luce (cry beb¨¨'s back from hiatus)
>
Books:
friendships-that-have-my-heart
(246)
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my rating |
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0374717516
| 9780374717513
| B07HF3KBG7
| 3.51
| 882
| Jun 11, 2019
| Jun 11, 2019
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really liked it
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| | | | | | 3.75 stars (rounded up to 4 as this is a debut) The History of Living Forever is an ambitious novel. The narrative inclu | | | | | | 3.75 stars (rounded up to 4 as this is a debut) The History of Living Forever is an ambitious novel. The narrative includes multiple timelines and often switches between 1st and 3rd perspective, weaving together a compelling yet intricate story. Two of the central figures in these various 'timelines' are Conrad Aybinder and Sammy Tampari who in spite of their student-teacher relationship, and of Conrad being underage, become involved romantically. Their "liaison" however is soon cut short by Sammy's death. A grief-struck Conrad finds himself entangled in what was Sammy's search for immortality. Through Sammy's diary entries he discovers that for years Sammy had been using himself as a guinea pig. Had Sammy lost his mind? Or was he really onto something? With this fascinating premise The History of Living Forever details Sammy and Conrad lives, moving from their childhoods to their adulthoods. They are highly intelligent individuals who are feel somewhat isolated by their intellect (both of them are high-school seniors at the age of 16), I like the fact that the narrative never romanticises their worst actions or behaviours and that other characters call them out on their 'bad antics'. I also enjoyed the way the characters around them were rendered. Wherever they had an important role or not they were engaging and realistic. I was particularly affected by the parents and relatives in this story. While Conrad's dad is an alcoholic and could have easily been relegated to the role of 'bad dad' the narrative offers a nuanced portrayal of him and his addiction. The plot was in constant movement, shifting from past to present, jumping from one theory to the other. We learn what drives Sammy's quest for immortality and see that at the age of 40 Conrad still thinks of him. At times I was overwhelmed by the sheer quantity of information we were given. Don't get me wrong, it was all fascinating, but science and maths are not my fortes so I think (okay, I know) that many things that went over my head. Nevertheless, I was captivated by this story which is a story about science, love, obsession, and immortality. Immortality makes for an intriguing topic, one that Wolff skilfully explores. Part of me wishes that we could have had more of Conrad and less of Sammy, or that at least we could have known what Sammy felt for Conrad. Overall, I think this is an incredibly creative novel, one that bridges genre (coming of age, mystery, adventure, speculative fiction). While I wish that some of the characters' arcs had been handled differently, I am looking forward to reading this again (and perhaps I will have a better grasp of the theories discussed). Merged review: | | | | | | 3.75 stars (rounded up to 4 as this is a debut) The History of Living Forever is an ambitious novel. The narrative includes multiple timelines and often switches between 1st and 3rd perspective, weaving together a compelling yet intricate story. Two of the central figures in these various 'timelines' are Conrad Aybinder and Sammy Tampari who in spite of their student-teacher relationship, and of Conrad being underage, become involved romantically. Their "liaison" however is soon cut short by Sammy's death. A grief-struck Conrad finds himself entangled in what was Sammy's search for immortality. Through Sammy's diary entries he discovers that for years Sammy had been using himself as a guinea pig. Had Sammy lost his mind? Or was he really onto something? With this fascinating premise The History of Living Forever details Sammy and Conrad lives, moving from their childhoods to their adulthoods. They are highly intelligent individuals who are feel somewhat isolated by their intellect (both of them are high-school seniors at the age of 16), I like the fact that the narrative never romanticises their worst actions or behaviours and that other characters call them out on their 'bad antics'. I also enjoyed the way the characters around them were rendered. Wherever they had an important role or not they were engaging and realistic. I was particularly affected by the parents and relatives in this story. While Conrad's dad is an alcoholic and could have easily been relegated to the role of 'bad dad' the narrative offers a nuanced portrayal of him and his addiction. The plot was in constant movement, shifting from past to present, jumping from one theory to the other. We learn what drives Sammy's quest for immortality and see that at the age of 40 Conrad still thinks of him. At times I was overwhelmed by the sheer quantity of information we were given. Don't get me wrong, it was all fascinating, but science and maths are not my fortes so I think (okay, I know) that many things that went over my head. Nevertheless, I was captivated by this story which is a story about science, love, obsession, and immortality. Immortality makes for an intriguing topic, one that Wolff skilfully explores. Part of me wishes that we could have had more of Conrad and less of Sammy, or that at least we could have known what Sammy felt for Conrad. Overall, I think this is an incredibly creative novel, one that bridges genre (coming of age, mystery, adventure, speculative fiction). While I wish that some of the characters' arcs had been handled differently, I am looking forward to reading this again (and perhaps I will have a better grasp of the theories discussed). ...more |
Notes are private!
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1
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Jun 15, 2019
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Jun 16, 2019
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Sep 28, 2024
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Kindle Edition
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0062227424
| 9780062227423
| B0083DJSHW
| 3.56
| 382
| Jul 03, 2012
| Jul 03, 2012
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it was amazing
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| | | | | | A short and pitch-perfect tale that focuses on a woman's relationship with her father. As per usual Oates is not afraid | | | | | | A short and pitch-perfect tale that focuses on a woman's relationship with her father. As per usual Oates is not afraid to explore the dark and nasty aspects of an individual's mind. In this case however I don't think her story is as grotesque as some of her other writing. Nor is she being gratuitously morbid. Lou's thoughts are not as disturbing as one might think, in fact, I believe that we are made to really understand her actions throughout the course of this story. Roland, Lou's father, is in many ways a nasty piece of shit. Yet, Oates manages to portray him in a way that allows him to be more complex than what we might think. The prose and the narration of this story are incredibly polished. Both beguiling and dark Patricide is an intense portrayal of a fucked up father-daughter relationship. Merged review: | | | | | | A short and pitch-perfect tale that focuses on a woman's relationship with her father. As per usual Oates is not afraid to explore the dark and nasty aspects of an individual's mind. In this case however I don't think her story is as grotesque as some of her other writing. Nor is she being gratuitously morbid. Lou's thoughts are not as disturbing as one might think, in fact, I believe that we are made to really understand her actions throughout the course of this story. Roland, Lou's father, is in many ways a nasty piece of shit. Yet, Oates manages to portray him in a way that allows him to be more complex than what we might think. The prose and the narration of this story are incredibly polished. Both beguiling and dark Patricide is an intense portrayal of a fucked up father-daughter relationship. ...more |
Notes are private!
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2
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Jul 09, 2018
not set
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Jul 09, 2018
not set
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Sep 18, 2024
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Kindle Edition
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0571365469
| 9780571365463
| 0571365469
| 3.89
| 215,595
| Sep 24, 2024
| Sep 24, 2024
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really liked it
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Manifesting that this book will finally make me a Rooney believer¡ And it did! This is the third book I¡¯ve picked up by Rooney, and I guess it¡¯s true w Manifesting that this book will finally make me a Rooney believer¡ And it did! This is the third book I¡¯ve picked up by Rooney, and I guess it¡¯s true what they say: third time¡¯s the charm. Despite my ranty reviews of Normal People and Beautiful World, Where Are You, I always stressed that (in my view) Rooney can write and has real talent¡ªit¡¯s just that the stories and people she was writing about... pissed me off. Intermezzo took me completely by surprise. It¡¯s one of those rare reads that made me feel very seen (almost uncomfortably so) and pulled me in from the very first page. Intermezzo revolves around two quasi-estranged brothers, Peter and Ivan Koubek, in the wake of their father¡¯s death. Though they both live in Dublin, they couldn¡¯t be further apart. Part of this distance seems like a natural consequence of their age gap¡ªPeter is in his early thirties, while Ivan is only 22. But it quickly becomes clear that it¡¯s more than just that: their contrasting personalities, lifestyles, interests, and circumstances have only deepened the gulf between them, leaving them closer to strangers than brothers. Peter is a successful lawyer who, on the surface, seems to have it all: a thriving career, a nice flat, and an active social life. But beneath this seemingly put-together persona, he¡¯s a mess. He¡¯s entangled in what can¡¯t quite be called a love triangle, but rather two complicated relationships that, depending on the moment, oscillate between angsty and straightforward. He sees his ex, Sylvia, as the love of his life, their relationship cut short after an accident left her grappling with chronic pain; but he also has a soft spot for Naomi, a college student who wears her generational insouciance like armor. Sylvia tries to draw a line in her relationship with Peter, as their love has long been tangled in guilt and dependence. Peter and Naomi¡¯s understanding, by contrast, seems simpler¡ªcertainly not burdened by years of shared history. But beneath Naomi¡¯s witty retorts and carefree exterior, there¡¯s an undercurrent of vulnerability and loneliness. She¡¯s younger than Peter, and when she moves in with him after an eviction, he¡¯s often troubled by their power dynamics and the unspoken promises he¡¯s making her (showing he cares, having her rely on him). In true Stiva Oblonsky fashion, Peter spends much of the novel wrestling with a moral and emotional dilemma, torn between what he owes to himself, to these two women, and questioning his own ideas of love and responsibility. All the while, he bottles up his grief over his father¡¯s death, his guilt and regret over his fractured relationship with Ivan, and the sadness that has haunted him for most of his adult life. Peter isn¡¯t doing too well. The more time we spend with him, the clearer it becomes. He¡¯s lonely, full of self-loathing, and perpetually frustrated by what he perceives as his own failures, his thoughts often spiraling into suicidal ideation. Ivan has always been the ¡®awkward¡¯ Koubek¡ªintroverted, a bit of a loner, and someone who has spent most of his life immersed in studying and playing chess. During his father¡¯s illness, Ivan¡¯s career as a competitive chess player stalled, and after his father¡¯s death, he feels utterly lost. His father was the person he was closest to and the only one who truly understood him (unlike his older brother or his mother and her new family). Then Ivan meets Margaret, a woman in her late thirties who has recently separated from her husband. Despite their age difference and their starkly different lives and experiences, their connection is tentative yet genuine¡ªa refuge for both. They open up to each other, and for the first time in a long while, they feel truly seen. The moments between them are brimming with hope, and Rooney does an extraordinary job of capturing the quiet yet profound intimacy of their relationship. There¡¯s an ease and naturalness to their connection that feels strikingly realistic and unexpectedly poignant. Margaret, in particular, was such a wonderful, layered character. Her concerns and worries felt deeply relatable¡ªwhether about her relationship with Ivan or the guilt and pressure she carried from her marriage. Early on in the novel, a catch-up between the two brothers leads to a more serious fallout, with Ivan shutting Peter out of his life. The possibility of reconciliation or even mutual understanding seems unlikely, if not impossible. Yet, despite not having much to do with each other, their presence¡ªor absence¡ªfrom each other¡¯s lives is undeniably felt. The novel alternates between the two brothers, tracing their attempts to navigate new and old relationships while grappling with loss, loneliness, and all the messiness that comes with being human. Rooney writes about love, sex, and affection as each Koubek tries, however imperfectly, to keep on living. This book carries plenty of what I¡¯ll call Rooney-isms¡ªbut for once, they worked for me. I loved how her prose can be strikingly pared-down, adopting a staccato style that hones in on a particular mood or feeling with sharp precision. At other times, her writing feels freer, almost stream-of-consciousness, especially in Peter¡¯s chapters. She conveys the anxiety and overthinking that consumes her characters, really making us feel as if we are caught in their restless minds. Not only is she adept at rendering her characters¡¯ inner monologues¡ªwhether fleeting or introspective¡ªbut her ear for dialogue is impeccable. She captures the rhythms and flow of real conversations, from awkward small talk to stilted silences, from breezy banter to those rare, meaningful exchanges. She allows for ambiguity and unease, both in her characters¡¯ thoughts and actions, and I appreciated how she managed to make her characters feel very relatable even when they behave or say things that are incredibly frustrating. Even in those moments when I didn¡¯t fully understand why they said or did what they did, I still found them to be realistic and nuanced. Both her prose and the way she writes about certain things brought to mind classics like Henry James and Edith Wharton, especially when it came to articulating and delving into the feelings, desires, and worries of her characters. This classical feel is echoed through quotes and references to several classics, an intertextuality that made reading Intermezzo feel like reconnecting with an old friend There was something cinematic about this book¡¯s ambiance, whether due to its minimalist plot or slow pacing, that was reminiscent of certain indie films. Rooney¡¯s descriptions feel moody and atmospheric, which really added a sense of intimacy and immediacy to the situations her characters find themselves in. I recently saw A Real Pain, and it reminded me of how both there and Intermezzo manage to present two flawed individuals who are struggling or have struggled, and, at some point, enter into conflict. Yet, you can't quite pick a side, as you understand and feel for both. As an introverted younger sibling, I obviously felt a deep connection to Ivan¡ªhis awkwardness, his isolation, his quiet yearning. He often doesn't want or can't explain himself to others, which often leads others to misunderstand him. There were plenty of moments when I also understood (even if i often did not approve of) Peter, especially as his loneliness and despair began to surface. We have two flawed characters, who are hurting and who hurt others. I wanted things to work out for them, and I also wanted them to realize that they could be the problem. The female characters, in comparison, felt more put-together, even if they are all also experiencing turbulence in their lives: Naomi is trying to manage after her eviction, but she's falling for an older guy who is still in love with his ex; Sylvia has to live every day with pain, so the guilt and resentment she feels for Peter are an added burden (I will say that her condition was rendered in such a vague yet strangely specific way that it reminded me of ye old heroines with their poor constitutions or Banana Yoshimoto's quirky gals and their quizzical malaises...i guess i wished Rooney could have been less polished in her portrayal of Sylvia's condition, as it seemed to be there as a conflict in a potential relationship with Peter but without any symptoms or descriptions that are ¡®off-putting¡¯); while Margaret is still making sense of who she is after leaving her alcoholic husband. Even so, they often make perfect sense and are quite reasonable, whereas the Koubek brothers are more vulnerable and lost in their emotions. Or maybe it appears so because the novel is centered on them. Regardless, I found each character to be fully realized, and I cared for them all. Beautiful, reflective, aching, and deeply human, Intermezzo is a bittersweet and atmospheric read. Rooney¡¯s portrayal and insight into grief, desire, guilt, love, and loneliness brought to mind Donna Tartt's The Goldfinch, Coco Mellor's Blue Sisters, and Hanna Jameson's Are You Happy Now. ...more |
Notes are private!
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1
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Jan 09, 2025
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Jan 12, 2025
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Mar 01, 2024
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Hardcover
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B0DWWB364H
| 3.96
| 176,954
| May 23, 2024
| Jun 06, 2024
|
really liked it
| ¡°Being one of four sisters always felt like being part of something magic.¡± Blue Sisters is the kind of book that, depending on my mood, I will either ¡°Being one of four sisters always felt like being part of something magic.¡± Blue Sisters is the kind of book that, depending on my mood, I will either detest or adore. Fortunately, this time around, it was the latter. Having given Coco Mellors¡¯ debut a hard pass, I was weary of reading more by her, yet, the premise for Blue Sisters sounded a lot less insipid than the one for C&F. While certainly not flawless, Blue Sisters makes for a tender, if occasionally too sentimental, exploration of sisterhood, grief, and self-sabotage. It should definitely appeal to fans of the people-fucking-up genre (examples being films like: The Worst Person in the World, Passages, Return to Seoul, Frances Ha and series like The Bisexual) or readers who enjoy complex sibling dynamics (such as in Yolk, Sunset, Butter Honey Pig Bread, The Arsonists' City) or female-centered books like Writers & Lovers, We Play Ourselves, and Self-Portrait with Boy. ¡°Their family had always been good at hellos and goodbyes, moments ending even as they began. It was easy to love someone in the beginnings and endings; it was all the time in between that was so hard.¡± The characters are messy and there is a lot of friction among the sisters, so yes, we get a lot of arguments. With the exception of perhaps one or two cases, these come across as very authentic, sometimes overwhelmingly so. Hurtful words are hurled, sometimes with the intention to hurt, sometimes not. Things escalate, but not always. Mellors¡¯ approach to these scenes felt cinematic yet intimate, and I appreciated how she is able to convey the conflicting feelings of her characters. The sisters are often unable to escape the dynamics of their childhood, with Bonnie acting as a pacifier, Avery as the mother, and Lucky as the rebellious youngest one. Avery and Lucky are assholes a lot of the time, something the narrative knows and doesn¡¯t shy away from. Yet that doesn¡¯t make them any less rounded or sympathetic. While Mellors doesn¡¯t use their loss or childhood to excuse their actions, she allows those things to inform our understanding of her characters. I found her very empathetic, and loved many of the reflections around love (be it sisterly or romantic), insecurity, loneliness, and grief. ¡°She was home, the only one she knew, not because she always lived in it, but because it always lived in her.¡± Through alternating chapters, the novel follows three of the Blue sisters, Avery, Bonnie, and Lucky, a year after the death of the fourth sister, Nicky. At the beginning of the novel, the Blue sisters are in different parts of the globe, but they are all similarly not coping, if not downright freefalling. Bonnie, once a boxer, is now working as a bouncer in LA. She does find herself making her way back to NY, where she is forced to confront her grief, the shame over her last match, and the feelings she¡¯s been long harboring for her former mentor, Pavel. Avery works as a lawyer in London where she is married to Chiti, an older woman who was once her therapist. Chiti wants a child but Avery isn¡¯t ready, in fact, ever since Nicky¡¯s death she has been withdrawing from her marriage. Chiti has noticed but mostly relies on therapyspeak to remind Avery that she too has lost Nicky (as if being reminded of that would help avery¡). Avery finds escape in rigorously attending AA meetings. There she meets a younger man, a poet, and their attraction is mutual and has disastrous consequences for Avery¡¯s marriage. Lucky is a model who has spent most of her adulthood in relishing a carefree partier lifestyle. But Nicky¡¯s death has changed things, and now Lucky is not so much as partying because it¡¯s fun, but because as a means of oblivion. After screwing up her latest gig in Paris, she travels to London. Her and Avery¡¯s relationship is more frayed than ever and the two sisters end up driving a further wedge in their bond. Lucky sees Avery as sanctimonious, smothering, and a hypocrite, whereas Avery is exasperated by Lucky¡¯s careless attitude to others and herself. Eventually the three sisters reunite in NY, but their reunion is far from smooth. The prologue serves as a character introduction, one that, through the use of literary devices such as alliteration, succeeded in lending this tale of the Blue sisters the rhythms of a fairy tale. Despite the novel taking place over a fairly contained period of time, the characters have a lot of history with each other and a lot of personal baggage, yet, these forays into the past never weighed down the narrative, and if anything they made the characters more rounded. We come to understand why they act the way they do, the origin of some of their insecurities and anxieties, and why some of them try to escape their grief by avoiding what they once loved, sabotaging their relationships, and opting for self-destructive ¡®coping mechanisms¡¯. Bonnie is the more grounded of the sisters, and her arc is not a downward spiral, as it is for Avery or Lucky¡¯s. Still, Bonnie feels responsible for Nicky¡¯s death, and is unsure whether she can box like she used to. Avery has a tendency to shut out other people, something that makes her a hard character to get into. Yet, we can see how hard she has tried to make up for her parents, to look out for her sisters in all the ways they didn¡¯t. She also believes that she was the one to have let down Nicky, but is not fully able to admit this, so she lets her hurt and guilt fester. She misdirects her anger towards Lucky, who is also as lost as she is. I thought that the novel was very self-assured, and that for the most part, it sticks the landing. Sure, one could say that Mellors was trying to cram in too much into the novel. Take the Blue sisters jobs¡they are giving ¡®try out different careers with Barbie¡¯ (lawyer, model, boxer). They are also too beautiful and not-like-other people at times (Avery and her tattoos¡sure, cool aesthetics, but it didn¡¯t seem in line with her character). Even their mother, a character whose presence is mostly relegated to the outskirts of the narrative is subjected to this beautification: ¡°at the time, she had silky auburn hair down to her waist and a beautiful, tulip-shaped face¡±. While I understood Lucky being beautiful, and her having a troubled relationship with her beauty (she takes it for granted, especially when it comes to what she can get away with, for instance, her beauty glamorizes how unpleasant, rude, and selfish she can be; she is also burdened by it, with other people unwilling to truly see her, or becoming obsessed with her because of her looks, or thinking she is a dumb shallow blonde) when it came to the other characters¡these descriptions weakened the novel. They were syrupy and somewhat affected. Avery was the type of lesbian character that feels that has been written by a non lesbian, as in, the writer, in their attempts to avoid clich¨¦s about lesbians, ends up writing the straightest lesbian character ever. I did not understand why Avery is made into a lesbian character, given that the person she has an ¡®affair¡¯ with is a man¡one thing is someone who is still for whatever internal or external reasons unable to identify and/or live as a lesbian, but Avery has been in a relationship with a woman for a long time, she describes herself as a lesbian who is interested in being with women¡so why have her cheat with a man? A man she is insanely attracted to. It was a Choice?, one that seemed to me to exist only for dramatic effect (not only she cheats, but she cheats with a man!). Their sex scene also consolidated my perception of her as a very straight character. I just wish the author could have made her bi, queer, or pan. I also find the whole image of the (outwardly) strait-laced lesbian a bit of a bore, but thankfully Mellors does manage to make Avery into a flawed yet complex character. I didn¡¯t like how the cheating plotline is handled,(view spoiler)[ especially when it comes to her being ¡®found out¡¯, I found Chiti finding the ¡®evidence¡¯ too much of a convenience, and had a hard time believing that Lucky wouldn¡¯t cover for Avery, despite all their issues (hide spoiler)]. Lucky also skates close to being a bit of a clich¨¦, but thankfully the narrative doesn¡¯t romanticize her self-destructive ways. I did found that musician subplot very cheesy¡ªit felt like something straight out of Hollywood¡ªand I thought it was an unnecessary add-on. Similarly, the epilogue, despite the author's heartfelt acknowledgments, felt more corny than touching. However, these aspects didn't significantly detract from my overall enjoyment of the novel. I still loved it (which just goes to show how good mellors can be). The characters and their dynamics were compelling, and I particularly admired Mellors' prose style and ability to establish atmosphere. Mellors also adeptly balanced action and introspection, ensuring that the story never felt either rushed or slow-paced. Additionally, I appreciated that certain elements remained unresolved, such as the sisters¡¯ complex relationship with their mother, adding depth to the narrative. Mellors' portrayal of grief is heartfelt and authentic. Through the lens of the surviving sisters' memories and flashbacks, she paints a vivid picture of Nicky, allowing readers not only to empathise with her but to miss her presence. Mellors' depiction of addiction and the journey to recovery feels genuine and relatable. She captures the struggles and setbacks with honesty, which in addition to making for a candid portrayal of addiction, also made the sisters' experiences all the more compelling and real. I can definitely see myself re-reading this as I found it to be a captivating tale. It had dramatic moments and plenty of emotional beats. Evocative and thoughtful, Blue Sisters made for a compelling read, full of imperfect people and fraught relationships, all underscored by an undeniable heart. I think readers who are less averse to sentimentality than I am will likely adore it even more than I did. I look forward to Mellors' next novel, hoping that it will align more closely with the style and depth of Blue Sisters than C&F. I'm grateful for this arc and (depending on my funds) will purchase a copy of my own once it is released. ...more |
Notes are private!
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1
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Feb 13, 2024
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Feb 19, 2024
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Feb 13, 2024
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ebook
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0593316088
| 9780593316085
| 0593316088
| 3.77
| 5,189
| Apr 2006
| Aug 13, 2024
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it was amazing
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nature is healing |
Notes are private!
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2
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Sep 2024
Apr 11, 2024
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Sep 2024
Apr 18, 2024
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Feb 02, 2024
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Hardcover
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3.94
| 57,783
| Jan 17, 2022
| Feb 20, 2024
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really liked it
| ¡°Isn¡¯t that what life is about? Forging forward with the answer you have ¨C stumbling along the way and picking yourself up ¨C only to one day realise t ¡°Isn¡¯t that what life is about? Forging forward with the answer you have ¨C stumbling along the way and picking yourself up ¨C only to one day realise that the answer you¡¯ve held on to for a long time is not the right one . When that happens, it¡¯s time to look for the next answer. That¡¯s how ordinary folks, like herself, live. Over our life span, the right answer will keep changing.¡± A balm for the soul, Welcome to the Hyunam-Dong Bookshop makes for the perfect comfort-read. Hwang Bo-reum¡¯s storytelling was a delight, and I found myself wholly won over by how thoughtful and humane her novel is. A healing slice-of-life, Welcome to the Hyunam-Dong Bookshop around the Hyunam-dong Bookshop, located in a small residential neighborhood outside Seoul. We meet the owner, Yeongju, a woman who by her late 30s feels burnt-out, both by her professional life and her personal one. After divorcing her husband and quitting her job, Yeongju decides to fulfil her dream and opens a bookshop. But setting up a successful business is no easy feat, and in the first few months, Yeongju is still feeling emotionally drained. So she spends most of her days crying, or looking gloomy, which does little in terms of attracting new customers. She does have a regular, an older woman who is quite frank in pointing out Yeongju¡¯s flaws when it comes to managing the bookshop. Yeongju ends up hiring a barista, Minjun, who is also dealing with doubts about his future (starting a ¡®real¡¯ career, and so on). We then meet new regulars, some of whom end up working at the bookshops, while others end up participating in its reading clubs and or attending its various events. ¡°Running an independent bookshop was like roaming a stretch of land without roads. There was no tried-and-tested business model. Bookshop owners live day by day, hesitant to plan too far ahead .¡± We gain insight into their lives, their everyday worries, their thoughts on happiness and love, and their differentiating values (should you pursue a respectable high-paying career? Should you stay in an environment that is detrimental to your mental health? How do you cope with parental pressure? If you choose to follow your dreams, does that make you selfish?). I loved how despite their differences in age and personality, they are all trying to heal, to be a little less lost, a little less lonely. ¡°A curious feeling swept over her. The feeling of being accepted.¡± We are given almost a documentary-like insight into the behind-the-scenes of running a bookshop. Yeongju has to come up with ways to attract more customers, she has to weigh whether she wants to stock books that are bound to sell (because they are written by a well-known author or were mentioned by someone famous) or whether she should treat all books the same way, regardless of the likelihood that they will be bought. And what to do when someone asks for a recommendation? As a bibliophile, I was utterly absorbed by this verisimilitude approach to the publishing and book-selling scenes. Not only is the book full of literary references but we also get to read about the characters¡¯ different opinions of the same books, debate what is and what isn¡¯t good writing, and so on. ¡°Because it¡¯s our first life, worries are aplenty, and anxiety, too. Because it¡¯s our first life, it¡¯s precious. Because it¡¯s our first life, nobody knows what¡¯ll happen even in five minutes.¡± I loved seeing the way they connect and support one another, and I found the pace of their blossoming friendships to be really believable. There are also some bittersweet moments. We have characters confronting painful memories, thinking back to past disappointments, and or struggling to see a more fulfilling future. The author allows her characters to question themselves, their past behaviors, and their present-day feelings. The way these characters change and or consider things felt very organic, and I was almost lulled by the realistic rhythm of their thoughts and their conversations. Throughout the novel, I found myself growing fond of the Hyunam-dong Bookshop and its people. ¡°All of you should find something you enjoy doing, something that makes you excited. Instead of pursuing what is recognised and valued by society, do what you like. If you can find it, you¡¯ll not waver easily, no matter what others think. Be brave.¡± Welcome to the Hyunam-Dong Bookshop is such a charming novel. Its heartwarming slice-of-life atmosphere wholly complemented Hwang's meditative and slightly melancholic storytelling. The characters, from their everyday worries to their longstanding regrets, felt like real people, and I was completely invested in their journeys. I can¡¯t wait to read this again as I already miss Yeongju & co! ...more |
Notes are private!
