Hux's bookshelf: all en-US Fri, 11 Apr 2025 06:55:09 -0700 60 Hux's bookshelf: all 144 41 /images/layout/goodreads_logo_144.jpg Perfection 203200544 112 Vincenzo Latronico 1804271055 Hux 2 a self-facilitating media node.' This is what we have here, but in book form, only it uses a third person narration to colour the dead-behind-the-eyes lives of its expats protagonists, Tom and Anna, and forces their relationship to embody a more up-to-date version of this awful type of vacuous human. With added likes, subscribers, and boredom.

Latronico laments (via this flimsy neo-liberal, Berlin based couple) the banal aspects of being bored, comfortable, and safe; of being middle-class people living in the West and engaging with all the right-on facilities, opinions, and technology. He hits all the obvious targets with accuracy and (necessary) venom, but it's nothing new and that's the problem with the book, all his targets are easy -- tediously so. They range from the monotonous lifestyle of eating avocado on toast, coffee shops, internet culture, social media, and the endless consumption of digestible left-wing opinions and branding which, under the slightest scrutiny, are bland and performative, possessing no real bite or consequence. These people give monthly donations to all the most righteous causes, read the approved of media and embrace the correct and most noble narratives (BLM, LGBT, etc). They like art but the kind which is demonstrably bad (and therefore annoys the uneducated yokels). They worry that they aren't doing anything interesting with their sex lives. They worry that they aren't vegan enough, environmentally conscientious enough, aren't in touch with the plight of the poor, the immigrants, the refugees, the oppressed. And so on.

If your idea of fun is tired social media (and all its ironic smugness) in book form then go nuts.And don't get me wrong, it is kinda fun to play along and acknowledge the tedium of this kind of western existence, the mundane and stale daily grind which inevitably manifests as a debilitating ennui. But the fundamental problem I had with the book (ignoring the the fact that his writing isn't fun to read) is that it lacks any meaningful authenticity. This polemic (because that's what it is) is wrapped up in the contrived narrative of a couple that aren't real, don't feel real, and serve no purpose other than to be cardboard placeholders, caricatures and punching bags, for his painfully clichéd diatribe. In that regard, this is a book that is very similar to something like 'Harassment Architecture' by Mike Ma but done with a greater literary flourish therefore making it more palatable to the chattering classes (his mimicry of Perec will also get them excited). But lets not kid ourselves, it's the same thing -- whining about the nightmare of modernity. In fact, I would say this is less original and more derivative. And the fact that Latronico's audience are the very bedwetters he is satirising makes it worse. Had this been written by someone from a council estate, or an immigrant (the kind which Tom and Anna romanticise), then it might have had more impact, and certainly would have been more insightful. But instead it's the bored middle-class analysing and satirising the bored middle-class.

Putting the content to one side, the book's prose is not fun to read (at least not for me). As mentioned, it openly mimics Perec (not a good thing in my opinion but each to their own) and Latronico acknowledges the book as a kind of sequel to 'Things: A Story of The Sixties' and utilises a narrative style which usespast, present, and future tense in the narration creatinga sense of (unpleasant) detachment and voyeurism. Thisonly further distances the reader from his already unconvincing false creations, Tom and Anna, describing them as abstracts rather than people. He uses the word 'would' over and over again to describe his protagonist's experiences and views.

"They would line up the glasses on the open shelves... they would go for walks on endless summer evenings... they would spend long weekends together... they would light candles... every once in a while, they would buy a toy... they would send an invoice and check Instagram... on Saturday they would sit down at the double desk... they would spend entire meals browsing Netflix recommendations... they would spend their mornings..." etc

This is obviously a deliberate choice and the final chapter (named Future) switches to 'will' to reiterate this past, present, and future presentation, but it's not fun to read and, again, only results in a feeling of being outside the character's lives, to such an extent that they don't feel like real people at all, only deformed props for Latronico to hang his aloof condescension on. More precisely he turns the couple into a facsimile of human beings who must endure the banality and boredom of a world he clearly finds distasteful. Sure, these people are vapid and empty (that's the point) but that doesn't mean his language needs to be. I struggled to find a paragraph that didn't bore me. Yes,Latronico knows he's one of them (so what) and hits his targets but given that they're fish, inside a barrel, that are already dead, it's not much of an accomplishment. And like I said, this has been done by others and done better. Nathan Barley is two decades old now after all. We get it. Late stage capitalism, blah blah blah, by-the-numbers liberalism, blah blah blah, postmodern ironic, blah blah blah, IKEA, Vegan oat milk, FaceBook, Latte, Twitter storm, Trans non-binary, gluten free biscuits, blah blah blah, ennui doesn't come from life being too hard, it comes from life being too easy, blah blah blah. We get it. We're all bored now and life is shit and the only thing that makes us feel better about any of it is having enough self-awareness to know and point at it (and buying shiny things from Amazon).

No one is more thrilled than me that middle-class people hate themselves but none of that changes the fact that the book isn't very original or very good]]>
3.84 2022 Perfection
author: Vincenzo Latronico
name: Hux
average rating: 3.84
book published: 2022
rating: 2
read at: 2025/04/11
date added: 2025/04/11
shelves:
review:
There was a British sitcom in 2005 called Nathan Barley, created by the brilliant Chris Morris, which focused on the emergence of the internet hipster, a clownish nightmare of performative cool in the face of ennui and pointlessness all while using modern parlance and consuming the newest, most pointless products whilst espousing safe opinions but packaging them as edgy. In his own words he was 'a self-facilitating media node.' This is what we have here, but in book form, only it uses a third person narration to colour the dead-behind-the-eyes lives of its expats protagonists, Tom and Anna, and forces their relationship to embody a more up-to-date version of this awful type of vacuous human. With added likes, subscribers, and boredom.

Latronico laments (via this flimsy neo-liberal, Berlin based couple) the banal aspects of being bored, comfortable, and safe; of being middle-class people living in the West and engaging with all the right-on facilities, opinions, and technology. He hits all the obvious targets with accuracy and (necessary) venom, but it's nothing new and that's the problem with the book, all his targets are easy -- tediously so. They range from the monotonous lifestyle of eating avocado on toast, coffee shops, internet culture, social media, and the endless consumption of digestible left-wing opinions and branding which, under the slightest scrutiny, are bland and performative, possessing no real bite or consequence. These people give monthly donations to all the most righteous causes, read the approved of media and embrace the correct and most noble narratives (BLM, LGBT, etc). They like art but the kind which is demonstrably bad (and therefore annoys the uneducated yokels). They worry that they aren't doing anything interesting with their sex lives. They worry that they aren't vegan enough, environmentally conscientious enough, aren't in touch with the plight of the poor, the immigrants, the refugees, the oppressed. And so on.

If your idea of fun is tired social media (and all its ironic smugness) in book form then go nuts.And don't get me wrong, it is kinda fun to play along and acknowledge the tedium of this kind of western existence, the mundane and stale daily grind which inevitably manifests as a debilitating ennui. But the fundamental problem I had with the book (ignoring the the fact that his writing isn't fun to read) is that it lacks any meaningful authenticity. This polemic (because that's what it is) is wrapped up in the contrived narrative of a couple that aren't real, don't feel real, and serve no purpose other than to be cardboard placeholders, caricatures and punching bags, for his painfully clichéd diatribe. In that regard, this is a book that is very similar to something like 'Harassment Architecture' by Mike Ma but done with a greater literary flourish therefore making it more palatable to the chattering classes (his mimicry of Perec will also get them excited). But lets not kid ourselves, it's the same thing -- whining about the nightmare of modernity. In fact, I would say this is less original and more derivative. And the fact that Latronico's audience are the very bedwetters he is satirising makes it worse. Had this been written by someone from a council estate, or an immigrant (the kind which Tom and Anna romanticise), then it might have had more impact, and certainly would have been more insightful. But instead it's the bored middle-class analysing and satirising the bored middle-class.

Putting the content to one side, the book's prose is not fun to read (at least not for me). As mentioned, it openly mimics Perec (not a good thing in my opinion but each to their own) and Latronico acknowledges the book as a kind of sequel to 'Things: A Story of The Sixties' and utilises a narrative style which usespast, present, and future tense in the narration creatinga sense of (unpleasant) detachment and voyeurism. Thisonly further distances the reader from his already unconvincing false creations, Tom and Anna, describing them as abstracts rather than people. He uses the word 'would' over and over again to describe his protagonist's experiences and views.

"They would line up the glasses on the open shelves... they would go for walks on endless summer evenings... they would spend long weekends together... they would light candles... every once in a while, they would buy a toy... they would send an invoice and check Instagram... on Saturday they would sit down at the double desk... they would spend entire meals browsing Netflix recommendations... they would spend their mornings..." etc

This is obviously a deliberate choice and the final chapter (named Future) switches to 'will' to reiterate this past, present, and future presentation, but it's not fun to read and, again, only results in a feeling of being outside the character's lives, to such an extent that they don't feel like real people at all, only deformed props for Latronico to hang his aloof condescension on. More precisely he turns the couple into a facsimile of human beings who must endure the banality and boredom of a world he clearly finds distasteful. Sure, these people are vapid and empty (that's the point) but that doesn't mean his language needs to be. I struggled to find a paragraph that didn't bore me. Yes,Latronico knows he's one of them (so what) and hits his targets but given that they're fish, inside a barrel, that are already dead, it's not much of an accomplishment. And like I said, this has been done by others and done better. Nathan Barley is two decades old now after all. We get it. Late stage capitalism, blah blah blah, by-the-numbers liberalism, blah blah blah, postmodern ironic, blah blah blah, IKEA, Vegan oat milk, FaceBook, Latte, Twitter storm, Trans non-binary, gluten free biscuits, blah blah blah, ennui doesn't come from life being too hard, it comes from life being too easy, blah blah blah. We get it. We're all bored now and life is shit and the only thing that makes us feel better about any of it is having enough self-awareness to know and point at it (and buying shiny things from Amazon).

No one is more thrilled than me that middle-class people hate themselves but none of that changes the fact that the book isn't very original or very good
]]>
The Book of Disquiet 6897011 The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague."Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, The Book of Disquiet is one of the greatest works of the twentieth century.

Fernando Pessoa, one of the founders of modernism, was born in Lisbon in 1888. Most of Pessoa's writing was not published during his lifetime: The Book of Disquiet was first published in Portugal in 1982.]]>
262 Fernando Pessoa 1846687357 Hux 5 favorites
There's no narrative, no plot, only a man giving his thoughts on the world and the human condition. It feels like a diary, and many of the chapters do, indeed, have dates, but most don't and even the ones that do aren't chronologically ordered, but rather placed, haphazardly, in any order. You might read several entries from 1932 only to find, many chapters later, that you're reading his thoughts from 1916. Not that it matters, the whole book could be read in any order, in any way, starting at the middle and moving backwards, or picking any random chapter you wanted. It makes no difference at all.

Pessoa writes using the heteronym 'Bernardo Soares', and tells us very little about himself other than where he works, his boss, the errand boy, with a few occasional references to the streets and the weather. More than anything, he concerns himself with the nature of existence, the tedium of life, the mystery of being alive. He writes beautifully, almost poetically, and is always accompanied by a sense of melancholy and, perhaps, even despair. The book reminded me of 'Journey to the end of the night' by Celine in its low opinion of humanity. Yet he also sees the beauty in life, and adores nature and art. He ponders the meaning of things and the emptiness too. It's exquisite.

There are ships sailing to many ports, but not a single one goes where life is not painful.�


I wouldn't recommend this book lightly. If you're someone who prefers a narrative, then this might not be your cup of tea. But if, like me, you enjoy books where opinions are given, ideas explored, and thoughts are allowed to spiral into fluid expression, then this is a glorious example of that.

The book was published long after he died which, given that he spends a moment towards the end of the book contemplating being rediscovered as a writer by later generations, fills me with joy.

There is so much sadness in the character. And you can just picture him, gazing from his window at night, seeking out a small piece of light.]]>
4.15 1982 The Book of Disquiet
author: Fernando Pessoa
name: Hux
average rating: 4.15
book published: 1982
rating: 5
read at: 2021/03/03
date added: 2025/04/11
shelves: favorites
review:
This is one of the most beautiful books I've ever read.

There's no narrative, no plot, only a man giving his thoughts on the world and the human condition. It feels like a diary, and many of the chapters do, indeed, have dates, but most don't and even the ones that do aren't chronologically ordered, but rather placed, haphazardly, in any order. You might read several entries from 1932 only to find, many chapters later, that you're reading his thoughts from 1916. Not that it matters, the whole book could be read in any order, in any way, starting at the middle and moving backwards, or picking any random chapter you wanted. It makes no difference at all.

Pessoa writes using the heteronym 'Bernardo Soares', and tells us very little about himself other than where he works, his boss, the errand boy, with a few occasional references to the streets and the weather. More than anything, he concerns himself with the nature of existence, the tedium of life, the mystery of being alive. He writes beautifully, almost poetically, and is always accompanied by a sense of melancholy and, perhaps, even despair. The book reminded me of 'Journey to the end of the night' by Celine in its low opinion of humanity. Yet he also sees the beauty in life, and adores nature and art. He ponders the meaning of things and the emptiness too. It's exquisite.

There are ships sailing to many ports, but not a single one goes where life is not painful.�


I wouldn't recommend this book lightly. If you're someone who prefers a narrative, then this might not be your cup of tea. But if, like me, you enjoy books where opinions are given, ideas explored, and thoughts are allowed to spiral into fluid expression, then this is a glorious example of that.

The book was published long after he died which, given that he spends a moment towards the end of the book contemplating being rediscovered as a writer by later generations, fills me with joy.

There is so much sadness in the character. And you can just picture him, gazing from his window at night, seeking out a small piece of light.
]]>
A Canticle For Leibowitz 48728746 336 Walter M. Miller Jr. 0356513173 Hux 4
Part One is set 500 years after a nuclear war and revolves around a 17-year-old monk named Brother Francis who inadvertently comes across a fallout shelter from the old world which may or may not contain relics from the order's founder, Leibowitz (a man who survived the war and later established the abbey). There is much discussion and excitement about these documents and as the years go by many people visit the abbey to investigate what has been found. Later, Brother Francis takes these documents to New Rome where the pope has agreed to make Leibowitz a saint. Part Two jumps ahead another 500 years. City states have developed, agriculture, warring clans, while the abbey continues to protect the relics. A religious scholar, Thon Taddeo, is sent from Texarkana to the abbey to examine the relics. Here he discovers that one of the young monks has already invented an electric light. Thon Taddeo believes he can advance upon this work. Part Three jumps ahead another 500 years and now civilisation is exploring space and using nuclear technology to colonise planets. The two major factions (the Asian Coalition and the Atlantic Confederacy) are experiencing a cold war having both previously engaged in nuclear attacks. War threatens to explode again and so the monk, Zerchi, advises some of his brothers to take the relics and leave earth before the inevitable nuclear war begins. And sure enough, nuclear war follows.

It's hard to review this book. I thought it was genuinely quite profound and powerful in its exploration of a human condition which is repetitious by nature, endlessly looping, our inevitable descent into regurgitating old experiences being beyond our control. Not to mention the fact that the book does this over such a vast period of time, reiterating our transient speck-like insignificance. Truth be told, I think it's a waste of time to warn about the dangers of repeating history because, as a species, we need to accept that this is precisely what we are always destined to do. What are the alternatives? Do we really think we're progressing towards something? I personally don't think so. And while Miller isn't clear one way or the other, he nonetheless allowed his cynicism to become almost tangible. The book has such an enormous scope. It's hard not to find it moving, impressive, exquisite. These three time periods demonstrate how unremarkable we are and yet equally how eternal. It's a clever idea, beautiful even, and, for the most part, it is executed very effectively. I was reminded of an episode of Star Trek Voyager (Blink of an Eye) where they encounter a planet where time moves faster than the rest of space. We initially see the planet's inhabitants as primitive people, then return to the ship. Then ten minutes later, we return to the planet to see that they're now more advanced and have developed new technologies. We return to the ship again. Ten minutes later we return to the planet to see that they're now on the verge of space exploration. It's fun to watch this whole world develop before your eyes. This book has the same feature but expanded and with greater depth.

That all being said, however, the book isn't perfect and shares similar problems to all books that have disparate sections. Namely the fact that I really enjoyed part one and the simplicity of the post-apocalyptic environment and the character of brother Francis but had to leave all that behind and move on to new characters and environments for part two -- that can be jarring. In this instance, I didn't really care for part two and felt that the book slowed down quite significantly. Likewise, by the time you get to part three, Miller doesn't really have the time to flesh out his world or his characters (enough to make you care about them), and so it feels a little disjointed and hollow. If you read the three pieces as stand alone stories, the second and third would be found a little wanting. But when you put all three together, it does take on a more profound quality. And I acknowledge that. I also disliked the wandering Jew character and felt his (supernatural) presence slightly took away from the piece.

Yet despite the fact that there are parts of the book that drag, where the writing is often a little dry, the overall idea of the piece -- its immense timescale and profound themes -- is enormously powerful. It's hard not to be moved by it, to sit back in awe at the magnificent cynicism of Miller's conclusions about mankind and find it all rather... well, beautiful.

The book definitely resonated with me. And I will be thinking about its implications for a while. But ultimately, I came to the conclusion that the idea of the book is probably a little more impressive than the book itself.]]>
3.90 1959 A Canticle For Leibowitz
author: Walter M. Miller Jr.
name: Hux
average rating: 3.90
book published: 1959
rating: 4
read at: 2025/04/08
date added: 2025/04/08
shelves:
review:
I didn't know much about this book going in beyond the fact that it was a post-apocalyptic story. It had quite an impact on me though.

Part One is set 500 years after a nuclear war and revolves around a 17-year-old monk named Brother Francis who inadvertently comes across a fallout shelter from the old world which may or may not contain relics from the order's founder, Leibowitz (a man who survived the war and later established the abbey). There is much discussion and excitement about these documents and as the years go by many people visit the abbey to investigate what has been found. Later, Brother Francis takes these documents to New Rome where the pope has agreed to make Leibowitz a saint. Part Two jumps ahead another 500 years. City states have developed, agriculture, warring clans, while the abbey continues to protect the relics. A religious scholar, Thon Taddeo, is sent from Texarkana to the abbey to examine the relics. Here he discovers that one of the young monks has already invented an electric light. Thon Taddeo believes he can advance upon this work. Part Three jumps ahead another 500 years and now civilisation is exploring space and using nuclear technology to colonise planets. The two major factions (the Asian Coalition and the Atlantic Confederacy) are experiencing a cold war having both previously engaged in nuclear attacks. War threatens to explode again and so the monk, Zerchi, advises some of his brothers to take the relics and leave earth before the inevitable nuclear war begins. And sure enough, nuclear war follows.

It's hard to review this book. I thought it was genuinely quite profound and powerful in its exploration of a human condition which is repetitious by nature, endlessly looping, our inevitable descent into regurgitating old experiences being beyond our control. Not to mention the fact that the book does this over such a vast period of time, reiterating our transient speck-like insignificance. Truth be told, I think it's a waste of time to warn about the dangers of repeating history because, as a species, we need to accept that this is precisely what we are always destined to do. What are the alternatives? Do we really think we're progressing towards something? I personally don't think so. And while Miller isn't clear one way or the other, he nonetheless allowed his cynicism to become almost tangible. The book has such an enormous scope. It's hard not to find it moving, impressive, exquisite. These three time periods demonstrate how unremarkable we are and yet equally how eternal. It's a clever idea, beautiful even, and, for the most part, it is executed very effectively. I was reminded of an episode of Star Trek Voyager (Blink of an Eye) where they encounter a planet where time moves faster than the rest of space. We initially see the planet's inhabitants as primitive people, then return to the ship. Then ten minutes later, we return to the planet to see that they're now more advanced and have developed new technologies. We return to the ship again. Ten minutes later we return to the planet to see that they're now on the verge of space exploration. It's fun to watch this whole world develop before your eyes. This book has the same feature but expanded and with greater depth.

That all being said, however, the book isn't perfect and shares similar problems to all books that have disparate sections. Namely the fact that I really enjoyed part one and the simplicity of the post-apocalyptic environment and the character of brother Francis but had to leave all that behind and move on to new characters and environments for part two -- that can be jarring. In this instance, I didn't really care for part two and felt that the book slowed down quite significantly. Likewise, by the time you get to part three, Miller doesn't really have the time to flesh out his world or his characters (enough to make you care about them), and so it feels a little disjointed and hollow. If you read the three pieces as stand alone stories, the second and third would be found a little wanting. But when you put all three together, it does take on a more profound quality. And I acknowledge that. I also disliked the wandering Jew character and felt his (supernatural) presence slightly took away from the piece.

Yet despite the fact that there are parts of the book that drag, where the writing is often a little dry, the overall idea of the piece -- its immense timescale and profound themes -- is enormously powerful. It's hard not to be moved by it, to sit back in awe at the magnificent cynicism of Miller's conclusions about mankind and find it all rather... well, beautiful.

The book definitely resonated with me. And I will be thinking about its implications for a while. But ultimately, I came to the conclusion that the idea of the book is probably a little more impressive than the book itself.
]]>
Seiobo There Below 28382762
Beauty, in László Krasznahorkai's new novel, reflects, however fleeting, the sacred - even if we are mostly unable to bear it.

In Seiobo There Below we see the Japanese goddess Seiobo returning to mortal realms in search of perfection. An ancient Buddha being restored; the Italian renaissance painter Perugino managing his workshop; a Japanese Noh actor rehearsing; a fanatic of Baroque music lecturing to a handful of old villagers; tourists intruding into the rituals of Japan's most sacred shrine; a heron as it gracefully hunts its prey. Told in chapters that sweep us across the world and through time, covering the furthest reaches of human experience, Krasznahorkai demands that we pause and ask ourselves these questions: What is sacred? How do we define beauty? What makes great art endure?

Melancholic and mesmerisingly beautiful, this latest novel by the author of Satantango shows us how to glimpse the divine through extraordinary art and human endeavour.]]>
464 László Krasznahorkai 1781255113 Hux 2
Maybe I only noticed it this time around (or maybe he utilised this particular technique more overtly here) but the sentences that never end became very tiresome. For Christ's sake, use a full stop from time to time, Laszlo. And can we dispense with the walls of text for a while? It serves what purpose, illuminates what aspect, elevates which ideas? Then we have the almost fetishisitc use of the em-dash for interrupted thought which is just relentless. It reminded me of that criticism of the German language made by Mark Twain where he points out that in German the word 'de-parted' can be interrupted by swathes of flowery language before the reader even knows what conclusion is coming ("The trunks now being ready he DE... after kissing his mother and sisters, and once pressing to his bosom his adored Gretchen, who, dressed in simple white muslin, with a single tuberose in the ample folds of her rich brown hair had tottered feebly down the stairs....[insert yet more language here]... whom she loved more dearly than life itself... PARTED.") What if it isn't the word departed? What if it's de-stroyed or de-fenestrated? You have to read all the waffle before you get to the verb, to the fundamental part which provides any context. At which point, you've read so much without any clarification that you have to go back and start again. I do not enjoy reading without context and there's a lot of that here.

As for the content itself, as I said, it's a variety of stories (each more boring than the last) which really do test your patience. It starts with a bird, then a painting, then a wooden statue of Buddha, then a man wearing tap dancing shoes who's being followed. By this point, I was sincerely struggling to care. I found the writing strangely dull, forced, and inauthentic. There was another story about a guy in Greece. And one about a security guard at the Louvre but I found it almost painful to keep reading any of it. At no point can you say that the writing is bad, it's just overly stylised and designed to be challenging for its own sake. This seems to be deliberate and, dare I say it, performative. I have a theory: The more accessible literature becomes in the modern world (a thousand books published per day), the more we instinctively want to celebrate horrible and unpleasant writing as the most meaningful because it's difficult and challenging. We kid ourselves that this means it's good, at the very least means that it stands out against all that countless drivel and mediocrity which is suspiciously easy to read and overwhelms the bookshops now.Even worse, it results in the genuinely mediocre writing of people like Jon Fosse. We so desperately want literature to be significant, to be more than just... a story about a thing... that we encourage writers to go down this road, to appeal to the coffee shop hipsters who conflate obscurity with high status, and create a swamp of repetition and dense language which is deliberately unpleasant to read because we think this must demonstrate complexity. Maybe that's true for Fosse but for someone with genuine talent like Krasznahorkai, I think it only serves to make him squander his obvious talent.

I wish writers like Krasznahorkai would stop trying so hard. I don't needliterature to define my personality or provide me with a new philosophical outlook on existence. I don't need you to be a prophet or a sage.

I just want you to write something beautiful.

I hated this.]]>
4.00 2008 Seiobo There Below
author: László Krasznahorkai
name: Hux
average rating: 4.00
book published: 2008
rating: 2
read at: 2025/04/04
date added: 2025/04/04
shelves:
review:
I have always struggled with Krasznahorkai. Even when I like him, even when I acknowledge his ability to produce exquisite prose, bleak landscapes, and fascinating characters, I have never really enjoyed reading him. This is generally something that I can put to one side when he gives me the dark, almost post-apocalyptic atmosphere of Satantango or The Melancholy of Resistance, but when he goes on these modern or ancient tangents, I find it rather unbearable. War and War was a real nightmare of uninteresting meandering stream-of-consciousness and this... well, this was probably the least I've ever enjoyed his work. Which is strange because this is essentially a collection of short stories, loosely related vignettes, under the umbrella of a wider theme. AndI hated it.

Maybe I only noticed it this time around (or maybe he utilised this particular technique more overtly here) but the sentences that never end became very tiresome. For Christ's sake, use a full stop from time to time, Laszlo. And can we dispense with the walls of text for a while? It serves what purpose, illuminates what aspect, elevates which ideas? Then we have the almost fetishisitc use of the em-dash for interrupted thought which is just relentless. It reminded me of that criticism of the German language made by Mark Twain where he points out that in German the word 'de-parted' can be interrupted by swathes of flowery language before the reader even knows what conclusion is coming ("The trunks now being ready he DE... after kissing his mother and sisters, and once pressing to his bosom his adored Gretchen, who, dressed in simple white muslin, with a single tuberose in the ample folds of her rich brown hair had tottered feebly down the stairs....[insert yet more language here]... whom she loved more dearly than life itself... PARTED.") What if it isn't the word departed? What if it's de-stroyed or de-fenestrated? You have to read all the waffle before you get to the verb, to the fundamental part which provides any context. At which point, you've read so much without any clarification that you have to go back and start again. I do not enjoy reading without context and there's a lot of that here.

As for the content itself, as I said, it's a variety of stories (each more boring than the last) which really do test your patience. It starts with a bird, then a painting, then a wooden statue of Buddha, then a man wearing tap dancing shoes who's being followed. By this point, I was sincerely struggling to care. I found the writing strangely dull, forced, and inauthentic. There was another story about a guy in Greece. And one about a security guard at the Louvre but I found it almost painful to keep reading any of it. At no point can you say that the writing is bad, it's just overly stylised and designed to be challenging for its own sake. This seems to be deliberate and, dare I say it, performative. I have a theory: The more accessible literature becomes in the modern world (a thousand books published per day), the more we instinctively want to celebrate horrible and unpleasant writing as the most meaningful because it's difficult and challenging. We kid ourselves that this means it's good, at the very least means that it stands out against all that countless drivel and mediocrity which is suspiciously easy to read and overwhelms the bookshops now.Even worse, it results in the genuinely mediocre writing of people like Jon Fosse. We so desperately want literature to be significant, to be more than just... a story about a thing... that we encourage writers to go down this road, to appeal to the coffee shop hipsters who conflate obscurity with high status, and create a swamp of repetition and dense language which is deliberately unpleasant to read because we think this must demonstrate complexity. Maybe that's true for Fosse but for someone with genuine talent like Krasznahorkai, I think it only serves to make him squander his obvious talent.

I wish writers like Krasznahorkai would stop trying so hard. I don't needliterature to define my personality or provide me with a new philosophical outlook on existence. I don't need you to be a prophet or a sage.

I just want you to write something beautiful.

I hated this.
]]>
An Instance of the Fingerpost 217445777
An Instance of the Fingerpost is a magnificent tour de force: an utterly compelling historical mystery story with a plot that twists and turns and keeps the reader guessing until the very last page.]]>
698 Iain Pears 009975181X Hux 3
The book takes place in 1663 and is narrated by several people, all of whom are giving details of the same event from different perspectives (the death of Robert Groves and the arrest of Sarah Blundy as chief suspect). It begins with Marco de Cola, an Italian whose father has business interests in England where he travels. He finds himself in Oxford and, as an amateur physician, is greatly interested in the role of blood within the human body. He theorises that transfusion of a young person's blood to an old person will invigorate the older person. He meets Richard Lower and Robert Boyle (there are real people from history incorporated into the story) and with Lower he explains his theories and together they convince a young woman named Sarah Blundy (whose mother is ill) to give her blood to her mother as treatment. Not long after this a man named Groves dies and foul play is suspected (poison) and the chief suspect appears to be Sarah. I mostly enjoyed this first section of the book but was slightly baffled by the abrupt ending (it concludes with Cola leaving for Italy) only to realise that his section (at least his narration of events) were entirely over.

Then comes the next instalment, this time we get the perspective of the disgraced Jack Prescott, son of a civil war traitor, his version of events evidently different from de Cola's in various ways, and this is where I was essentially done with the book (which is a shame because there was still a long way to go... the book is way too long!). After this we get another version of events (this time from John Wallis) which was the least satisfying part because he basically portrays de Cola as a scoundrel and a liar, re-imagining him into an entirely different person. I understand that these manuscripts all offer differing perspectives on purpose (it's part of the mosaic that ends with a twist) but given that de Cola was the only character I actually liked, it was not very enjoyable to see him suddenly turned into a villain, this portrayal jarring with what the opening section had provided. Again, I suppose it's the point, but my interest in the murder mystery aspect was already thin to begin with. After this, we get the events as told by Anthony Wood (probably the most revealing... if you still care at this point), but I was skim reading and ready to call it a day. You get a twist at the end (because of course you do) but the problem is it's entirely dependent upon you caring about the previous interpretations of events rather than the facts provided and the people encountered. The trouble I had is that I didn't care about those aspects. And if the narrator's are all highly unreliable (or at the least very conveniently leaving out vital aspects of the story) then the whole thing feels a little dishonest and requires that you invest in a story that is always changing. By this point, like I said, I simply didn't care who did the murder. It could have been Oliver Cromwell and I wouldn't have cared. Fundamentally, I think you have to enjoy this kind of genre to get the most out of it.

Again, I can't say the book is bad. Of this particular genre, it's probably a pretty good standard, but it's not something I generally like to read (especially when it fails to grab me). I only read it because I occasionally want something light and formulaic, some escapist nonsense that might be fun to read. The murder mystery meant nothing to me so I was left judging it by the characters and writing and I found neither especially compelling. The book is a standard genre piece with concise and rather prosaic prose, a style of writing that does not challenge or elevate, and characters that are purely there in service of pushing the plot along. This one just didn't pull me in (or more precisely didn't keep me pulled in) and I wasn't remotely invested (beyond my enjoyment of de Cola at the start and his ideas regarding blood transfusion).

It's fine. Just not for me]]>
3.50 1997 An Instance of the Fingerpost
author: Iain Pears
name: Hux
average rating: 3.50
book published: 1997
rating: 3
read at: 2025/03/31
date added: 2025/03/31
shelves:
review:
I can't remember where I heard about this one but it seemed like a fun historical, murder mystery romp that would distract me with an enjoyable escapist yarn. Sadly, I very quickly lost interest in the thing (around the first third). I can't say it's badly written or anything, but it's very formulaic, the kind of book that you might find at an airport masquerading as literary fiction (everything else does so why not this?). Despite being reasonably easy to read, it just didn't hold my attention at all. Again, not badly written for this kind of genre and, for those who enjoy such things, probably a satisfactory and competent example of it. But it wasn't my cup of tea.

The book takes place in 1663 and is narrated by several people, all of whom are giving details of the same event from different perspectives (the death of Robert Groves and the arrest of Sarah Blundy as chief suspect). It begins with Marco de Cola, an Italian whose father has business interests in England where he travels. He finds himself in Oxford and, as an amateur physician, is greatly interested in the role of blood within the human body. He theorises that transfusion of a young person's blood to an old person will invigorate the older person. He meets Richard Lower and Robert Boyle (there are real people from history incorporated into the story) and with Lower he explains his theories and together they convince a young woman named Sarah Blundy (whose mother is ill) to give her blood to her mother as treatment. Not long after this a man named Groves dies and foul play is suspected (poison) and the chief suspect appears to be Sarah. I mostly enjoyed this first section of the book but was slightly baffled by the abrupt ending (it concludes with Cola leaving for Italy) only to realise that his section (at least his narration of events) were entirely over.

Then comes the next instalment, this time we get the perspective of the disgraced Jack Prescott, son of a civil war traitor, his version of events evidently different from de Cola's in various ways, and this is where I was essentially done with the book (which is a shame because there was still a long way to go... the book is way too long!). After this we get another version of events (this time from John Wallis) which was the least satisfying part because he basically portrays de Cola as a scoundrel and a liar, re-imagining him into an entirely different person. I understand that these manuscripts all offer differing perspectives on purpose (it's part of the mosaic that ends with a twist) but given that de Cola was the only character I actually liked, it was not very enjoyable to see him suddenly turned into a villain, this portrayal jarring with what the opening section had provided. Again, I suppose it's the point, but my interest in the murder mystery aspect was already thin to begin with. After this, we get the events as told by Anthony Wood (probably the most revealing... if you still care at this point), but I was skim reading and ready to call it a day. You get a twist at the end (because of course you do) but the problem is it's entirely dependent upon you caring about the previous interpretations of events rather than the facts provided and the people encountered. The trouble I had is that I didn't care about those aspects. And if the narrator's are all highly unreliable (or at the least very conveniently leaving out vital aspects of the story) then the whole thing feels a little dishonest and requires that you invest in a story that is always changing. By this point, like I said, I simply didn't care who did the murder. It could have been Oliver Cromwell and I wouldn't have cared. Fundamentally, I think you have to enjoy this kind of genre to get the most out of it.

Again, I can't say the book is bad. Of this particular genre, it's probably a pretty good standard, but it's not something I generally like to read (especially when it fails to grab me). I only read it because I occasionally want something light and formulaic, some escapist nonsense that might be fun to read. The murder mystery meant nothing to me so I was left judging it by the characters and writing and I found neither especially compelling. The book is a standard genre piece with concise and rather prosaic prose, a style of writing that does not challenge or elevate, and characters that are purely there in service of pushing the plot along. This one just didn't pull me in (or more precisely didn't keep me pulled in) and I wasn't remotely invested (beyond my enjoyment of de Cola at the start and his ideas regarding blood transfusion).

It's fine. Just not for me
]]>
A Month in the Country 60707 160 J.L. Carr 0940322471 Hux 4
This was charming. A novella, a short story, about a London man in 1920 going 'oop north' to Yorkshire to do some work uncovering a white washed mural in a church. Over the course of the month he meets a selection of the locals and falls in love with one of them without ever choosing to reveal his feelings for her (she being married to an older man). Then there's his friend Moon who, in a nearby field, has been commissioned to search for a lost grave. These two men often sit in the grass drinking, smoking pipes, putting the world to rights, discussing their experiences of the war. All the while the sun rises and sets.

The whole book has a warm feeling to it, a nostalgia for an England that no longer exists, but there's also a modern feel to it, most notably in the way Carr describes sex as well as Moon's homosexuality. There's a great deal of wit in the book and it's a slow, languorous, and gentle stroll through the summer countryside and a month that will live with the protagonist forever.

The book is mostly light-weight, nothing too strenuous, but charming and often profound. Life has a way of passing you by. Apparently there's a 1988 film with Colin Firth and Kenneth Brannagh (news to me).

"If I'd stayed there, would I always have been happy? No, I suppose not. People move away, grow older die, and the bright belief that there will always be another marvellous thing around each corner fades. It is now or never; we must snatch at happiness as it flies."
]]>
4.10 1980 A Month in the Country
author: J.L. Carr
name: Hux
average rating: 4.10
book published: 1980
rating: 4
read at: 2021/09/02
date added: 2025/03/29
shelves:
review:
Like sitting by a still river, drinking a pint of warm ale on a summer's afternoon.

This was charming. A novella, a short story, about a London man in 1920 going 'oop north' to Yorkshire to do some work uncovering a white washed mural in a church. Over the course of the month he meets a selection of the locals and falls in love with one of them without ever choosing to reveal his feelings for her (she being married to an older man). Then there's his friend Moon who, in a nearby field, has been commissioned to search for a lost grave. These two men often sit in the grass drinking, smoking pipes, putting the world to rights, discussing their experiences of the war. All the while the sun rises and sets.

The whole book has a warm feeling to it, a nostalgia for an England that no longer exists, but there's also a modern feel to it, most notably in the way Carr describes sex as well as Moon's homosexuality. There's a great deal of wit in the book and it's a slow, languorous, and gentle stroll through the summer countryside and a month that will live with the protagonist forever.

The book is mostly light-weight, nothing too strenuous, but charming and often profound. Life has a way of passing you by. Apparently there's a 1988 film with Colin Firth and Kenneth Brannagh (news to me).

"If I'd stayed there, would I always have been happy? No, I suppose not. People move away, grow older die, and the bright belief that there will always be another marvellous thing around each corner fades. It is now or never; we must snatch at happiness as it flies."

]]>
Akenfield 2614316 287 Ronald Blythe 0141187921 Hux 3
This is a book which records not only a time and a place that is gone but also a place even further back in time which only the very elderly residents can now recall. Blythe seems to recognise that we are losing something, a way of life, a variety of traditions, and before it dies off entirely it ought to be captured, remembered, discussed, before all tangible traces of it (the people) have long vanished. As such the book always feels very sad, romantic, with a theme of hardship and melancholy running through it. England, (Western civilisation itself) has left behind a way of life that has existed for centuries and is being forgotten too easily. Each of the characters give their insights and opinions, some fascinating, some parochial, but it's all in service of a desperately pitiable past, both romanticised or despised, which is leaving us. I found it hard not to sympathise with the general sense of sorrow which comes from the speakers. One of the prominent themes, of course, is religion.

Gregory Gladwell 44 blacksmith
I have a tendency to be like Charles Bradlaugh, who was a Suffolk man. I am not an atheist but I have strong views about politics and the Church. Bradlaugh wasn't against Church, he was against the set-up. I'm against the set-up. But I think it was an extremely good thing that religion should be accepted as the saviour pf civilisation. So I think it right that it should be carried on, If you forsake religion, it's back to the savages. This is what is happening now.

Meanwhile there is a great deal of debate about marriage and children, the need to rush into such matters less urgent than it was in the old days, the responsibilities of so many children a daunting prospect for the young of the day (there is some brief mention of the transformative development of the contraceptive pill but this issue is mostly viewed from an angle of cultural change).

Terry Lloyd 21 pig farmer
The village girls like to get married very young but the boys don't. Many of the boys don't want to marry until they are about thirty, although plenty of them have to long before then. I have a friend whose girl made all the running before they were wed, now he has to beg for it.

Similarly, the book doesn't shy away from the less pleasant aspects of the past either. One of the most fascinating chapters comes towards the end of the book and concerns the law and its relationship with the villagers and farm workers. Here we discover various disturbing stories including one of a group of boys who have been molested by a man with some degree of learning difficulties and they need to get one of the boys to admit to what happened in order to convict him. Despite his reticence (due to the shameful nature of it), they eventually convince him to speak. But it's all rather parochial and tolerated -- as though this is just what life consists of and we should address it accordingly. In this casual vein, we get a rather chilling account from the woman tasked with dealing with the legalities of the people's relationships and how best to deal with them when it comes to children.

Mrs Annersley 55 magistrate
There was more incest in the past and it was always fathers and daughters, never brothers and sisters. It happened when mother had too many children, or when mother was ill, or when mother was dead. And very often it didn't matter a bit. The daughter usually proved to be very fond of the father and there would be no sign of upset in the family. No, I think it was quite an understood thing that a daughter would take on the father when the mother was ill or dead.

Yikes! You will often hear conservatives tell you that we had better morals in the past because of religion but I'm not sure that argument is very convincing when more closely scrutinised. Today things look bad but that's probably because we're actively looking for unacceptable behaviours in a way that wasn't previously done. That being said, I sympathise with the general themes of the book, the lament of a simpler time when life had more certainty, greater boundaries, and a general sense of purpose. It would be silly to ignore the bad aspects of the past entirely but nonetheless I believe we have indeed lost something of value, a greater communal environment certainly, a world that is confined and limited (often for our own benefit). People find it counter-intuitive to acknowledge this, to want less choice, less freedom, less opportunity, but the truth is such things can often provide a greater degree of stability and significantly higher opportunities for contentment.

The whole book is a fascinating look at a time that (even when the book was published) was fading away. We now have another additional 60 years to add on to that ever increasing distance. These people are far away from us now, almost caricatures and myths, and I think it's worth occasionally thinking of them with some degree of respect and nostalgia. It's worth remembering the world we had, what we have gained and lost. Reading some of the interviews is enlightening to say the least. Some are more interesting than others and the book certainly doesn't possess any kind of plot or chronological progress. I would not describe it as a page turner but it's certainly a unique perspective into the past and definitely worth a look.

An eye opening document of a world that is long gone yet still disturbingly within reach.]]>
4.33 1969 Akenfield
author: Ronald Blythe
name: Hux
average rating: 4.33
book published: 1969
rating: 3
read at: 2025/03/27
date added: 2025/03/27
shelves:
review:
I picked this up thinking it was a novel (the front cover suggests a quaint story of sleepy English village life). Instead, I found a work of non-fiction albeit with elements of fiction in some aspects of the presentation. In many ways, it's like a documentary but in book form. Ronald Blythe essentially interviewed Suffolk farming folk in the mid to late sixties and wrote down what they said. For all I know, he may have simply transcribed what they said word for word; but as I say, there is a definite feeling of creative license being employed here (Akenfied itself is a fictitious place and there is drama based on the book which further embellished the piece). I'm not sure what the objective was here for Blythe, to simply record the voices and experiences of a people who were quite noticeably dying out as modernity continued to march on. Maybe nothing more than that. Anyway, we get some facts and statistics along the way, dates, events, historical changes, then we get the thoughts of individual villagers and the various farm workers, people who have jobs that no longer exist (thatcher, bell ringer, malting worker, farrier, wheelwright, saddler, gravedigger etc). Plus a great many people who were directly or indirectly affected by the two world wars (and a few eccentrics thrown in for good measure too).

This is a book which records not only a time and a place that is gone but also a place even further back in time which only the very elderly residents can now recall. Blythe seems to recognise that we are losing something, a way of life, a variety of traditions, and before it dies off entirely it ought to be captured, remembered, discussed, before all tangible traces of it (the people) have long vanished. As such the book always feels very sad, romantic, with a theme of hardship and melancholy running through it. England, (Western civilisation itself) has left behind a way of life that has existed for centuries and is being forgotten too easily. Each of the characters give their insights and opinions, some fascinating, some parochial, but it's all in service of a desperately pitiable past, both romanticised or despised, which is leaving us. I found it hard not to sympathise with the general sense of sorrow which comes from the speakers. One of the prominent themes, of course, is religion.

Gregory Gladwell 44 blacksmith
I have a tendency to be like Charles Bradlaugh, who was a Suffolk man. I am not an atheist but I have strong views about politics and the Church. Bradlaugh wasn't against Church, he was against the set-up. I'm against the set-up. But I think it was an extremely good thing that religion should be accepted as the saviour pf civilisation. So I think it right that it should be carried on, If you forsake religion, it's back to the savages. This is what is happening now.

Meanwhile there is a great deal of debate about marriage and children, the need to rush into such matters less urgent than it was in the old days, the responsibilities of so many children a daunting prospect for the young of the day (there is some brief mention of the transformative development of the contraceptive pill but this issue is mostly viewed from an angle of cultural change).

Terry Lloyd 21 pig farmer
The village girls like to get married very young but the boys don't. Many of the boys don't want to marry until they are about thirty, although plenty of them have to long before then. I have a friend whose girl made all the running before they were wed, now he has to beg for it.

Similarly, the book doesn't shy away from the less pleasant aspects of the past either. One of the most fascinating chapters comes towards the end of the book and concerns the law and its relationship with the villagers and farm workers. Here we discover various disturbing stories including one of a group of boys who have been molested by a man with some degree of learning difficulties and they need to get one of the boys to admit to what happened in order to convict him. Despite his reticence (due to the shameful nature of it), they eventually convince him to speak. But it's all rather parochial and tolerated -- as though this is just what life consists of and we should address it accordingly. In this casual vein, we get a rather chilling account from the woman tasked with dealing with the legalities of the people's relationships and how best to deal with them when it comes to children.

Mrs Annersley 55 magistrate
There was more incest in the past and it was always fathers and daughters, never brothers and sisters. It happened when mother had too many children, or when mother was ill, or when mother was dead. And very often it didn't matter a bit. The daughter usually proved to be very fond of the father and there would be no sign of upset in the family. No, I think it was quite an understood thing that a daughter would take on the father when the mother was ill or dead.

Yikes! You will often hear conservatives tell you that we had better morals in the past because of religion but I'm not sure that argument is very convincing when more closely scrutinised. Today things look bad but that's probably because we're actively looking for unacceptable behaviours in a way that wasn't previously done. That being said, I sympathise with the general themes of the book, the lament of a simpler time when life had more certainty, greater boundaries, and a general sense of purpose. It would be silly to ignore the bad aspects of the past entirely but nonetheless I believe we have indeed lost something of value, a greater communal environment certainly, a world that is confined and limited (often for our own benefit). People find it counter-intuitive to acknowledge this, to want less choice, less freedom, less opportunity, but the truth is such things can often provide a greater degree of stability and significantly higher opportunities for contentment.

The whole book is a fascinating look at a time that (even when the book was published) was fading away. We now have another additional 60 years to add on to that ever increasing distance. These people are far away from us now, almost caricatures and myths, and I think it's worth occasionally thinking of them with some degree of respect and nostalgia. It's worth remembering the world we had, what we have gained and lost. Reading some of the interviews is enlightening to say the least. Some are more interesting than others and the book certainly doesn't possess any kind of plot or chronological progress. I would not describe it as a page turner but it's certainly a unique perspective into the past and definitely worth a look.

An eye opening document of a world that is long gone yet still disturbingly within reach.
]]>
The Glamour 106924 235 Christopher Priest 0575075791 Hux 5 favorites
I came across this book whilst looking at a YouTube Video talking about The Magus by John Fowles (apparently Priest was so impressed by that book he gave up writing for a while). Eventually, he went back to writing and dedicated himself to trying to create something in the same philosophical vein. And he really did achieve it (I will definitely be seeking out more of his work after this).

The book begins with a man named Richard Grey, a freelance cameraman, who is in hospital in Devon recovering from a car bomb (implied to be the IRA) which has killed several and injured many (Richard perhaps the most lucky of these survivors). He is undergoing physiotherapy and has regular meetings with two doctors regarding both his physical health but, more importantly, the amnesia which he is experiencing. Richard has lost any recollection of the few weeks, maybe a couple of months, of his life just prior to the bomb. Then, at the request of the tabloid newspaper that is paying for Richard's story, a woman named Sue visits him. He has no idea who she is but it is implied that they were lovers during this lost period. After spending some time with her, and, more specifically, after undergoing hypnotherapy with doctor Hurdis and his assistant (a disturbing yet important piece of the book), Richard feels as though he is regaining some snapshots of his lost life. The book then switches to his first person narration as he pieces together their first meeting in France. He and Sue met on the train and began to spend time together though she had a boyfriend that she was going to see in the south of France named Niall who was abusive and controlling. She can't break it off with him but nonetheless agrees to meet up with Richard again later.

Back in the present day (and back to third person narration), Richard and Sue begin seeing each other again. On a visit to his flat they are talking and he tells her that some of his memories have been coming back. He tells her, for instance, about remembering how they met in France on the train, the ordeal with Niall, making love in the hotel. At this point, Sue looks at him in confusion and says:... 'I have never been to France.'

Not long after this, we finally get an explanation of what 'The Glamour' is. This is where the book really ramps things up and, to be honest, I'm not sure it's possible to explain anything more without spoiling the book. Suffice it to say, things get very weird and we finally get Sue's version of events (back to first person narration) of how she and Niall first met Richard in a pub in London. The less you know, the more you will enjoy this book and I would definitely recommend going in cold to truly get the most from it. So that's all I can really say without giving away too much. But I would just like to add that this book, unquestionably, contains the most f*cked up and mind-bending sex scene I've ever come across in literature. Just utterly bizarre, f*cked up, and yet mesmerising!

This whole thing is a magnificent piece of work. I couldn't believe how well-paced it was. You get third person narration which is gripping. Then it switches to first person and we get a new perspective, new information. Then back to third. Then Sue's first person perspective. All wonderfully unreliable. And all the while Priest writes in a manner that is so beautifully smooth and wonderful to read, the book combining an intriguing story with immensely enticing prose. It's never challenging but effective in moving things along and pulling the reader in all manner of directions, all of which demand answers without ever making them feel too immediate. Priest knows how to tease the audience just enough. And at the end, there are so many instances where the strange little things he included suddenly start to make sense.I absolutely LOVE philosophical books about how we define reality, ourselves, memory, existence, and this book truly lives up to that. It bewilders and bamboozles, plays with the reader, and opens so many doors that will leave you wondering what the hell just happened. It is so cleverly done. Even how we define fiction itself is being toyed with here.

And the ending, like all great fiction, allows you to ponder the implications. There are no answers, only more questions. All interpretations are valid (I have my own). If you want the book to be a straight-forward sci-fi story then it can be but that removes a lot of its power if you ask me. If you don't and prefer to see it as an existential novel (and I do), it works even better. I spent the whole book wondering, anticipating, how ambiguous Priest would allow the ending to be, and pleasingly he leaves the door wide open for all these outcomes to be available. I am very much of the opinion that this is an existential novel which entirely takes place in the real world. There is no sci-fi here, no magic. But that's just me. The truth, however, is that I can never know for sure. That's it's beauty.

It's a masterpiece!]]>
3.83 1984 The Glamour
author: Christopher Priest
name: Hux
average rating: 3.83
book published: 1984
rating: 5
read at: 2025/03/20
date added: 2025/03/24
shelves: favorites
review:
This book has slightly melted my brain and left me wondering who I am. No seriously, I'm looking into a mirror wondering... who is that?

I came across this book whilst looking at a YouTube Video talking about The Magus by John Fowles (apparently Priest was so impressed by that book he gave up writing for a while). Eventually, he went back to writing and dedicated himself to trying to create something in the same philosophical vein. And he really did achieve it (I will definitely be seeking out more of his work after this).

The book begins with a man named Richard Grey, a freelance cameraman, who is in hospital in Devon recovering from a car bomb (implied to be the IRA) which has killed several and injured many (Richard perhaps the most lucky of these survivors). He is undergoing physiotherapy and has regular meetings with two doctors regarding both his physical health but, more importantly, the amnesia which he is experiencing. Richard has lost any recollection of the few weeks, maybe a couple of months, of his life just prior to the bomb. Then, at the request of the tabloid newspaper that is paying for Richard's story, a woman named Sue visits him. He has no idea who she is but it is implied that they were lovers during this lost period. After spending some time with her, and, more specifically, after undergoing hypnotherapy with doctor Hurdis and his assistant (a disturbing yet important piece of the book), Richard feels as though he is regaining some snapshots of his lost life. The book then switches to his first person narration as he pieces together their first meeting in France. He and Sue met on the train and began to spend time together though she had a boyfriend that she was going to see in the south of France named Niall who was abusive and controlling. She can't break it off with him but nonetheless agrees to meet up with Richard again later.

Back in the present day (and back to third person narration), Richard and Sue begin seeing each other again. On a visit to his flat they are talking and he tells her that some of his memories have been coming back. He tells her, for instance, about remembering how they met in France on the train, the ordeal with Niall, making love in the hotel. At this point, Sue looks at him in confusion and says:... 'I have never been to France.'

Not long after this, we finally get an explanation of what 'The Glamour' is. This is where the book really ramps things up and, to be honest, I'm not sure it's possible to explain anything more without spoiling the book. Suffice it to say, things get very weird and we finally get Sue's version of events (back to first person narration) of how she and Niall first met Richard in a pub in London. The less you know, the more you will enjoy this book and I would definitely recommend going in cold to truly get the most from it. So that's all I can really say without giving away too much. But I would just like to add that this book, unquestionably, contains the most f*cked up and mind-bending sex scene I've ever come across in literature. Just utterly bizarre, f*cked up, and yet mesmerising!

This whole thing is a magnificent piece of work. I couldn't believe how well-paced it was. You get third person narration which is gripping. Then it switches to first person and we get a new perspective, new information. Then back to third. Then Sue's first person perspective. All wonderfully unreliable. And all the while Priest writes in a manner that is so beautifully smooth and wonderful to read, the book combining an intriguing story with immensely enticing prose. It's never challenging but effective in moving things along and pulling the reader in all manner of directions, all of which demand answers without ever making them feel too immediate. Priest knows how to tease the audience just enough. And at the end, there are so many instances where the strange little things he included suddenly start to make sense.I absolutely LOVE philosophical books about how we define reality, ourselves, memory, existence, and this book truly lives up to that. It bewilders and bamboozles, plays with the reader, and opens so many doors that will leave you wondering what the hell just happened. It is so cleverly done. Even how we define fiction itself is being toyed with here.

And the ending, like all great fiction, allows you to ponder the implications. There are no answers, only more questions. All interpretations are valid (I have my own). If you want the book to be a straight-forward sci-fi story then it can be but that removes a lot of its power if you ask me. If you don't and prefer to see it as an existential novel (and I do), it works even better. I spent the whole book wondering, anticipating, how ambiguous Priest would allow the ending to be, and pleasingly he leaves the door wide open for all these outcomes to be available. I am very much of the opinion that this is an existential novel which entirely takes place in the real world. There is no sci-fi here, no magic. But that's just me. The truth, however, is that I can never know for sure. That's it's beauty.

It's a masterpiece!
]]>
The Edges 221824252
A man returns to his hometown to clear out the flat of his recently deceased mother. While there, he cannot resist visiting his former lover. As the storm rages in the night outside, he finds in the man’s embrace some kind of quiet; some kind of home.

As we are drawn into the narrator’s past, we see how a childhood marked by abuse and a life lived on the edges can shape someone � and what respite and beauty can be found in love and trust. Unsentimental yet aching with longing and vulnerability, Angelo Tijssens� The Edges is a deeply humane, moving and beautiful debut.

‘A book that feels like heartache � at once tender & violent, intimate & lyrical, The Edges conjures itself in flowing temporal rhythms, immersing the reader in the night-lit, wintery ache of love.� Seán Hewitt

‘The Edges had me gripped from the very start. Tijssens has created a beguiling world filled with reckoning and melancholic sensuality. A masterfully crafted novella that leaves you wanting more.� Tomasz Jędrowski

‘A hovering wounded story of unending love and fear and pain that saturates the reader in silence and memory . . . Unmissable.� David Hayden

‘A deeply affecting meditation on the deprivation of love. Like a meeting of Édouard Louis and Garth Greenwell.� Michael Amherst

‘A powerful gem, written with great precision, lurching between love and violence.� De Standaard

‘Succinct and understated writing, deeply human and full of suppressed anguish.� Feeling

‘A hit. I’m hugely impressed by this strong debut.� Het Nieuwsblad]]>
104 Angelo Tijssens 1917092024 Hux 4
A man returns to his seaside town to deal with the aftermath of his mother's recent death. He uses this opportunity to reconnect with an old boyfriend and they agree to meet at the boyfriend's house and spend some time together. There's a storm outside and the men very quickly reminisce and re-ignite old feelings, sit by the fire, and change from their wet clothes to dry clothes. From this point on, the chapters switch between their evening together and the narrator's childhood memories of his abusive and neglectful mother. The book is very easy to read and very slight. In fact, it's almost ethereal, wistful, the writing almost feeling like it's floating in and out of your consciousness on a faint breeze. I found it rather lovely and compelling.

But there's not much more to the book. The whole thing goes by very softly, almost whimsically and dreamlike, yet always retaining a bitter taste in the memories of his confused childhood and his mother's behaviour. He also explores his nascent sexual encounters in youth (many of which have an element of abuse and coercion to them) as well as the relationship he had with the man he's visiting (more tender and respectful). These flights of fancy are full of nostalgia and deep feeling, and there's always a sense of past trauma defining aspects of his modern life. He wants desperately to connect to this past lover but can't seem to, their comfort with one another also possessing a divide. All the while the book conjures up a solitude in its atmospheric scene, the narrative always beautifully windswept and coastal, full of endless rain, the gentle tapping of it against the windows, and his lover's dog sleeping by the fire as they discuss the past. It was enormously effective and manifested a slow Sunday feeling as I read it, the small town, the sea, the-middle-of-nowhere quality, the northern European landscape. It was very real, tangible, evocative, even sensual. The ending provided yet another reminder that modernity and Western civilisation is becoming increasingly isolated and lonely. We sure done screwed things up on that score.

Ultimately, this is a short novel about loneliness and heartache. About regret and sorrow. It takes five minutes to read but is very charming and human. I would definitely recommend it as a pleasant form of escape. The writing has stream-of-consciousness aspects but it's so light and dreamy that you don't notice. Despite being very slight and delicate, I enjoyed it a lot.]]>
3.99 2022 The Edges
author: Angelo Tijssens
name: Hux
average rating: 3.99
book published: 2022
rating: 4
read at: 2025/03/23
date added: 2025/03/23
shelves:
review:
This was strangely romantic, sad, and sorrowful all at the same time. It's also short and sweet. You're in and then you're out.

A man returns to his seaside town to deal with the aftermath of his mother's recent death. He uses this opportunity to reconnect with an old boyfriend and they agree to meet at the boyfriend's house and spend some time together. There's a storm outside and the men very quickly reminisce and re-ignite old feelings, sit by the fire, and change from their wet clothes to dry clothes. From this point on, the chapters switch between their evening together and the narrator's childhood memories of his abusive and neglectful mother. The book is very easy to read and very slight. In fact, it's almost ethereal, wistful, the writing almost feeling like it's floating in and out of your consciousness on a faint breeze. I found it rather lovely and compelling.

But there's not much more to the book. The whole thing goes by very softly, almost whimsically and dreamlike, yet always retaining a bitter taste in the memories of his confused childhood and his mother's behaviour. He also explores his nascent sexual encounters in youth (many of which have an element of abuse and coercion to them) as well as the relationship he had with the man he's visiting (more tender and respectful). These flights of fancy are full of nostalgia and deep feeling, and there's always a sense of past trauma defining aspects of his modern life. He wants desperately to connect to this past lover but can't seem to, their comfort with one another also possessing a divide. All the while the book conjures up a solitude in its atmospheric scene, the narrative always beautifully windswept and coastal, full of endless rain, the gentle tapping of it against the windows, and his lover's dog sleeping by the fire as they discuss the past. It was enormously effective and manifested a slow Sunday feeling as I read it, the small town, the sea, the-middle-of-nowhere quality, the northern European landscape. It was very real, tangible, evocative, even sensual. The ending provided yet another reminder that modernity and Western civilisation is becoming increasingly isolated and lonely. We sure done screwed things up on that score.

Ultimately, this is a short novel about loneliness and heartache. About regret and sorrow. It takes five minutes to read but is very charming and human. I would definitely recommend it as a pleasant form of escape. The writing has stream-of-consciousness aspects but it's so light and dreamy that you don't notice. Despite being very slight and delicate, I enjoyed it a lot.
]]>
The Piano Teacher 36421218
Quiet, thirty-eight-year-old Erika Kohut teaches piano at the prestigious and formal Vienna Conservatory and lives with her possessive, domineering mother. Her life appears to be a seamless tissue of boredom, but Erika secretly visits Turkish peep shows at night to watch live sex shows and sadomasochistic films. