the love of society. However internally he was hiding his demons literally. His immorality in essence was concealed but once revealed it caused such hurt in Jane that she had to leave. Yet in the end once Edward has paid the price for his action her love compels her to return to him and over time they form a strong family.
One could easily read Jane Eyre straightforward as the story of a woman being used by a man, who mistakenly ends up returning to him despite that abuse. However, I choose to take the story as one about the ideal of sacrifice. (hide spoiler)]
If you liked Pride and Prejudice read this. If you were put off by Wuthering Heights read this instead. Charlotte's prose is far superior to her sister and the story far more beautiful. If you like classics or romance this is a story for you. ...more
I love this book. Have I mentioned before how much I love Tolkien's books? They are part of my childhood and my memories are incredibly fond of them ( I love this book. Have I mentioned before how much I love Tolkien's books? They are part of my childhood and my memories are incredibly fond of them (yes I'm a nostalgic type of person alright). The Hobbit in many ways is of all my books part of my childhood. I was certainly the first time that I entered Tolkien's world when I first read it ten years ago. So I decided to re-read this for the fifth time ever as part of a fantasy challenge and to re-familiarise myself with a story I know by heart. And what I found surprised me.
Even though I know this story so very well I was surprised to find hidden depth again. For one thing I saw Tolkien's wit shine through with some quotes. For instance in the following dialogue:
Gandalf: "Indeed for your old grandfather Took's sake, and for the sake of poor Belladonna, I will give you what you asked for."
Bilbo: "I beg your pardon, I haven't asked for anything!"
Gandalf: "Yes, you have! Twice now. My pardon. I give it you. In fact I will go so far as to send you on this adventure. Very amusing for me, very good for you and profitable too, very likely, if you ever get over it."
And that's one example out of many I noted this time around. Another thing I couldn't help but do was to compare what I read with this:
I noted of course that the trailer shows a tone that hints at closer to the darkness of The Lord of the Rings and must suspect that the suggested references to Moria and the Necromancer in The Hobbit will play a larger role in the film. After all the Necromancer is Sauron. But there we go in conclusion there is an amazing film due out at the end of the year and this tale retains all of its potency and loses none of its vibrancy. If you haven't read it then 'fly you fools' to a bookshop or library and get a copy.
Appendix - again this is one of those things that's added as an afterthought and turns what I write into a second edition even though nothing's really that different.
1.
There's a new trailer out so I thought I'd link to that in my review. I personally am anticipating this film eagerly. I want to see a different view of this book on the screen, one that's (hopefully as good or better) what Peter Jackson did with 'Rings', staying to the story and yet making it into something I can look at and go: I'd never considered that in the book! (Also I can actually watch this at cinemas as I missed out on the Lord of the Rings phenomenon as a 7, 8 and 9 year old child...)
2.
As for a further update I finally saw The Hobbit Part 1. I loved it and am actually surprised at the criticism being levelled against it. The 3D 48fps, while it took a few minutes to get used to, provided some of the best use of 3D in a film that I've seen without being forced. I'm very happy with what I got in the adaptation of my favoured childhood book.
I loved the casting. Of course as soon as I heard that Martin Freeman was going to be Bilbo I thought: brilliant choice. I thought the choice of actor for Thorin was great. A lot of people are saying he's different from in the book but I see a lot of the book character's traits in the film characterisation. Speaking of the book compared to the film I didn't think that they messed up the plot too much at all. The additions they made, in my view, fleshed it out with little details from the Lord of the Rings nicely (in fact almost everything in the film is consistent with the internal logic of Tolkien's world and these films - they messed with things a little less than with The Lord of the Rings films anyway). The pacing was great and in fact I thought it had a better overall pace than some of The Lord of the Rings films. It's still a Hobbit film to me, it's just also a Middle Earth film too... I guess probably the major change is in tone, but we all knew that the tone would be a mixture of comic relief and the dark seriousness of The Lord of the Rings. The film also made a smart move in adding Galadriel to provide a female character in a male dominated cast.
3.
Three weeks ago I did see the second part of The Hobbit 'trilogy'. There were changes I liked, some I found a touch odd and yet on the whole it was a film that was much, much better than the first. It basically is just a decent action film, and considering that the book is an adventure and action book it works. The addition of love interest may not add much to the plot, but it does add a female character (sorely lacking in an active role in the books) and a hint of romance which all good epics need. Also: Smaug, the spiders and the barrel riding scene are some of the finest scenes I have seen this year! In other words, these films are fine action films that update the book in ways some people do not like but are still good fun!...more
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