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2
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Feb 26, 2025
Jan 08, 2024
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Feb 28, 2025
Jan 11, 2024
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Jan 05, 2024
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Hardcover
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1662601816
| 9781662601811
| B0BTLDT9HT
| 3.83
| 854
| Sep 19, 2023
| Sep 19, 2023
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really liked it
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A freewheeling, off-beat, and relentlessly chaotic read, Candelaria is a rhizomatic novel that defies easy categorisation. To borrow, once again, Lady
A freewheeling, off-beat, and relentlessly chaotic read, Candelaria is a rhizomatic novel that defies easy categorisation. To borrow, once again, Lady Gaga¡¯s words: ¡°talented, brilliant, incredible, amazing, show stopping, spectacular, never the same, totally unique, completely not ever been done before, unafraid to reference or not reference, put it in a blender, shit on it, vomit on it, eat it, give birth to it¡±. Populated by bizarre characters (prone to huge leaps of logic, maundering, and dissociating from the fucked-up things that come their way), absurdist elements, and weird, sometimes gross, horror-like scenarios, Candelaria is the type of book that might make one feel that they can't make head or tail of what they are reading. Yet, I found myself wholly captivated by Melissa Lozada-Oliva¡¯s playful dark humor and by her irresistibly irreverent social commentary. I was equal parts appalled and delighted by her characters¡¯ tribulations. Their behaviors and responses to the small and large-scale catastrophes that come their way often verge on the surreal, reminding me very much of authors like Helen Oyeyemi, Kevin Wilson, and Ling Ma. The novel¡¯s opening is hectic enough. Through a 2nd pov we follow Candelaria, ¡°you¡±, whose daily routine is interrupted by a devastating earthquake. Her surprisingly violent response to this event is in many ways more alarming than the earthquake itself, yet, the use of the 2nd pov keeps her motivations at arm's lengths from us. We know only that for whatever reason Candelaria sets out across Boston, her destination the Watertown Mall Old Country Buffet. Undeterred by the progressively apocalyptic obstacles in her path, Candelaria is determined to reach the Buffet, a place that, somehow, is connected to the ongoing chaos around her. The novel switches between Candelaria¡¯s ¡®present¡¯ journey to the events that lead to it. Here we meet her three granddaughters, as overwhelmed as they are overwhelming, each far too wrapped up by her own drama to realize that the weird shit happening to each one of them is connected. There is archaeologist Bianca, who is plenty book-smart but lacks self-awareness, her cold, brusque even, demeanour often sees her (in)voluntarily pushing others away. Having long been forced into the role of the reliable daughter/sister/granddaughter, she¡¯s at a low point in her life and has just been duped & dumped by her advisor who kicked her off of her own dig back in Guatemala. Her life work in jeopardy, Bianca is licking her wounds back in Boston, where, mired by self-pity, she spends most of her time whining to her (far too) understanding housemate. We then have Candy, the youngest, who, despite her name, is brazen and mean. Candy is a recovering addict whose self-destructive antics have often been a concern in the family. A film aficionado, Candy now works at a cinema. She¡¯s brash, extremely self-centred, and rarely thinks things true. Her attitude to life is seemingly blas¨¦ yet after she and Bianca fall out, we can see how bothered she is by it. She discovers that is pregnant after a one-night stand with a mysterious man, whose disappearance was as strange as his appearance. Worst still, her pregnancy seems to have worrisome, monstrous, side effects. And last we have Paola, newly returned to Boston having been missing for over a decade. This new Paola goes by Zoe, and has become a devout member of a cultish wellness center. Having reinvented herself, Zoe is not interested in reuniting with her family, whom she¡¯d run away from so many years before. Throughout the novel, Lozada-Oliva plays around with so many tropes and genres that one might struggle to keep up. Often we seemingly lose sight of the plot, distracted by whatever latest bizarre thing is happening on the page (be it brainwashing, cannibalism, or the end of the world). A series of grotty, horrifying, and baffling events puncture the sisters¡¯ seemingly disparate storylines, but, these scenarios are depicted in such an energetic way that one might, like the characters themselves, overlook the magnitude of what has happened/is happening. Lozada-Oliva's characters and their circumstances are entrenched in the absurd, at times verging on the hysterical. Yet, the humorous and grotesque elements don¡¯t take away from Lozada-Oliva¡¯s social commentary nor do they make the characters less humane. The narrative may poke fun at the characters but not their struggles or desires. The novel¡¯s gritty commentary on contemporary American politics is balanced by an empathetic yet incisive portrayal of the interplay between diasporic identity and generational trauma. Family is at the heart of Candelaria, even if the sisters¡¯ attempts at belonging, at achieving happiness and success, see them hurtling into and out of each other¡¯s paths. I liked how the novel allows for these types of flawed characters and sisterhood to take the centrestage, showing the complex layers beneath each sister and allowing for nuance in their love/hate bond. The novel¡¯s foray into the horror genre is particularly effective as it allows for an uncompromising examination of bodily autonomy, female monstrosity, thorny family histories, and the hunger to belong. Lozada-Oliva's approach to horror made me think simultaneously of two very different films, Julia Ducournau¡¯s Titane and Jim Jarmusch's The Dead Don't Die, as well as Stephen Graham Jones' adrenaline-fueled horror novels (in particular My Heart is a Chainsaw). This novel is a riot, and I was wholly wholly engrossed and invested in the ongoing chaos. There were some aspects that I wish could have been tweaked slightly (the reunion is too long delayed, several storylines are left unresolved, and i could have done without the offing of a certain character). Still, given its scope, those minor flaws hardly made a dent in my reading experience. I loved Lozada-Oliva¡¯s punchy prose, her fucked-up sort of humor, and her messed-up characters. I can definitely see this appealing to fans of Helen Oyeyemi, Kevin Wilson, Hilary Leichter, and Ling Ma, as well as to readers who enjoyed Samanta Schweblin's bizarre short stories, An Yu's murky brand of surrealism, Sam Cohen's madcap stories in Sarahland, Candas Jane Dorsey's tongue-in-cheek postmodern murder-mystery, The Adventures of Isabel , Pizza Girl by Jean Kyoung Frazier, or the realistically dysfunctional family dynamics depicted by authors like Angie Cruz and Eden Robinson. Lozada-Oliva delivers a high-octane genre-bending read that sucked me into its nonsensical, uninhibited, funny, and gross vortex. I can't wait to read it again and look forward to reading more by Lozada-Oliva. ...more |
Notes are private!
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1
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Dec 28, 2023
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Dec 30, 2023
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Aug 28, 2023
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Kindle Edition
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0241515076
| 9780241515075
| 0241515076
| 3.45
| 1,218
| Feb 02, 2023
| Feb 02, 2023
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it was amazing
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? ? ? ? ? ? ¡ï ¡ï ¡ï ¡ï ? stars (rounded up) ¡°That this was the trade-off. The price of happiness. In order to? ? ? ? ? ? ¡ï ¡ï ¡ï ¡ï ? stars (rounded up) ¡°That this was the trade-off. The price of happiness. In order to feel happy he had to feel everything.¡± A quietly crushing yet devastatingly tender work scintillating with insight and emotional intelligence. With acuity and empathy Hanna Jameson presents her readers with a captivating narrative chronicling four people¡¯s attempts at happiness despite a looming health crisis: more and more people are literally sitting down and seemingly giving up on life. ¡°He didn¡¯t want to die, he just wanted to stop, to cease, sit down. Maybe just sleep, for a year or maybe forever.¡± Even more so than in her previous novel, The Last, Jameson bypasses the usual apocalyptic storylines, as she grounds her quietly dystopic concept firmly into reality. There is a minimalism to Jameson¡¯s alternate/what if reality that brought to mind the subdued yet ominous world-building of authors such Kazuo Ishiguro, Emily St. John Mandel, Ling Ma, whose works are often characterized by a faintly ominous atmosphere. ¡°Boy meets girl at a wedding and the world ends. The classic meetcute.¡± The novel opens at a wedding reception in NY, on a hot summer night. At first, we principally follow Yun, who is 29 and for years has been trying to make a living as a musician. He meets and is taken by Emory, a journalist who exudes wit and confidence. Their meet-cute comes to an abrupt halt when one of the s sits down and refuses to get back up. As the weeks go by, and Yun and Emory¡¯s attraction blossoms solidify into something more solid, rumors of more and more cases reach Emory¡¯s ears, and she decides to publish an article on the matter. This goes viral and she receives a lot of backlash. The lack of information on the whys and hows of ¡°psychogenic catatonia¡± contribute to people¡¯s growing panic and an avalanche of misinformation leads many to believe that psychogenic catatonia is either the beginning of the end or that it only affects ¡®weak¡¯ young people. Although Yun and Emory¡¯s relationship eventually see them adopting the rhythms and routines of a couple, their dynamic shifts. Yun¡¯s depression runs deep, casting everything around him with gloom. His self-doubt sees him pushing away those who care for him, such as Emory, his best-friend Andrew, and his own family. Perpetually dogged by his own sense of inadequacy, his growing self-absorption, even if of the miserable and negative variety, soon affects his empathy and well-being. ¡°He wondered why he always seemed destined to be slightly too far ahead or too far behind his own life.¡± Emory on the other hand attempts to help him but as the world around her becomes more and more weighed by bad news, she also struggles to make sense of everything that is going on and the gnawing guilt she feels towards her article. For all her attempts to make things work and his longing to be happy, content even, their relationship continues to fray. ¡°Emory couldn¡¯t imagine what it felt like to inhabit space you truly owned. Cities were hostile to anyone who couldn¡¯t count on the split rent and utilities of partnership. Being one person was more expensive than she had been taught to anticipate.¡± We later return to the wedding scene, except that this time we follow two different guests, Andrew and Fin. Both are there with their soon-to-be exes. They properly meet later on, in a gallery. Despite his best efforts, Andrew, a 31-year-old professor who has recently gone through a fairly amicable separation from his wife, finds himself falling for Fin. Not only does Andrew slowly come to terms with the desires and knowledge that he had so long suppressed, but he is wary of falling for Fin, a 20-year-old ballet student hailing from London. Fin too is filled with doubt, and seems always braced for the worst-case scenario, of Andrew¡¯s inevitably disinterest, of failing at what he loves, of not being good enough. Yet, despite their worries, the two have fallen fast and hard for each other. As their relationship becomes more serious, Andrew and Yun¡¯s friendship seems to come undone. ¡°He wondered if a love not properly expressed mutated into something jagged and unwieldy like metal, something that could kill you.¡± As the characters contend with old and new hurts, hidden feelings, loneliness and longing, psychogenic catatonia continues to threaten their horizon. Jameson seamlessly switches points of view, often adopting a nonlinear narrative and or using foreshadowing to build and maintain tension. Her prose brought to mind Hanya Yanagihara, Donna Tartt, and Scott Spencer. Jameson¡¯s prose effortlessly moves between registers: from presenting us with clear-cut and incisive descriptions (of the character¡¯s feelings, thoughts, actions, and surroundings), to using her language to evoke with striking intimacy and poignancy the mood and nuances of a certain moment/scene. Jameson¡¯s style maintains a balance between crisp yet opaque, at times eliciting in dazzling detail the state of mind of a character, at times allowing room for the ambiguous nature of her character¡¯s fears and desires to shine. Her dialogues rang true to life, not only in their rhythms but in how they often revolved around or hinted at unspoken feelings. The setting, mostly ¡®post¡¯-covid NY, is brought to life. Jameson captures just how easy it is to feel lost and alone in such a city, while also incorporating discussions on current politics and on America¡¯s healthcare service. Jameson presents us with a painfully realistic portrayal of depression: not only the many ways in which it manifests in the person affected but on its eventual effects on the people who love them; rather than indicting Yun, Jameson makes us feel for him. We eventually may grow saddened by his inability and unwillingness to accept other people¡¯s help and the way he weaponizes his own hurt and disappointment. Despite the melancholic tone permeating much of this novel, there are so many moments and scenes that will fill readers¡¯ hearts with hope and love. I was 100% invested in Andrew and Fin¡¯s relationship, and seeing them be vulnerable with one another really pulled at my heartstrings. Andrew and Yun¡¯s relationship also gave me all sorts of feelings, and I found myself filled with sorrow on their behalf. Jameson uses this ¡®is the world ending?¡¯ scenario as a backdrop to some profoundly poignant character studies and as a bouncing board to interrogate happiness, love, self-destruction, depression, suppressed and/or unrequited feelings and many more. I found Jameson¡¯s examination of happiness thoroughly captivating. How some people set themselves up for failure and disappointment by never allowing themselves to be happy, always comparing what they have unfavourably with what they envisioned. Often, rather than wondering why they feel perpetual unhappy and dissatisfied, they blame others for not meeting their expectations. Or they hold others responsible for not making them ¡®happy¡¯. To cope with this constant sadness and satisfaction they make themselves believe that being with someone else or doing something else or being somewhere else is what will make them happy. Jameson captures the current zeitgeist, as she articulates her characters¡¯ very contemporary malaises: from daily anxieties and depicts their experiences with precarious jobs and housing, the ever-present FOMO, ennui, and their growing nihilism at the world they live in. Many of the characters in this novel feel simultaneously unmoored yet stuck, overcome by their own impotence in face of psychogenic catatonia and a world that, against all odds, keeps going on. Psychogenic catatonia plays a symbolic role in the story, as those affected seem to be giving up on participating in life; no longer bound by social norms, they lash out at anyone who attempts to interfere with them, refusing to get up, talk or eat. Whether their ¡®sitting down is an act of resistance or surrender, is a question that underlies much of the narrative. Throughout the novel, Jameson explores happiness, adulthood, loneliness, and connectedness. Her characters deal with failure, disappointment, and their own impotence, ¡®smallness¡¯, in the face of all that is going on in their world. I loved how many moments of vulnerability, kindness, and love we got. I also found myself relating very much with the many instances where characters are struggling to cope: with their own life, with their own unhappiness, and with taking accountability. Yun, Emory, Andrew, and Fin¡¯s flaws and idiosyncrasies are what made them memorable and real. Although I am more of a Yun/Fin, Andrew had my heart. He was such a gem. His kindness, his alertness to other people's feelings, his selflessness¡getting to know him was a delight. The narrative¡¯s self-awareness adds to the story. Not only does Jameson touch upon the notion of ¡®main character syndrome¡¯ but she reflects on the concept of a narrative arc, examining stories' tendency to provide some sort of closure for their characters. Jameson resists doing this, which will inevitably annoy readers and I have to say that the what-ifs scenarios presented by the ending were the only thing that I did not love about this novel. Are You Happy Now makes for a deeply moving novel exploring the sadness and happiness of its main characters as they grapple with ordinary and extraordinary situations. While I was reading I felt many things: apprehension, joy, sadness, and tenderness. Are You Happy Now is a striking novel that for all the heartache it causes me, I look forward to revisiting again. PS: not a fan of the cover...it really doesn't have anything to do with the book's vibe. some quotes: And she thought, Oh shit, I really like him. Oh shit, because it was never a good time to realize you really liked someone. Realizing you really liked someone meant knowing on some level it was going to hurt. He was struck by the familiar feeling that someone else out there, or maybe several other people, were already living the life he was supposed to be living, were already living the life he was supposed to be living, because maybe he had been too slow or too unfocused, or just not good enough to attain it. I wanted you to be happy. I didn¡¯t care what you were doing. It just got too much, watching you do the same thing over and over, and I realized you were never going to stop trying to become this imaginary version of yourself where you¡¯re happy because you¡¯re rich or signed to a big label or something huge like that. Even when things did go well, you were never happy because it wasn¡¯t like this ultimate fantasy you already made up in your head. [¡] It was really hard to be around, to be with someone who was just never happy. He wondered if she had somehow felt it, felt him slipping away. But it wasn¡¯t likely. She was just standing by him and searching for a way to help, like any normal person would. Like any good person. That¡¯s my problem. Everyone feels like the right person, I can¡¯t even tell the difference any more. I ride the subway and see someone reading a book I was just reading and think, Wow, maybe it¡¯s you. It happens all the time. Someone looks at me and it¡¯s just them. You know what I mean? Home is just a lie our brains tell us about permeance. He couldn¡¯t stand to be looked at like he mattered, when mattering to someone was dangerous. Fin wanted with all the wide-eyed grasping of someone who¡¯d never had, and no matter how viciously he polished the surface everyone could see it. Not because of age. Being in your thirties meant nothing. But by then, people tended to have acquired things that gradually cut them off from all the places [¡] they imagined more exciting lives were taking place. It was like he didn¡¯t understand that relationships were all about power. They were about control, about who could endure the longest without visibly caring. Andrew was always giving his power away without a thought, like wasn¡¯t ceding anything. As far as she could tell, what Yun wanted from his parents was impossible. He wanted them to have made him happy. Time will give you the illusion that you've put some distance between you and trauma, that you can stand up and walk away. But that time is elastic. The further you try to pull away, the harder it will snap you back. He couldn¡¯t forgive them, for being human, for not getting parenthood right the first time, for not raising him better able to deal with this. Andrew waited at the bottom of the steps, wondering whether friendships burned out in the same way epidemics, hysterias and protestors do, then went up. You couldn¡¯t actually tell people you just didn¡¯t want to be with them any more. There had to be a better, more socially acceptable reason. By a force of habit, going back to childhood, he asked himself what part of the movie this was. The movie of his life. The main problem with his life-as-a-movie theory was that it wasn¡¯t easy to apply to other people who weren¡¯t the protagonists of his reality. What happened to everyone else? He wanted something too large and all-encompassing to articulate, and even if he had known what he wanted, he didn¡¯t know how to ask. How do you ask someone if you can go back? Asking if you could both go back was too much to ask of anybody, certainly too much to ask of someone who was moving forward. He could ask for anything but more time, to go back and right that misstep. ...more |
Notes are private!
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1
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Dec 15, 2022
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Dec 17, 2022
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Dec 07, 2022
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Hardcover
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0593534565
| 9780593534564
| 0593534565
| 4.51
| 58,160
| Mar 07, 2023
| Mar 07, 2023
|
it was amazing
| ¡°Ellwood smiled, and a sudden, dry bleakness spread over Gaunt¡¯s heart as he thought of Hercules, and Hector, and all the heroes in myth who found hap ¡°Ellwood smiled, and a sudden, dry bleakness spread over Gaunt¡¯s heart as he thought of Hercules, and Hector, and all the heroes in myth who found happiness briefly, only for it not to be the end of the story.¡± The Charioteer meets All Quiet On the Western Front in this haunting and elegiac debut novel that juxtaposes the horrors of war with a powerful love story. It¡¯s a novel about love, survival, death, and the reality and the aftermath of witnessing and being participants in unthinkable violence. The idyllic landscapes and the trivialities of youth we encounter in the opening chapters belie the violence and pain that are to come, making those earlier moments all the more precious, all the more bittersweet. This novel broke my heart. It made me cry, it made me despair, it made me feel all of the feels. In Memoriam is a gut-wrenching novel revealing the brutality and the banality of war: time and again we are made to read of young men, boys really, dying in the most horrible and random of deaths, and we see how their bodies are merely replaceable cogs in the machine of war. But I am getting ahead of myself. ¡°He went there in the mornings, sometimes, and gave himself to that strange country rapture, that deep, bonewarming feeling that England was his, and he was England¡¯s. He felt it as strongly as if his ancestors had been there a thousand years. Perhaps he felt it more strongly because they hadn¡¯t.¡± The opening pages transport us to 1914, to Preshute, the idyllic boarding school in the English countryside. Here we see the petty disagreements and secret entanglements between various students, most of whom have grandiose visions of the English Empire, of honor, of war. Despite their different temperaments Henry Gaunt and Sindey Ellwood are best friends. Their friendship is complicated by the unspoken feelings they harbor for one another. Each believes that their love is unrequited and that acting on it will inevitably ruin their friendship. So, they spend their days pining for each other and trying to hide, not always successfully, their true feelings. In this rarefied world, they spend their days talking about meaningless and meaningful things, yet, news of the war puts a strain on their days of idleness. Gaunt and Ellwood, alongside their friends, are particularly drawn to the ¡®In Memoriam¡¯ section of their paper, and while soon enough the names on those pages are of boys and men they know, these also seem to promise heroic tales that speak to them given that they are well-versed in the classics. Gaunt, however, who is half German, feels differently about these things from most of his peers. Yet, despite his anti-war sentiments he finds himself pressured to enlist by his mother and his sister after they reveal that it will put to rest rumours questioning where their family¡¯s loyalties lie. ¡°Ellwood¡¯s England was magical, thought Gaunt, picking his way around nettles. But it wasn¡¯t England.¡± Ellwood, a year younger, initially stays behind, keeping a correspondence to Gaunt that reveals the unbridgeable gap between his reality at Preshute and Gaunt¡¯s one on in the trenches. They continue to yearn for one another, but their love is soon obscured by the horrors Gaunt experiences on the front. Class privileges continue to be felt in the army and Gaunt, a boy still, is in command of men who are twice his age and did not grow up in the sheltered walls of Preshute. Concerned for Gaunt, Ellwood eventually decides to enlist as well, and he is joined by most of his friends. Soon enough he realizes that his former visions of honor, glory, and England have little to do with the day-to-day reality of war. From the living conditions to the landscapes punctuated by bodies and gore. And always so much death all around them. Death that is not always a result of enemy fire. The men around him die because of infections, a literal misstep, or a mild malady turned deadly. They also die because they waver, and their hesitancy is deemed an act of cowardice. They are driven mad, by the violence they see, and the violence they do. ¡°It was the Hell you¡¯d feared in childhood, come to devour the children . It was treading over the corpses of your friends so that you might be killed yourself. It was the congealed evil of a century.¡± Gaunt and Ellwood¡¯s love seems a foreign thing in a reality like this. Yet, their proximity to death is also what makes them now more than even desperate for the other. Their relationship is a fraught one given the circumstances that have led to their coming together. Gaunt in particular being Ellwood¡¯s superior, and haunted by his own actions at the front, is committed to keeping their relationship one of convenience, something that pains him as much as Ellwood. Ellwood, who still retains at this point an easy-going insouciance, tries his best to be of comfort to Gaunt, but, eventually, their paths diverge. During the months and years following their enlistment, we watch them trying to survive but retaining one's body and one's mind in war is no easy feat. The more of his friends die, the more Ellwood begins to change, and his attempts to immure himself to pain see him turn into someone who is jaded, cruel, and angry. Gaunt, who had for so long suppressed his feelings, and rarely allowed himself to feel things fully, is reunited with some old friends and their companionship, as well as the possibility of seeing Ellwood, spur him on. Oh, my poor heart. At first, I was fooled by the beautiful prose and by the dazzling intensity of Gaunt and Ellwood¡¯s yearning. Once we leave Preshute behind, there are only echoes of that earlier beauty. There are moments of kinship, of comradeship, between the men. Their banter is a temporary reprieve from the fear, uncertainty, and brutality of war. Against this unforgiving landscape, punctured by violence and agonizing waits, Gaunt and Ellwood¡¯s feelings for one another, as well as their faltering relationship, appear almost as if bathed by a quietly luminous light. ¡°I wish I could be more articulate, but the English language fails me. It sometimes feels as if the only words that still have meaning are place names: Ypres, Mons, Artois. Nothing else expresses.¡± Alice Winn doesn¡¯t hold back from portraying the realities of war or from being critical of the British. Except for one character, Gaunt¡¯s sister, the novel is populated by characters who for better or worse struck me as real. Given the period and depending on a character¡¯s background, they would inevitably express troublesome views. Rather than indicting or condoning them, Winn allows her characters to be flawed, messy, and idiosyncratic. Notions of duty and honor, as well as cowardice, are recurring motifs, as we witness how these have shaped and continue to shape the characters. Some find themselves holding onto patriotic beliefs, others are unable to reconcile the realities of war with their lives so far. Some are driven mad, lashing out against their fellow men, or retreating inward, so inward that their physical body no longer matters. Time and again we are reminded of how young these soldiers are, and the myriad of banal ways their lives can be cut short. We see the disconnect between those on the front, and those who dispatch orders from afar, often sending hundreds or more to meet avoidable deaths. But you keep on reading, hoping against hope for a miracle, a way for Gaunt and Ellwood to be brought back together¡ ¡°My dearest, darling Sidney, There was nothing else.¡± In Memoriam really tore me up. Yet, the majestic prose, the urgency of the story, and the bond between Gaunt and Ellwood kept me turning pages. There are so many scenes and passages that are harrowing, raw, and unsparing in their brutality. And maybe those make those moments of stillness, of quiet, all the more agonizingly tender. ¡°Gaunt was woven into everything he read, saw, wrote, did, dreamt. Every poem had been written about him, every song composed for him, and Ellwood could not scrape his mind clean of him no matter how he tried. He thought perhaps all the pain would sour the love, but instead it drew him further in, as if he were Marc Antony, falling on his own sword. And it was a magical thing, to love someone so much; it was a feeling so strange and slippery, like a sheath of fabric cut from the sky.¡± And the more I read, the more worried I became, as it was clear that no one was safe and everything goes. And it was fucking heartbreaking to see just how unrecognizable some of the characters become. They may not have died but they are certainly not living. And Winn succeeds in capturing that specific terror of being confronted with the possibility that someone you know, someone you love, is there but not. Their body is, it may even look eerily unchanged. But their minds are no longer the same. You may lie to yourself into believing that they will be restored to who they were, that time will heal their wounds, but eventually, you might have no choice but to confront the reality: that they will never be who they were. The novel¡¯s exploration of love, queerness, and of morality, definitely brought to mind works such as The Charioteer, The Absolutist, and Maurice. Winn¡¯s writing has this pictorial quality and melancholy that really brought to mind the style of Mary Renault, so much so that even the way the characters speak, their inner turmoils, and the way they interact with one another, all made me think of Renault's work. The characters are continually faced with difficult choices, but the rhythms of war and the chaos of a battle rarely allow the time for them to question whether what they are doing is right, wrong, or another thing altogether. What do you do when you know you are being sent to your death? What do you do when the people around you are losing their minds? ¡°Ellwood was surprised to find that he was not glad either, although his hatred grew and grew. But he could not hate soldiers. He longed to destroy, to hurt, to kill, but he wasn¡¯t sure whom. Possibly the civilians.¡± My one quibble lies in Maud, Gaunt¡¯s sister. She is the kind of female character that you can find in Natasha Pulley¡¯s books or other historical fiction featuring a gay romance, that is a young woman who is a source of conflict for the couple, and always finds a way to excuse their callousness and selfishness (often by reminding the other person of the limitations imposed on her by her gender). Her presence annoyed me. Winn does, unlike Pulley, try to make her readers feel for Maud, but I had a hard time ignoring how uncaring and sanctimonious she was, especially towards Gaunt. And she never seemed to listen or to allow for someone else¡¯s perspectives, presenting herself instead as the wronged party. But maybe a re-read will make her character more tolerable... ¡°Ellwood had never been interested in ugliness, whereas Gaunt [¡] feared that ugliness was too important to ignore..¡± The main characters, Gaunt and Ellwood are compelling, and so are their differences and similarities. Not only does Winn render the patterns of their thoughts, but is able to convey their voices: the way they speak, the kind of things they would say, and so. The cadences of their speech, and the way their minds work, however exasperating, Winn captures all of this, so that they both felt like real people. This makes the way they change all the more heartbreaking. Having grown to care for them, to see them become so unlike themselves, it was truly harrowing. Their feelings for each other are beautiful. They long for each other, but they are unable to articulate their love. Yet, they do form a love language of sorts, as they borrow the words of other men, quoting poetry and the classics to one another. Even at Preshute their love is clouded by worry, by the possibility that their feelings are unrequited, and later on, it is obscured by the war. Trauma changes them, and it changes the way they can love, and I cannot stress enough how that scene, that scene you were waiting for so long, has none of the happiness and warmth you¡¯d expected. This may seem like an exaggeration but I felt bereft. But it would have been disingenuous to have that scene go any other way. We encounter so many men within these pages. Some live, but a sentence, others live longer, but their safety is never a guarantee. ¡°How alive it all seemed, and how gracious¡ªto die in an era when your death bought you a brief moment at the centre of something. To be important, rather than one of millions.¡± Time and again Winn juxtaposes the beauty, the poetry, and the blissful freedom of their time at Preshute, with the newfound reality, which is oppressive, brutal, and bloody. In portraying Ellwood and Gaunt¡¯s experiences on the front, Winn never takes the easy option, by making all of their actions and behaviors heroically selfless acts. Gaunt cannot wholly shake himself of his anti-war sentiments, nor can he ignore that he is fighting against the Germans, a people he still feels part of. Ellwood instead grows bitter towards that and those he¡¯d loved, from the poets he admired to the civilians back home who easily speak of the war without even knowing its ravages first-hand. ¡°It was a common conversation. In 1913, you might ask a new acquaintance where he had gone to school, or what he did for a living. In 1916, it was this: what part of yourself did you most fear losing?¡± The time period is depicted with startling realism. From showing the constraints experienced by Gaunt and Ellwood, their awareness of their difference from others, not only when it comes to their sexuality, but Gaunt is half-german and Ellwood has Jewish roots. We also see how Preshute both insulated them from the real world, but not wholly, as there they are still expected to obey certain hierarchies and traditions, and they are taught that displays of emotions are a weakness. ¡°He did not know that it was the first thing homesick little boys in their dormitories learnt at boarding school: how to cry in silence.¡± In Memoriam is a novel that hits hard. It¡¯s beautiful, theatrical, and romantic. It¡¯s brutal, tragic, and devastating. It¡¯s a book about war, death, trauma, and grief. It¡¯s also a book about love: the love between friends, between brothers in arms, between allies, and, of course, between lovers. It¡¯s by no means an easy read but it¡¯s a gripping one. If you don¡¯t mind sobbing, and feeling as if your heart was in your throat, In Memoriam is a soul-stirring and arresting read that has your name on it. A symphonic meditation on love, brotherhood, masculinity, death, grief, and trauma, In Memoriam is a startlingly evocative and deeply excruciating debut novel that I am planning on losing myself into again and again. ...more |
Notes are private!
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1
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Jan 28, 2023
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Jan 30, 2023
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Sep 03, 2022
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Hardcover
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1250806208
| 9781250806208
| 1250806208
| 3.97
| 455
| Jan 24, 2023
| Jan 24, 2023
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liked it
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? ? ? ? ? ? ¡°It will hurt. It already hurts. Everything fucking hurts, and still we are bigger than our tra? ? ? ? ? ? ¡°It will hurt. It already hurts. Everything fucking hurts, and still we are bigger than our tragedy. We are not deviant, we are exultant. We are on top of the world. We are bigger than our tragedies.¡± The Minus-One Club is a sad, sometimes funny, ultimately bittersweet coming-of-age exploring grief, love, identity, as well as depression, addiction, and faith. The short chapters, some not even a page long, the simple yet punchy prose, and the focus on mental health, make The Minus-One Club the kind of read that is hound to appeal to fans of Benjamin Alire S¨¢enz and K. Ancrum. The Minus-One Club is the kind of ya book that I would have absolutely loved 10 years ago, but now, I can only ¡®just¡¯ like. There were these moments of tenderness that did get to me, and I found the author¡¯s portrayal of grief, acceptance, and sexuality to be realistic, so much so that readers looking for books where everything works out, in the end, should approach The Minus-One Club this with caution. ¡°It didn¡¯t feel like anything to me,¡± he says. ¡°I don¡¯t feel anything anymore.¡± Our narrator, 15-year-old Kermit Sanders, is bereft. His older sister, died in a car accident, and Kermit¡¯s life will never be the same. His very religious parents seek solace in God and in their local church, but Kermit doesn¡¯t know what to believe anymore. When he returns to school he feels at remove from everything, miles away from the ¡®petty¡¯ concerns of other high school students. His best friend, alongside most of the school, doesn¡¯t know how to deal with Kermit¡¯s loss, so they either proffer unwanted platitudes or avoid him altogether. Kermit can¡¯t stop thinking or dreaming of his sister, often hearing her voice in his head. And then he finds in his locker a mysterious invitation that leads him to the ¡°Minus-One Club¡±. The club is made up of five other students, all of whom have ¡®lost¡¯ someone. They meet up after school, to play cards together or other games. They offer a weird type of moral support as they are never to discuss their losses. The club is in fact a place where they want to be free of other people¡¯s sorrys, or have to talk about their feelings. Here they can just be. Despite belonging to different ¡®social¡¯ groups, and not being able to talk about ¡®stuff¡¯, their bond is an unspoken one. Kermit finds himself growing particularly close to one club member, Matt, a seemingly happy-go-lucky guy who happens to be their school¡¯s only ¡®out¡¯ gay student. The more time they spend together, the stronger Kermit¡¯s feelings for Matt become so that soon enough his crush develops into something harder to ignore. But spending time with Matt and the club sees Kermit drift away from his parents. Not only do they impose stultifying rules on Kermit but they expect, demand even, that he continue to attend church and take part in church-related activities. As Kermit realizes that Matt may feel the same as he does for him, he struggles to reconcile his sexuality with his faith. Not only is his church particularly homophobic but his parents are too. As Kermit tries to unlearn those beliefs that have made him view his desires and himself as sinful, and wrong, he is forced to decide whether he can continue ¡®pretending¡¯ to be someone that he is not. Kermit and Matt¡¯s relationship however is further jeopardized by Matt¡¯s own troubles. Despite his carefree attitude, Matt is not doing well at all, and as his drinking worsens it falls Kermit, and all of the club really, have to confront the dangers of keeping silent about their grief and their pain. In addition to exploring the realities of grief and depression, Kekla Magoon touches on peer pressure, both when it comes to drinking and having sex, and bullying. Some of the characters act in ways that are, to put it mildly, problematic, but rather than condemning them, we are made to understand what and how they may have come to behave in such a way. I appreciated the empathy Magoon shows her characters and the sensitivity she demonstrates in treating such complex issues. My heart went out to Kermit, Matt (flawed as he is), and the rest of the club. I liked that the ending is hopeful yet realistic, in that some things remain (for the time) unresolved. I also appreciated that the story not only shows how grief expresses itself differently in different people (some like matt develop a self-destructive streak, others find thesmelves questioning theri faith, some cry, others don't, etc.) but the repercussions of having emotionally abusive and/or neglectful parents. Kermit's parents fail or refuse to, recognise his grief as 'genuine' (because he hasn't cried), or allow him to be himself. They even try to stop him from spending time with Matt, even when that's what makes him happy and pressure him to go to church even when he expresses the desire not to. Superficially Matt's father may seem great, given that doesn't care whether Matt goes to parties or who he brings back home with him. But, after certain events later in the story, Kermit comes to realize just how hurtful it can be to know that your parent doesn't really think of you. Another strength of The Minus-One Club was that Magoon doesn't gloss over Kermit's internalised homophobia nor is his faith depicted simplistically as Magoon takes time to explore the whys & hows of his fraught relationship to his religion and his parents. While I could have done without the 3-page farting/dream sequence (maybe that¡¯s just me) I did find those sillier moments between Kermit and Matt or between Kermit and his sister, to add much-needed levity to the story. The chapter titles also provided a source of humor. Anyway, if you are looking for a ya read that will pull at your heartstrings, look no further. I know I said earlier on that I didn't love this, I just liked it, but now that I have thought back to it, I can honestly say that I am fond of this book. Kermit, Matt, and the rest of the club got to me. They have these very wholesome moments that felt so very precious. Also, I think this book delivers several important lessons in a way that felt authentic and poignant (as opposed to contrived and 'preachy'). And while not everything is resolved by the end, those final pages were rewarding and full of heart. Ultimately, the book shows the importance of being honest, about your feelings, ugly or sad as they may be, of being there for your friends, even when they try to tell you nothing is the matter and everything is a-okay, and that sometimes, you can't just 'get on with things' or push through it, and you have to allow yourself time, to feel, and maybe even, one day, heal. ...more |
Notes are private!
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1
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Jan 24, 2023
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Jan 26, 2023
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Aug 18, 2022
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Hardcover
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0063021420
| 9780063021426
| 0063021420
| 4.16
| 364,808
| Aug 23, 2022
| Aug 23, 2022
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really liked it
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? ? ? ? ? ? ¡°Languages aren¡¯t just made of words. They¡¯re modes of looking at the world. They¡¯re the keys? ? ? ? ? ? ¡°Languages aren¡¯t just made of words. They¡¯re modes of looking at the world. They¡¯re the keys to civilization. And that¡¯s knowledge worth killing for.¡± Babel, or The Necessity of Violence: An Arcane History of the Oxford Translators' Revolution is an incendiary indictment against colonialism. Within this superbly written slow-burner of a bildungsroman, R.F. Kuang presents her readers with an extensive critique of eurocentrism, scientific racism, white supremacy, elitist institutions and the hoarding of knowledge, and British imperialism that is by turns didactic and impassioned. If you are a reader who isn¡¯t particularly into nonfiction but you are keen on familiarizing yourself with discourses on colonialism, decolonization, and postcolonialism, or are interested in linguistics (translation, interpretation, language contact), or learning more about the circumstances that led to the First Opium War, you should definitely consider picking Babel up. Babel is a rare example of how¡ªin the right hands¡ªtelling can be just as effective a storytelling method as ¡®showing¡¯. Kuang¡¯s storytelling is quite frankly superb. And not only is the narration immersive and encompassing, but it is also informative and thought-provoking. Undoubtedly readers will feel angry by what they will read, and the unrelenting racism, discrimination, physical and emotional violence experienced by the story¡¯s protagonist, Robin. This is a decidedly heavy-going story. And yet, thanks to Kuang¡¯s bravura display of storytelling, readers will find themselves persevering, despite the foreshadowing that presages worse is to come¡ The majority of the novel takes place in an alternate 1830s Oxford where Babel, the University's Royal Institute of Translation, is the ¡®pioneering¡¯ centre of translation and 'silver-working', an act that catches what is lost in translation and manifests it into being. After cholera decimated his family, Robin, a boy from Canton, is whisked away from China to London by the imperious Professor Lovell, who happens to be a renowned professor at Babel. Robin has no choice but to follow and obey Professor Lovell¡¯s strict study regimens. Not only does Professor Lovell impose a punitive lifestyle on Robin, forcing him to dedicate his every waking moment to the study and learning of languages, but he devests him of his ¡®former¡¯ name and makes him relinquish any remembrances of his former life. Additionally, Professor Lovell subjects Robin to many forms of abuse: from spewing ethnocentric and white supremacist speeches, to physically ¡®punishing¡¯ Robin. Growing up in this environment Robin grows to resent his ¡®mentor¡¯, and yet, even so he is desperate to belong. Besides his tutors and Professor Lovell, Robin only really interacts with his mentor¡¯s housekeeper, who, despite being the only person to show him any tenderness, is nevertheless complicit in Professor Lovell¡¯s continued abuse of him. Robin¡¯s childhood is not a happy one, in fact, it is not really a childhood at all. The setting combined with the misery of it all brought to mind the work of Charles Dickens. Unlike Dickens¡¯ heroes, Robin is not only disadvantaged by his being an orphan but by not being white, something that ultimately makes him a very un-Dickensian character. Professor Lovell¡¯s oppressive ¡®rule¡¯ instils in Robin a sense of fear: while he does have a lot of questions (how did the professor find him? why him? why is he 'bestowing' on him such an education? what will await him at babel?) he is weary about disobeying him. Moving to Oxford opens Robin up to a world that is both awe-inspiring and terrible. At Babel he can master languages in even more depth, he can be surrounded by hundreds of years of knowledge, and by (supposedly) like-minded individuals. ¡°They¡¯d been chosen for privileges they couldn¡¯t have ever imagined, funded by powerful and wealthy men whose motives they did not fully understand, and they were acutely aware these could be lost at any moment. That precariousness made them simultaneously bold and terrified. They had the keys to the kingdom; they did not want to give them¡± But even Babel has its own set of hierarchies, which prioritize whiteness and European cultures and languages. While Babel, unlike other colleges at Oxford, admits a more diverse student body, compared to his white peers, Robin is treated with a mixture of fascination and disdain. The older students seem unwilling to mingle with first-years so inevitably Robin becomes close to his cohort: Ramy, Victoire, and Letty. Robin and Ramy become particularly close, and their bond is one of the novel¡¯s strengths. It isn¡¯t a particularly straightforward relationship but their similar experiences and circumstances intensify their kinship. There is a chapter relatively early in the novel that focuses on their early days getting to know each other which was immeasurably bittersweet. ¡°[This] circle of people he loved so fiercely his chest hurt when he thought about them. A family. He felt a crush of guilt then for loving them, and Oxford, as much as he did. He adored it here; he really did. For all the daily slights he suffered, walking through campus delighted him.¡± You feel such relief for Robin to have found someone who just gets what it means to be seen as ¡®other¡¯, to be treated as ¡®inferior¡¯, 'un-English', and to have been deracinated from their homelands and to feel such contrasting emotions at being at Oxford, an institution that upholds racist ideologies. In this ¡®alternate¡¯ setting this contrition is even more felt given the role that Babel plays in silver-working and of how silver bars are enabling the British empire to amass even more power and wealth and to further ¡®expand¡¯. Robin believes that by staying at Babel, he is surviving. Ramy however is more openly critical of Britain. The duo is later joined by Letty and Victoire, who, being girls are also subjected to discrimination. Like the boys, Victoire, who is Black and was born in Haiti, has an extremely fraught relationship with Babel. Letty, who is white and was born and raised in Britain in a relatively well off family, is in some ways the odd one out. Yet, she seems intent on portraying herself as a victim, in any circumstance really, often referring to her own experience with misogyny to negate Robin, Ramy, and Victoire's experiences with racism and colonialism. Additionally, her brother died, which Lety, we are both told and shown this, uses to earn her ¡®friends¡¯ sympathy. We are meant to hate her, and hate her I did. Imagine the most annoying aspects of Hermione Granger¡¯s character and you have Letty (stubborn, sanctimonious, a stickler for rules). She is a colonialist apologist who, despite being ¡®exposed¡¯ to the perspectives/realities of people who have been colonized or have experienced violence at the hands of the British empire, remains firm in her stance (we learn this quite early on so i don¡¯t think it¡¯s that much of a spoiler). I recently came across this quote by Oksana Zabuzhko, a Ukrainian writer, that very much applies to people like Letty: ¡°This is what power really is: the privilege of ignoring anything you might find distasteful.¡¯ Certainly, we can see why at first Robin, Victoire, and Ramy would not oppose Letty¡¯s presence in their group. These opinions have been instilled in her by her upbringing. But, when the months and years go by and Letty's belief in the British empire remains unwavering¡well¡her presence in the group didn't make much sense. I couldn¡¯t fathom why the others would keep her around. I get that she existed to make a point, and sadly I know people like her (who resort to self-victimization whenever confronted with anything resembling criticism, who believe themselves to be 'nice' and 'kind' but only have empathy for themselves) but I just found her beyond irritating and obnoxious. She has no redeeming qualities. And it annoyed me that she took the center stage in many of the group interactions and took away page-time from characters like Ramy and Victoire. I wish she could have been pushed to the sidelines more, and maybe for her then to take more of a role when sh*t starts going down. But I digress. At Babel Robin finally learns more about silver bars and dio mio, it isn¡¯t good. He learns just how powerful language can be and has to reconcile himself with the knowledge that he is contributing to the enrichment of the British empire. Robin is approached by a member of a secret organization, Hermes Society, whose aim is to sabotage the silver-working that goes on at Babel and disrupt the status quo. Robin feels at a crossroad, damned if he does, damned if he doesn't. While he does still experience racism and discrimination at Babel, it is there that he can access knowledge that would otherwise not be accessible to him. And, of course, it is there that he was able to meet Ramy and Victoire (i should really include letty because robin does care for her but i cannot bring myself to). Babel also has shielded him away from Professor Lovell, who he now sees only on rare occasions, and given him the kind an opportunity that many others will never have...but that doesn't make him unaware of how, beneath its 'enlightened' veneer, Babel is rotten. Can he help Hermes Society if their acts of sabotage include or result in violence? Is violence inevitable in a revolution? And by choosing not to act does he become a cog that keeps the British empire running? ¡°He hated this place. He loved it. He resented how it treated him. He still wanted to be a part of it ¨C because it felt so good to be a part of it, to speak to its professors as an intellectual equal, to be in on the great game.¡± Robin is torn between his hatred for the British empire and the safety he believes he can only experience at Babel. Kuang renders his inner conflict with painful accuracy and extreme empathy. While other characters may be critical of Robin¡¯s unwillingness to ¡®choose¡¯, readers won¡¯t be as ready, and in fact, they will find themselves unable to judge him. He tries to help but inevitably his indecision leads the Hermes Society to decide for him. It is only when Robin is forced to confront the consequences of the opium trade¡ªon China, on the Chinese population, and on the Indian farmers who harvested it¡ªthat he finds himself ready to act. But, things do not exactly pan out as the story takes us on a The Secret History kind of detour that will undoubtedly appeal to fans of whydunnits and dark academia. While the atmosphere prior to this event was by no means light-hearted after this happens Kuang ups the tension all the way up. The shifting dynamics within and outside of Robin¡¯s group also change, and not necessarily for the better. And the stakes are just sky-high. Like the summary says, Babel ¡®grapples with student revolutions, colonial resistance, and the use of translation as a tool of empire¡¯. We witness the many forms that power takes, and one of them is in fact language. Language can be in fact a tool of oppression. Kuang¡¯s interrogation of the act of translation is utterly compelling. My mum is a translator and I am bilingual (yet have a foreign accent in both italian & english *insert tiny violin here*) and have recently started studying two other languages. Suffice to say, whenever I see a book exploring linguistics, I am interested (be it sci-fi like Arkady Martine's Teixcalaan series, literary fiction such as Batuman's The Idiot, or nonfiction like Lahiri's In Other Words). And Kuang really presents us with so many interesting facts and insights into translation and untranslatability. Kuang pays incredible attention to words and their various meanings, which truly enriches Robin¡¯s story and his experiences at Babel. Kuang discusses contact-induced change (which sometimes results in language death) and reading about it even feel guilty about having neglected my ¡®mother-tongue¡¯ (on a side note: i have noticed that here in england people seem less interested in learning languages as they rely on english being the most widely spoken language worldwide¡). While Kuang does acknowledge Morse code, braille and sign language and other nonverbal forms of communication do not really get a mention which is a pity. Nevertheless, Kuang presents us with such nuanced discussions around language and translation, I loved the attention she pays to the etymology of words, double meanings, doublespeak, and the ambiguity of language and interpretation¡ ¡°In Classical Chinese, the characters ¶þÐÄ referred to disloyal or traitorous intentions; literally, they translated as ¡®two hearts¡¯. And Robin found himself in the impossible position of loving that which he betrayed, twice.¡± Like I said early on, the writing sometimes shifts into a telling mode, so we have swaths of time which are summarized into a few lines, or certain events or arguments are related to us indirectly. But, Kuang storytelling is such that what we are being told feels incredibly vivid and¡ªfor the better and worse¡ªimmersive. Some of the lectures Robin attends may occasionally seem a bit too long or pedantic, and I wasn¡¯t always keen on the footnotes (more on that later), but I was never bored. Robin is such a compelling narrator and my heart went out to him. This povero ragazzo really can¡¯t catch a break. And when he finds some solace, with Ramy and Victoire, we have Letty to stir things up or spoil the group¡¯s rare moments of contentment. He hates Professor Lowell who is just so f*cking despicable and full of vitriol but also ¡®perversely¡¯ wants to earn his approval. He is also burdened by the realization that as the years go by he struggles to recall his mother and his early years in China. Once in England and under Professor Lowell¡¯s ¡®tutelage¡¯ Robin feels caught in a constant state of alterity: while the story mentions that there are occasions where he can ¡®pass¡¯, he experiences overt racism, disenfranchisement, and microaggressions on the daily. And he isn¡¯t given the tools or words to express this profound sense of injustice and alienation. Ramy and Victoire become his lifelines as he is finally given the chance to try to name the difficult thoughts and feelings he experiences living in a country that sees him and those like him as ¡®barbarians¡¯. Speaking of barbarians, I really appreciated how Kuang highlights the irony and hypocrisy of those British people who will claim that the people they are colonizing or waging war against are ¡®violent¡¯, ¡®savages¡¯, and ¡®uncivilized¡¯ and therefore deserving of being colonized, oppressed, and killed. ¡®How strange,¡¯ said Ramy. ¡®To love the stuff and the language, but to hate the country.¡¯ I found Robin to be such an endearing character. Kuang captures the disorientation of living somewhere where you are and will always be perceived as a perpetual foreigner. His longing for a place to belong to is truly heart-wrenching. He is not flawless but I genuinely believe that he always tries his hardest to do good by others. Sometimes self-preservation kicks in and he finds himself at a standstill. He feels a moral obligation to help the Hermes Society but is not quite ready to be responsible for the destruction of Babel. Yet, when he realizes that he is becoming complicit in the injustices perpetrated by Babel..well, he has to question whether his loyalties can even align with those responsible for maintaining unjust systems of power. ¡°Yet didn¡¯t he have a right to be happy? He had never felt such warmth in his chest until now, had never looked forward to getting up in the morning as he did now. Babel, his friends, and Oxford ¨C they had unlocked a part of him, a place of sunshine and belonging, that he never thought he¡¯d feel again. The world felt less dark now. He was a child starved of affection, which he now had in abundance ¨C and was it so wrong for him to cling to what he had? He was not ready to commit fully to Hermes. But by God, he would have killed for any of his cohort.¡± Ramy, who is more impassioned and outspoken, balances Robin perfectly. Their shared moments together do have certain undercurrents but these remain largely unspoken. And in some ways, it is this elision that made it all the more obvious. Letty¡I have said enough about her. She, similarly to Professor Lovell, remains unchanged throughout the course of the narrative. We know the kind of people they are from the very first and I am afraid that in some ways Letty is worse than Professor Lovell. Her acts of self-dramatization and victim playing drove me up the walls. Victoire was sadly underused. Her characterization sometimes relied too much on opposing Letty¡¯s one (we will have letty responding in a sh*tty way to something and then we will get a different response from victoire who usually acts as a pacifier). I just would have liked less page-time spent on Letty¡ªwho, however believable she is, is neither an interesting nor compelling character¡ªand more on Victoire. In the latter half of the novel, Victoire is given more room to breathe but due to the pace of the plot, the storyline can't really focus on her. I liked how many secondary characters come into play in the latter half of the novel and I was surprised by the role some of them play in the story. Reading about Britain¡¯s ¡®past exploits¡¯ is by no means fun. Yet, somehow, Kuang is able to make Robin¡¯s story wholly captivating and hard to put down. The anxiety I felt for him, and later on Ramy and Victoire, made me go through this nearly 500+ pages tome of a book at a relatively fast speed. There is much to be admired in Babel. [due to word count the rest of the review is in the comment section or alternatively ] ...more |
Notes are private!
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1
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Apr 28, 2022
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May 02, 2022
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Apr 12, 2022
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Hardcover
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0063209748
| 9780063209749
| 0063209748
| 4.21
| 11,000
| Jun 14, 2022
| Jun 14, 2022
|
really liked it
|
? ? ? ? ? ? ¡°Our friendships started with ¡°What¡¯s your name?¡± The answer carried with it looks that I can? ? ? ? ? ? ¡°Our friendships started with ¡°What¡¯s your name?¡± The answer carried with it looks that I can still see clearly: Stacia¡¯s begged me not to talk to her, and Tonya¡¯s asked, ¡°Is she talking to me?!¡± We got past those facial expressions and gave our names. Names that sound like heartbeats: Fe Fe, Precious, Stacia, Tonya.¡± Last Summer on State Street is a scintillating and profoundly poignant coming-of-age novel charting Fe Fe¡¯s fraught girlhood & the tragic dissolution of her friendship group. ¡°We were so different, but everybody loved them some double Dutch. Sometimes we made a tight-knit crew; other days we couldn¡¯t get along for nothing.¡± Our narrator, Fe Fe, looks back to the summer of 1999, her last summer in the housing projects of Chicago. She used to spend her days with her closest friends playing Double Dutch, blissfully unaware of the events to come. The introduction of a fourth girl into her group upsets certain dynamics, and Fe Fe finds herself torn between developing a new friendship and holding onto her old ones. But friend-drama is not all that occupies her mind, as Fe Fe soon grows apprehensive at how her community is being upended from their neighbourhood, with high-rises being torn down by the Chicago Housing Authority. In addition, Fe Fe has to reckon with the gang-related activities and their hold on two of her friends. After a police ¡®raid¡¯ results in Fe Fe¡¯s older brother being detained, he too spins further away from her, as he finds security and purpose in joining the local gang. Fe Fe not only has to cope without her beloved brother and two of her friends (one who has gone missing, the other seems out to get her) but her mother¡¯s depression and heartbreak at her son¡¯s ¡®chosen¡¯ path. Fe Fe wants to help those she loves, her friends, her brother, and her community, but she is soon forced to recognise that you can¡¯t always save others, especially if they think that they do not need saving, to begin with. The narrative grapples with questions of right and wrong, but in a way that feels anything but simplistic or moralistic. There is a certain open-endedness and ambiguity to Fe Fe¡¯s story that made her experiences seem all the more real. I found her struggles all the more affecting as I am myself experiencing a situation where I want to help someone who is very self-destructive and unwilling/unable to accept that they need help to begin with (to be less vague: the person in question is my father who is an alcoholic & drug addict). ¡°That summer, one by one, they dropped out of sight as if we were in a game of All in Together.¡± A sense of apprehension permeates much of the narrative, and the possibility of danger is always around the corner. From the brutal taking of Fe Fe¡¯s brother to the disappearance of Fe Fe¡¯s new friend. While the narrator does render the fear and anxiety created by living in such proximity to gangs, her ¡®adult¡¯ knowledge allows her to view their actions with more nuance. That is not to say that she condones their violence and criminal activities but we see how racial institutions promote the formation of such gangs as well as interrogating the trauma and alienation that would lead someone to join them. For instance, in the case of Fe Fe¡¯s brother, we see how disempowered and afraid he feels after he is the victim of discrimination & racial profiling at the hands of the police. Or how difficult it is to untangle yourself from a gang if your entire family is part of that gang. In addition to presenting us with a bittersweet portrait of female friendships & Black girlhood, the author explores the hyper-sexualisation & adultification of young Black girls, the criminalization of young Black men, and the bleak realities of living with neglectful and/or dysfunctional parents. Over the course of this summer, Fe Fe is forced into growing up, and we are forced to witness her trying to navigate dangerous and otherwise untenable circumstances. As those she loves to seem to spin further and further away from her, Fe Fe desperately struggles to hold onto them. As she watches her world irrevocably change, Fe Fe begins to identify & recognize the unjust systems that enable such damage to occur. Despite the novel¡¯s subject matter, Fe Fe¡¯s voice retains a lightness and hope that made even the most upsetting scenes ¡®bearable¡¯ (that is to say that of course they were still distressing but i was able to keep on reading). While there are a lot of heartbreaking moments, resilience & hope underline Fe Fe¡¯s recollection of her past. We also see her friendship with Precious Brown and the affectionate bond she shares with an older woman in the neighbourhood ground her and provide her with a sense of self-worth & inner strength. Her faith also plays a role in her ¡®coming of age¡¯, and even if I am not religious, I found her relationship to her faith touching and depicted with subtelty. My one ¡®but¡¯ has to do with the letter and those diary entries we get towards the end. They struck me as out of place, vaguely ¡®off¡¯ in that the voices there sounded not from the ppl they were meant to be by but by Fe Fe herself (or someone who was not in their position but was trying, not so successfully, to put themselves in their shoes). I think they were a tad contrived. Overall I really loved this. The writing is (deceptively) breezy & lyrical, the topics are hard-hitting, and the characters are complex, their imperfections & flaws making them all the more realistic. I can definitely see this appealing to fans of authors such as Jacqueline Woodson, Danielle Evans, and Patricia Engel, not only because they also tend to explore 'girlhood', but their styles share a certain shining quality that makes for very captivating reads. ...more |
Notes are private!
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1
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Jul 03, 2022
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Jul 04, 2022
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Feb 02, 2022
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Hardcover
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0525557598
| 9780525557593
| 0525557598
| 3.99
| 27,501
| 2022
| May 24, 2022
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it was amazing
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? ? ? ? ? ? This sequel needs a sequel. ¡°Was this the decisive moment of my life? It felt as if the gap th? ? ? ? ? ? This sequel needs a sequel. ¡°Was this the decisive moment of my life? It felt as if the gap that had dogged me all my days was knitting together before my eyes¡ªso that, from this point on, my life would be as coherent and meaningful as my favorite books. At the same time, I had a powerful sense of having escaped something: of having finally stepped outside the script.¡± In Either/Or we are reunited with Selin as she continues to navigate the trials and tribulations of adulthood. Now a sophomore student at Harvard, Selin has plenty to keep her occupied: her studies inspire her to question the choices she and others have made, the direction of her life, the meaning of love, sex, and connection, the limitations of language, and, of course, her relationship with Ivan, the Hungarian student whose mind remains to Selin, and by extension us, as unreadable as ever. Did she care for her at all? There was something abstract and gentle about the experience of being ignored¡ªa feeling of being spared, a known impossibility of anything happening¡ªthat was consonant with my understanding of love. Selin¡¯s propensity for long asides is as present as ever and I loved losing myself in her inner monologue. Her long acts of introspections do often come across as navel-gazing (curiously enough the narrative itself mentions navel-gazing), but I never felt bored or annoyed by it. If anything, Selin¡¯s solipsistic inclination for self-interrogation made her all the more realistic. That she refers to books, music, films, and authors to make sense of herself and others results in a deeply intratextual narrative that will definitely appeal to literary students. While Selin isn¡¯t wholly enamoured by academia, we can see how her studies and the books she reads inform the way she understands her world and those who populate it. She often draws parallels between her own life and those of historical and fictional figures. Some of the authors/artists/etc. she mentions include: Kazuo Ishiguro, Fiona Apple, Charles Baudelaire, Pushkin, Shakespeare, Andr¨¦ Breton, and of course, Soren Kierkegaard¡¯s Either/Or. ¡°There was something about crying so much, the way it made my body so limp and hot and shuddering, that made me feel closer to sex. Maybe there was a line where sex and total sadness touched¡ªone of those surprising borders that turned out to exist, like the one between Italy and Slovenia. Music, too, was adjacent. It was like Trieste, which was Italian and Slovenian and also somehow Austrian.¡± Of course, at times these books and figures only add further confusion, so Selin is unsure whether she¡¯s idealizing herself and others so that her life can resemble those she encounters in fiction. More often than not knowledge fails her, so she¡¯s unable to decipher not only the motivations of others but her own true feelings. Her writerly aspirations too preoccupy her and so do the changes that come about in her life. Selin¡¯s intense friendship and rivalry with ??Svetlana is threatened when the latter finds a boyfriend. Her roommates too have plenty of things that keep them occupied so Selin finds herself going to parties where she meets less than ideal men. Yet even as Selin forms sexual relationships with them, she longs for Ivan and obsesses over what his infrequent emails leave unsaid. ¡°It seemed to me that the elements whirling around me in my own life were also somehow held in place by Ivan¡¯s absence, or were there because of him¡ªto counterbalance a void.¡± Either/Or shares the same structure with The Idiot so we follow Selin month by month during her academic year before tagging alongside her as she once again goes abroad for the summer. In Turkey she finds herself forming unexpected connections but remains somewhat remote to them. Sardonic and adroit Either/Or makes for a fantastic read. While Selin does change over the course of her sophomore year, she also remains very much herself. She can be reserved and slightly baffling at times, and yet she¡¯s also capable of making some very insightful or relatable comments. She¡¯s intelligent, somewhat naive, and has a penchant for overthinking and obsessing over minor things. Her deadpan sense of humor and little idiosyncrasies make her character really pop out of the page. I could definitely relate to her many many uncertainties, as well as her fixation with understanding the person who never seemed to reciprocate her feelings. The one that started ¡°Days like this, I don¡¯t know what to do with myself¡± made me feel certain that I had spent my whole life not knowing what to do with myself¡ªall day, and all night. ¡°I wander the halls . . .¡± That was exactly it: not the streets, like a fl?neur, but the halls. Oh, I knew just which halls. As I mentioned already over the course of her second year at Harvard Selin grows into a more self-assured person while also remaining strangely static. Her mental meanderings often included reflections on things such as desirability, belonging, love, heartbreak, self-fulfilment, choice & chance, and I found her perspective on these things deeply compelling. At times her mind is preoccupied with mundane thoughts, at times she loses herself in philosophical and existentialist questions about human nature. Batuman¡¯s inclusion of the minutiae of her protagonist¡¯s life (such as inserting a tampon: ¡°I tried again to put in a tampon. ABSOLUTELY NO FUCKING WAY.¡±) made Selin¡¯s reality at Harvard all the more vivid. I could easily envision the different environments she occupies, as well as the people who inhabit those places. This combined with the mumblecore dialogues and Selin¡¯s recursive inner monologue, which borders on being a stream of consciousness, give Either/Or quality of hyperrealism. That is, even when confronted with moments of surreality or scenes of a comedic nature, I believed completely in what I was reading. A sense of 90s nostalgia permeates her story which adds to the narrative¡¯s overall atmosphere and aesthetic. ¡°It was the golden time of year. Every day the leaves grew brighter, the air sharper, the grass more brilliant. The sunsets seemed to expand and melt and stretch for hours, and the brick fa?ades glowed pink, and everything blue got bluer. How many perfect autumns did a person get? Why did I seem always to be in the wrong place, listening to the wrong music?¡± I loved this novel so thoroughly that I was sad to reach its inevitable conclusion. I hope with all my heart that Batuman will write a third instalment where we will follow Selin during her third year at Harvard. If you enjoyed The Idiot chances us you will, like me, love this even more (perhaps because batuman is expanding on the 'universe' she already established). If you are a fan of the young-alienated-women subgenre you should definitely consider picking these series up. My eternal gratitude to the publisher for providing me with an arc. ...more |
Notes are private!
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3
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May 19, 2023
Jul 19, 2022
Jan 11, 2022
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May 20, 2023
Jul 23, 2022
Jan 13, 2022
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Dec 20, 2021
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Hardcover
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1646141318
| 9781646141319
| 1646141318
| 4.14
| 1,464
| May 03, 2022
| May 03, 2022
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it was amazing
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? ? ? ? ? ? in The Dove in the Belly, it's all about the ? ? ? ? ? ? in The Dove in the Belly, it's all about the ...more |
Notes are private!
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2
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Jan 02, 2023
May 16, 2022
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Jan 03, 2023
May 17, 2022
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Sep 08, 2021
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Hardcover
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178487700X
| 9781784877002
| 178487700X
| 4.09
| 23,741
| Oct 07, 2020
| Sep 02, 2021
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really liked it
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? ? ? ? ? ? ¡°She had appeared so glorious to me that I had assumed she had everything she wanted. I wanted? ? ? ? ? ? ¡°She had appeared so glorious to me that I had assumed she had everything she wanted. I wanted to cry for her, and for myself.¡± Superbly written The Inseparables is a novella that pairs an enthralling depiction of female friendship with a razor-sharp commentary on gender and religion. This is the kind of work of fiction that reads like real life, unsurprising perhaps given that Beauvoir created Sylvie and Andr¨¦e after herself and her real-life friend Zaza Lacoin. Written in a controlled and polished style The Inseparables presents us with a beguiling tale in which Sylvie, our narrator, recounts the enigmatic nature of her bond with Andr¨¦e. The two first meet as young girls while enrolled at a private Catholic school and, in spite of the divergence between their religious beliefs, they become, as the title itself suggests, inseparable. Due to the conventions of their time and society¡ªthe French bourgeois of the early 20th cent.¡ªthey cannot be too close and so have to refrain from being too intimate with one another, for example by addressing each other with the formal you.Still, they keep up a correspondence and talk at length to each other, earning themselves the disapproval of Andr¨¦e¡¯s mother who frowns upon their, God forbid, long and possibly intimate conversations. Sylvie is fascinated by Andr¨¦e, in particular, she seems hyperaware, intrigued even, by her self-divide. On the one hand Andr¨¦e, a devout Catholic, expresses conservative ideas and opinions, which make her appear particularly naive. On the other Andr¨¦e possesses a clever mind and a propensity for expressing surprisingly subversive thoughts. Andr¨¦e is a magnetic individual who oscillates between irreverence and conformity. Sylvie, who did not grow up to be a staunchly religious individual (apropos, in a diary entry beauvoir wrote: "i have no other god but myself"), cannot always reconcile herself to Andr¨¦e¡¯s way of thinking and struggles to understand the loyalty that Andr¨¦e has for her family, which Sylvie herself views as suffocating. As the two grow up we see how Andr¨¦e continues to struggle with understanding her own emotions, trying and failing to contain her fiercer self. We also see how her mother¡¯s constant reprimand have affected her self-worth and distorted her view of herself. When she falls for Pascal, a puritanical young man who seriously considered being a priest, Andr¨¦e¡¯s resolve to lead the kind of life that her family, as well as her society, is tested. She desperately wants to escape her present circumstances but this desperation ultimately results in self-sabotage. We witness her unravelling through Sylvie¡¯s eyes, who, as much as she yearns to be of help, cannot ultimately save her. Beauviour¡¯s piercing commentary on gender, class, and religion was profoundly insightful. She addresses these things with clarity and exactness, illustrating how fatal oppression and repression are on a person¡¯s psyche. What I found particularly touching, and relatable, in this novel was the unrequited nature of Sylve¡¯s love for Andr¨¦e. Regardless of whether the love she feels for Andr¨¦e is a platonic one or a romantic one, we know that Andr¨¦e doesn¡¯t feel the same passion for Sylve. Whether she¡¯s unwilling or unable to reciprocate the iSylve¡¯s feelings, we do not know for certain, however, we can see how deeply this realization cuts Sylvie. Sylvie is shown to be both jealous and resentful of Andr¨¦e¡¯s family, holding them responsible for her friend¡¯s unhappiness. This novella¡¯s subject did bring to mind Fleur Jaeggy¡¯s Sweet Days of Discipline, which also explores an intense female friendship, Dorothy Strachey¡¯s Olivia (which is far more flowery and sentimental than this but also capture a youth¡¯s unrequited love and longing for another) as well as novel such as Abigail and Frost In May (which are both set in all-girl schools and touch on female friendships and religion). While Sylvie is both attuned and attentive to Andr¨¦e, her moods and beliefs, she does, like we all tend to do, idealise her given that she is her object of desire (whether this is desire is platonic or sexual, it's up to the reader to decide, i, to no one's surprise, felt that it was the latter). This was a riveting read. The prose is sublime, the story an equal parts evocative and tragic exploration of young & unrequited love, heartache, independence, kinship and intimacy. I will say that as much as I loved this I couldn¡¯t help but the publisher¡¯s short bio of Beauvoir, as well as Levy¡¯s and the translator¡¯s mentions of her, felt very incomplete. As far as I can recall they all omit to mention Beauvoir¡¯s more ¡®unethical¡¯ behaviour. As a teacher, she had ¡®relationships¡¯ with her underage pupils and went on to sign a petition seeking to abrogate the age of consent in France (because of course age is just a number!). Here you might argue that those things have nothing to do with this novella or her friendship with Zaza (discussed by both Levy and the translator). But I maintain that they do. You can¡¯t just mention the fact that she¡¯s a feminist and try to analyse her real-life friendship with another woman or her commentary on female sexuality while at the same time omitting that in her lifetime she ('allegedly') groomed her underage female students and seemed in favour of pedophilia. That she did those things did not detract from my reading experience however it certainly made me a little bit more critical of our narrator's obsession towards her friend. Some of my favourite quotes: ¡°Secretly I thought to myself that Andr¨¦e was one of those prodigies about whom, later on, books would be written.¡± ¡°No, our friendship was not as important to Andr¨¦e as it was to me, but I admired her too much to suffer from it.¡± ¡°What would I have daydreamed about? I loved Andr¨¦e above all else, and she was right next to me.¡± ¡°I thought to myself, distressed, that in books there are people who make declarations of love, or hate, who dare to say whatever comes into their mind, or heart¡ªwhy is it so impossible to do the same thing in real life?¡± ¡°The errors I admitted were those of the soul above all: I had lacked fervour, too long forsaken the divine presence, prayed inattentively, regarded myself too complacently.¡± ¡°Andr¨¦e was unhappy and the idea of it was unbearable. But her unhappiness was so foreign to me; the kind of love where your kiss had no truth from me.¡± ¡°Never. The word had never fallen with such weight upon my heart. I repeated it within myself, under the never-ending sky, and I wanted to cry. ¡± ¡°No doubt she loved Andr¨¦e in her way, but what way was that? That was the question. We all loved her, only differently. ¡± ¡°Happiness suits her so well, I thought.¡± ¡°¡°Don¡¯t be sad,¡± she said. ¡°In every family there¡¯s a bit of rubbish. I was the rubbish.¡± ¡°For Andr¨¦e, there was a passageway between the heart and the body that remained a mystery to me. ¡± ARC provided by the publisher in exchange for an honest review. ...more |
Notes are private!
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1
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Aug 24, 2021
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Aug 25, 2021
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Aug 13, 2021
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Paperback
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125079028X
| 9781250790286
| 125079028X
| 3.80
| 12,769
| Sep 28, 2021
| Sep 28, 2021
|
really liked it
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| | | | | | 3 ? stars (rounded up because it's all about the vibes) Summer Sons is very much a vibes-driven novel that would n | | | | | | 3 ? stars (rounded up because it's all about the vibes) Summer Sons is very much a vibes-driven novel that would not exist without Maggie Stiefvater's The Dream Thieves. From the aesthetics permeating the story to the combative & codependent character dynamics, Summer Sons share a lot of similarities with that book. Lee Mandelo¡¯s older cast of characters however allow for them to employ an edgier tone, one that at times reminded me a bit of Leigh Bardugo'sNinth House (both mcs have spend most of their respective narratives chasing paranormal shit, to the detriment of their academic, getting repeatedly emotionally and physically bruised and pissing off ppl left and right). The first time I approach Summer Sons I ended up dnfing it. While I do agree with some of my initial criticisms I think this second time around I was able to just ignore the few bumps along the way and just let Summer Sons take me for a ride. Written in snappy prose Summer Sons follows Andrew, who is in his early twenties and is about to begin a graduate program at Vanderbilt where he will be joining his best friend and (adopted) brother Eddie. Their bond is very much of the codependent variety, as the two were irrevocably bound together by a traumatizing childhood experience that has left them with, in the case of Andrew, some unwanted abilities. But then, just before their long-awaited reunion, Eddie commits suicide leaving behind a grief-stricken and confused Andrew. Eddie left everything to him, including a ridiculous amount of money and a house in Nashville (roommate included). Andrew moves there, but he couldn¡¯t really care less about his studies. He is determined to find out what happened to Eddie. He is immediately suspicious of and antagonistic towards Eddie¡¯s former roommate, Riley, and his cousin, Sam. Andrew is jealous of the time they spent with Eddie and is reluctant to reveal anything about his past or his intentions to them. The first half of the novel has very little if no plot going on. I mean, things are happening but they mostly consist of Andrew feeling unwell, hitting someone, getting hit, getting drunk, getting high, ignoring his uni inbox, and making wild speculations about what happened to Eddie. He does have a few meetings with his advisor and tutor, but for the majority of the first half of the novel it¡¯s more about the very charged dynamics between Andrew and Sam, and to a lesser extent, Andrew and Riley. There is a party or two, some drag races, and buckets of toxic masculinity. The chemistry between the various characters more than makes up for the lack of, shall we say, plot. The author also explores Andrew¡¯s very intense relationship with Eddy, capturing the duo¡¯s power dynamics. I appreciated how thorny Andrew is. He is so careless about his own well-being that he engages in some pretty self-destructive behaviours. He is also repressed af, and struggles to reconcile himself with the possibility that his love for Eddy may have not been strictly platonic. And of course, his attraction to Sam complicates matters. And yeah, there was something about them that definitely reminded me of Ronan & Kavinsky, except not quite as messed up, as here both Andrew and Sam embody what I can best describe as an exceedingly Ronan-esque chaotic energy. I liked the realistic way Andrew responds to the queerness of this group of friends, and that it takes him time to truly allow himself the possibility of being attracted to men. To exacerbate his alienation are recurring nightmarish visions of death and rot. Eddie¡¯s phantom is stalking him, resulting in periods of dangerous dissociation. Riley and Sam claim they want to help but Andrew. being the hard-ass he is, is not so sure about letting anyone in. The latter half of the novel has more to do with his amateurish sleuthing, as Andrew is forced to confront the likely possibility that what occurred to him and Eddie as children has something to do with Eddie¡¯s death. We have old family curses and blood rituals, eerie visions, and disturbing occurrences. Additionally, Mandelo dedicates time to critiquing how insular colleges are as well as the elitism and racism that pervade the academic world. I liked the uneasy relationships the characters have with one another, and that Mandelo holds their main characters accountable for their past and present actions without writing them off as ¡®bad¡¯. There were a few things that I wish could have developed differently. The paranormal element had potential but was implemented in an inconsistent and in some places sparse way that ultimately does it a disservice. I liked how it remains largely ambiguous but it could have been amped up in quite a few instances. Also, in the scenes where this paranormal element comes to the fore the descriptions could have been more vivid. It would have been nice to learn more about haunts/revenants or other spooky occurrences that Andrew & Eddie may have experienced after ¡®it¡¯ happened. Similarly, it would also have been nice to have more of a background about their childhood and teenage years (their relationship with Andrew¡¯s parents, their high school days, etc..). We know about their tattoo and their ¡®shared¡¯ gf (who thankfully speaks up about being used and tossed aside like a toy) but very little about anything else. In some ways it makes sense since they were each other¡¯s worlds, so everything else would barely register, however the complete lack of presence of Andrew's parents was felt. The resolution to Eddie¡¯s death was too derivative, especially within the urban fantasy genre. She who shall not be named did that a few times in her series. Maggie Stiefvater subverts this trope by making readers, but not our main characters, aware of who the ¡®antagonists¡¯ are. Barudgo also does it in Ninth House, but in a far more twisty way than Mandelo. Here instead that finale seemed vaguely formulaic and entirely too predictable. That the ¡®villains¡¯ lacked a certain ¡®oomph¡¯ factor also made that last action rather lacklustre. I do think that at the end Andrew gets a bit too much of the blame for how things went down with the villain. The boy is an asshole sure. But he was just trying to find out the truth and how could he have possibly predicted that things would go down that way?! The writing had a certain fanfiction-y quality but I found myself really enjoying it (so we have a lot of growling, flashing teeth, dangerous expressions, an overuse of ¡®the boy¡¯ instead of the characters¡¯ names). The prose was snappy and intentionally edgy which makes for highly engrossing storytelling. I do wish that the author had reigned in on the more anatomical descriptions of his characters. There are whole paragraphs dedicated to describing whose leg is on whose ankle or how someone¡¯s hand is dangling or touching somebody else's body part). Yeah, in a way these add a certain sensual element that makes these scenes really pop, but there were moments where they ended up sidelining the actual storyline or drawing attention from the dialogue. There were also way too many random highfalutin words dropped in for no reason (such as 'cadre') and they had the same energy as me during my first year as an undergraduate student using archaic terms for no reason other than to make what I was writing sound clever (but i just ended up with some seriously jarring phrases). Despite these criticisms, I did like Summer Sons. Andrew is a tortured and somewhat impenetrable character that is equal parts frustrating and lovable. Mandelo articulates Andrew¡¯s inner conflict without resorting to cliches or moralisms. The interactions between the characters seamlessly alternate from being funny and entertaining banter to more heated and tense confrontations. The friendships and the romance we see develop between Andrew and others really make the book. I loved how the author is able to dedicate a lot of page time to Andrew¡¯s unresolved and complicated relationship with his sexuality but also present us with some very casual lgbtq+ rep (we have a trans character, a positive portrayal of polyamory, and a character who uses they/them pronouns makes has a cameo appearance). The pining and sexual tension between Andrew and Sam were *chief¡¯s kiss*. I¡¯d love to read more by this author (maybe something with wlw characters¡? or just more girls in general cause i don¡¯t think this book would pass the bechdel test test..at least in trc we have the women of 300 fox way). If you like spooky summer ya novels, like Beware the Wild, The Wicker King, Wonders of the Invisible World, or the gritty aesthetics of urban fantasy series like Holly Black's The Modern Faerie Tales, Summer Sons should definitely make it onto your tbr pile. I look forward to whatever Mandelo publishes next and I can definitely see myself re-reading Summer Sons. ps: i did think it would have been nice for mandelo to mention in their acknowledgements stiefvater as her series clearly inspired this book. ...more |
Notes are private!
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1
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Apr 13, 2022
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Apr 15, 2022
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Jul 15, 2021
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Hardcover
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0063092786
| 9780063092785
| 0063092786
| 4.43
| 43,126
| Nov 23, 2021
| Nov 23, 2021
|
really liked it
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? ? ? ? ? ? 4 ? stars ¡°As it turned out, Sooki and I needed the same thing: to find someone who could see u? ? ? ? ? ? 4 ? stars ¡°As it turned out, Sooki and I needed the same thing: to find someone who could see us as our best and most complete selves. Astonishing to come across such a friendship at this point in life. At any point in life.¡± Ann Patchett is easily one of my favourite authors of all time. The Dutch House and The Magician's Assistant are absolute favourites of mine and I¡¯ve also loved her previous collection of essays, This is the Story of a Happy Marriage, which managed to bring me hope during one of my ¡®down in the doldrums' phases. This is all to say that I will read anything by Patchett. These Precious Days, her latest, is yet another winning addition to her already impressive oeuvre. While many of these essays are preoccupied with death and mortality they ultimately struck me as life-affirming. In some of these essays, Patchett writes about her family, in particular of her relationship with her three fathers. There are also essays in which she looks back to her ¡®youthful¡¯ days, for example, of that time when she and a friend were so taken by the tattoos of a Parisian waitress that they were determined to also get tattooed. Patchett also gives us insight into her married life, writes of her love for dogs, of her relationship to Catholicism, of that year she gave up shopping, and of authors, she admires such as Eudora Welty and Kate DiCamillo. It is difficult for me to articulate just how much comfort I find in Patchett¡¯s ¡®voice¡¯ but within a few pages of her first essay, I found myself immersed in that which she was recounting. Patchett has a knack for rendering both people and space and it was easy to be transported by her writing. Of course, the ¡®These Precious Days¡¯ essay is this collection¡¯s crowning glory. In this essay, Patchett writes of her friendship with Sooki, Tom Hanks¡¯ assistant. This was such a moving and thoughtful essay, one I look forward to revisiting again. Patchett¡¯s meditations on death, mortality, family, friendship, and creativity definitely struck a chord with me. I loved learning about her childhood and I appreciated those glimpses into her everyday life. Reading this inspiring and beautifully written collection of essays was a balm for my soul. ...more |
Notes are private!
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1
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Nov 24, 2021
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Nov 25, 2021
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Jul 06, 2021
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Hardcover
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0385539258
| 9780385539258
| 0385539258
| 4.30
| 822,081
| Mar 10, 2015
| Mar 10, 2015
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it was amazing
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? ? ? ? ? ? ¡°Fear and hatred, fear and hatred: often, it seemed that those were the only two qualities he? ? ? ? ? ? ¡°Fear and hatred, fear and hatred: often, it seemed that those were the only two qualities he possessed. Fear of everyone else; hatred of himself.¡± A Little Life is a heart-wrenching tour de force. Dark, all-consuming, devastating, moving, stunning, brutal, dazzling, beautiful, disturbing, A Little Life is all of these and so much more. This is the kind of novel that haunts. ¡°Fairness is for happy people, for people who have been lucky enough to have lived a life defined more by certainties than by ambiguities.¡± The first fifty pages or so may give one the illusion that the story they are about to read is the usual tale of a group of friends trying to make it in the big city. Which in some ways, it is. Friendship is one of the novel¡¯s underlying motifs. But, A Little Life is first and foremost a novel about pain, suffering, and trauma. And as highly as I think of this novel I could not in good conscience bring myself to recommend it to anyone else. Large portions of this 800-page novel are dedicated to depicting, in minute detail, a man's past and present physical, emotional, and psychological suffering. We also have to read paragraph after paragraph in which adults inflict all kinds of horrific abuse on a child. What saves this novel from being yet another sensationalistic or gratuitous take on sexual abuse are Hanya Yanagihara's clear and realist style and the many moments of beauty, kindness, love, empathy that are interjected throughout the narrative. Still, even so, I can see why some may find A Little Life to be too much. Hell, there were many instances where I found myself thinking 'I can't it, this is too much'. But who was I kidding? Once I started this novel I knew that I had to finish it and in fact I devoured it over the course of three days. ¡°Friendship was witnessing another¡¯s slow drip of miseries, and long bouts of boredom, and occasional triumphs. It was feeling honored by the privilege of getting to be present for another person¡¯s most dismal moments, and knowing that you could be dismal around him in return.¡± The novel recounts, decade-by-decade, the lives of four friends in New York City from their early 20s to their 50s. There is JB, a gay painter, Malcolm, who still lives at home and dreams of becoming an architect, Willem, an orphan who is pursuing an acting career, and Jude, also an orphan, who is a lawyer. Jude's is reticent about his past and his friends know to leave it well alone. He has a limp and suffers from many health-related issues, which were caused by a car injury. As the story progresses the narrative shifts its focus on Jude and his many ongoing struggles. Jude's horrific childhood and teenage years are revealed to us slowly over the course of the story. To cope with his traumatic experiences Jude self-harms, something that definitely hit close to home so I appreciate the authenticity with which Yanagihara portrays Jude's self-harming. Similarly, his self-hatred and self-blaming are rendered with painful realism, without any judgment on the author's part. While there were many¡ªand I mean many¡ªhorrifying and painful scenes, there are moments of beauty, lightness, and tenderness. As an adult Jude is surrounded by people who love him, there are his friends, colleagues, neighbours, mentors, and it is here that the novel is at its most moving. This is a novel about sexual abuse, pain, grief, friendship, love, intimacy, hope, and silences. The characters (it feels wrong to even call them that) are fully-formed individuals, imperfect, at times incongruent, yet nonetheless lovable. Oh, how my heart ached for them. Yanagihara foreshadows certain events but even so, I found myself hoping against hope that the story would not be a tragic one. Yet, this unwillingness on Yanagihara's part to provide a happy ending or to give her characters sort of closure that makes her novel simultaneously subversive and all the more realistic. Things don't always get better, people can't always overcome or reconcile themselves with their trauma, love doesn't 'fix' people, you can't magic away someone else's pain. I have never sobbed while reading a book but I was sobbing intermittently throughout my reading of A Little Life. At times reading about Jude's pain was brought me to tears, at times it was when coming across a scene that is brimming with kindness and love (basically anything with jude and harold or jude and willem). ¡°I want to be alone,¡± he told him. This novel made me feel exposed, naked, vulnerable, seen in a way I wasn't ready to be seen. It broke my fucking heart. It disturbed me, it made me ugly-cry, it made me want to find Yanagihara so I could shout at her. To describe A Little Life as a piece of fiction seems sacrilegious. I experienced A Little Life. From the first pages, I found myself immersed in Jude, Willem, JB, and Malcolm's lives. When I reached the end I felt bereft, exhausted, numb so much so that even now I'm finding it difficult to to articulate why I loved this so much (then again my favourite band is Radiohead so i clearly like things that depress me). I doubt I will ever be brave enough to read it again but I also know that I will be thinking about A Little Life for years to come. Adroit, superbly written, and populated by a richly drawn A Little Life is a novel unlike any other, one that you should read at your own risk. ps: the bond between Jude and Willem brought to mind a certain exchange from Anne Carson's translation of Orestes: PYLADES: I'll take care of you. ORESTES: It's rotten work. PYLADES: Not to me. Not if it's you. ...more |
Notes are private!
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1
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Apr 16, 2021
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Apr 18, 2021
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Apr 14, 2021
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Hardcover
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1534477853
| 9781534477858
| 1534477853
| 4.10
| 6,207
| Apr 06, 2021
| Apr 06, 2021
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really liked it
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| | | | | | The Sky Blues is a wonderfully wholesome YA coming of age that makes for the perfect summer read. The novel is narrat | | | | | | The Sky Blues is a wonderfully wholesome YA coming of age that makes for the perfect summer read. The novel is narrated by Sky who is in his last year of high school. After coming out as gay Sky finds himself living with his best friend, Bree, and her supportive family as his own mother and brother aren't accepting of his sexuality. At his school, Sky tries not to act too 'gay' but even when he lies low he's still subjected to other student's taunts. Sky and Bree pour their energy into coming up with ideas for his promposal to his crush Ali. Most of their ideas are silly but that makes the experience all the more fun. Until someone leaks a photo of these plans at his school. Humiliated Sky struggles to come to terms with this huge invasion of his privacy. But when his best friends and other classmates reach out to him, showing their support and love, Sky decides to find out the culprit. Sky's story was the perfect mix of fun and affecting. There were many moving moments (between him and his friends or him and Bree's parents) that truly make this book well worth a read. Sky's voice is incredibly authentic and compelling, and I truly appreciated the narrative's focus on his personal growth. He isn't perfect and as the prom approaches, he comes to realise that the people closest to him are also facing their own struggles. His character arc was truly satisfying and I loved that he learns from his mistakes. The novel also doesn't sugar-coat certain subjects or realities. While the novel is very much about Sky and him navigating this particular period of his life, there is the lightest of romantic subplots that added a sweet note to Sky's story. This was a truly engaging and heart-warming novel, one that I would definitely recommend to readers wanting a great lgbtq+ YA read. The Sky Blues was such a welcome surprise and I will for sure be checking out whatever Robbie Couch writes next! ...more |
Notes are private!
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1
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May 19, 2021
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May 20, 2021
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Apr 05, 2021
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Hardcover
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1783786736
| 9781783786732
| 1783786736
| 4.26
| 50,807
| Nov 27, 2019
| Oct 13, 2022
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really liked it
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? ? ? ? ? ? ¡°You have something of mine, I passed on something of me to you, and hopefully it isn¡¯t cursed? ? ? ? ? ? ¡°You have something of mine, I passed on something of me to you, and hopefully it isn¡¯t cursed, I don¡¯t know if I can leave you something that isn¡¯t dirty, that isn¡¯t dark, our share of night¡± Although I have previously quoted Lady Gaga¡¯s iconic "talented, brilliant, incredible, amazing, show stopping, spectacular, never the same, totally unique, completely not ever been done before, unafraid to reference or not reference, put it in a blender, shit on it, vomit on it, eat it, give birth to it." to describe my feelings for another book, I can¡¯t help but use them again in this review as they really capture my sentiments & thoughts towards Our Share of Night. ¡°He also remembered his father¡¯s words, nothing can hurt you now, how long was now, how long did the present last?¡± This is an elaborate genre-bending work that defies easy categorisations. Even a summary or a rundown of the story would not do it justice. It is dark, grotesque, obscure, and frankly mind-boggling. Yet, the way Mariana Enr¨ªquez manages to combine together tropes, themes, and aesthetics associated with the fantasy, gothic, and horror genres is utterly mesmerizing. Much of the narrative is animated by a fraught father-son relationship, one that is complicated by monstrous inheritances and destinies, sickness, and a history of violence, abuse and destruction. Over the course of the novel, Enr¨ªquez weaves together an unsettling tapestry, one that I was unable to look away from. As Enr¨ªquez navigates haunted people and places, the price of power and privilege, and the dark side of faith, she incorporates motifs of the uncanny and the Other while also presenting us with striking, and frankly horrifying, images of the abject and the sublime. While there is much brutality and cruelty within the pages of Our Share of Night, those almost work towards making those rare moments of lightness and tenderness all the more precious. The writing has this cinematic quality to it, one that results in some visually arresting & often disturbing scenes. The characters populating the story defy easy categorisation, with the exception perhaps of the older members of the Order (who are all f*cking evil). Ambivalence permeates the story and its characters, whose motives and desires more often than not elude and alienate us, allowing plenty of room for interpretation. ¡°There is no greater disappointment than to believe oneself the chosen one and not to be chosen.¡± The narrative begins in January 1981 with a road trip. Juan, recently widowed, is in his late 20s and making his way from Buenos Aires with his son to visit his in-laws' estate, in northeast Argentina. His choice to drive there seems rather injudicious given the country¡¯s climate of terror, and that his in-laws had bought him airplane tickets. But Juan needs to spend time alone with his son, Gaspar, as he is desperately trying to protect him from his own faith. His in-laws are prominent members of the Order, a cult formed by nauseatingly wealthy people who have powerful connections all over the world. The Order, we learn, has exploited Juan not only for his ability to see and commune with the dead but because his body can host the Darkness. To summon it they are willing to commit atrocities that defy human comprehension, be it enslaving and torturing children or driving their own members insane in ways that are too repulsive to mention here. Juan knows that the Order has its sights on Gaspar, and is painfully aware that he won¡¯t be alive long enough to watch over him so he hatches a desperate plan to keep his son safe, even if it requires him to commit his own cruelties and even if it will inevitably push his son away from him. ¡°I¡¯m going to miss him, he thought, I¡¯ll be glad when he¡¯s gone because without him it¡¯ll be easier to stop being sad, but I¡¯m going to miss him¡¡± We are later reunited with Gaspar in 1985 where we read of his bond with three other children, and of his fraying relationship with his father Juan, whose mercurial behaviour he can never predict or comprehend. The dictatorship¡¯s aftermath, 80s popular culture and memorable events, make for a vivid backdrop against which Gaspar and his friends grow up. A sense of growing unease obfuscates much of his childhood, as his father begins to act in an increasingly incomprehensible and ¡®deranged¡¯ way. But Juan refuses to let Gaspar in, and in doing so their relationship begins to fray. Resentment and confusion lead Gaspar to find solace in his group of friends¡but after one of their daring exploits takes a devastating turn, nothing is ever the same for them. ¡°It had the look of a spot where something bad had happened: an expectant air. Evil places wait for evil things to reoccur, or else they seek it out.¡± We then learn more about Gaspar¡¯s mother, a woman who was complicit in the horrors and agenda of the Order, but someone who nonetheless was trying to steer the power away from the evilest people in the cult, her mother included. Her devotion to the Darkness and her inability to understand its true repercussion and ramifications (most of all on Juan) did not endear her to me. But her youth and upbringing do play a part in the way she understands this force and even if I could not bring myself to like her I appreciated that she wasn't made into a saint-like figure (the typical dead mother of the 'chosen one'). ¡°There is no arguing with faith, though. And it¡¯s impossible to disbelieve when the Darkness comes. So, we trust, and we go on. At least, that¡¯s what many of us do.¡± The novel concludes with a traumatized Gaspar trying to live with and make sense of his father¡¯s dark inheritance. Here Enr¨ªquez interrogates the realities of living with the kind of baggage Gaspar is carrying around, and of the way, his exposure to some Dark Shit? has irrevocably changed him. As I said, this story is Dark. The type of dark that requires every trigger warning under the sun. While there are certain scenes and some elements within the story they do toe the line with being gratuitous and sensationalistic, what ultimately comes through is the empathy Enr¨ªquez demonstrates towards her core characters. There is a lot of politically incorrect language (particularly when talking about disabilities, amputees, poc & lgbtq+ ppl) but given the story¡¯s setting, it seemed ¡®realistic¡¯ enough. Sure I did question the choice to have the only really explicit sex scenes be between men, and how we had to have a scene of a young teen questioning his sexuality just happen to ¡®spy¡¯ on two men having sex or his having to be enamoured with his straight best friend (i am kind of done with this trope tbh) but these are minor criticisms. I did mostly like the way Enr¨ªquez challenges the gay/straight dichotomy and the story¡¯s esoteric take on the ¡®androgyne¡¯. Additionally I also liked that she incorporated the Guaran¨ª language (as well as some beliefs) in her story. My heart went out to Gaspar, even when he acted in a way that made me (or his loved ones) despair. True, the boy could be a bit basic (on his first crush: Bel¨¦n ¡°wanted too study engineering: she was different from other girls¡±; and: ¡°the woman, though older, was beautiful; she wore no make-up¡ªGaspar didn¡¯t like how make-up looked, especially lipstick¡±) but Enr¨ªquez really manages to make us feel and understand his struggle. From a child living in a solitary house with his inscrutable & volatile father, whose capacity and propensity to hurt him often leaves him feeling confused and afraid, to a teenager and young adult wracked by guilt and haunted by a force he cannot begin to comprehend, Gaspar is subjected to so much sorrow, sadness, and abuse throughout this story that it is impossible not to feel for him, especially when we witness how the years have eaten away at him. Enr¨ªquez also allows us to understand, never quite condone, Juan and his ways, and it was heartbreaking to see how much his experiences with the Order change him. ¡°Even wih all the hatred, contempt, ambivalence, and repulsion he felt towards the Order, that power was still his, and he didn¡¯t posses many things. Renunciations is easy when you have a lot, he thought. He had never had anything.¡± While the Order¡¯s ideology and the way it operates are ultimately as horrifying as they are mystifying, we witness (first-hand or not) the terrifying lengths that they will go to achieve their goal. Their willingness and eagerness to exploit vulnerable people is reprehensible, and yet their wealth and ancestry (most are of white european heritage) endow them with the belief that they are more deserving than others, that their lives are more valuable. In addition to crafting a brutal yet gripping tale about the lengths a father will go to to protect his son, Enr¨ªquez gives Gaspar¡¯s own coming-of-age storyline a horror spin, making Our Share of Night into a difficult to pigeonhole novel. There were also so many details related to the time period the story unfolds in that made the setting seem hyper-real (making those places of horror all the more unsettling). Yet, while Enr¨ªquez¡¯s nuanced portrayal of 80s Argentina grounds the characters in reality, their experiences with otherworldly forces ultimately transport them (and us) into more fantastical and macabre places. While Our Share of Night is a distinctly unique book, I was reminded of several authors & books, the most obvious being Stephen King (a hotel room? a child seeing dead ppl? a group of kids who are dealing with some-thing-place that is truly evil?), Neil Gaiman, Scott Hawkins, the Dyachenko's Vita Nostra, T. Kingfisher¡¯s The Hollow Places, Stephen Graham Jones, Elizabeth Hand, Helen Oyeyemi, Cadwell Turnbull¡¯s No Gods, No Monsters (which i didn¡¯t get but i might revisit it having loved this), Alex Landragin¡¯s Crossings and quite a lot of horror collection of short stories, written by authors such as Amparo D¨¢vila, Octavia E. Butler, and Sayaka Murata. I was even reminded of Stranger Things & Baccano!. So if you happen to like any of the names I just mentioned you should definitely consider picking up Our Share of Night. I much preferred it to Enr¨ªquez¡¯s short stories, so even if you like me, were not particularly taken by her storytelling there, I recommend you give this a chance. I am definitely planning on re-reading this (perhaps opting for the italian translation instead or hey ho since i am moving to spain soon i might even one day be able to read the original). ...more |
Notes are private!
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1
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Jun 29, 2022
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Jul 05, 2022
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Mar 29, 2021
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Hardcover
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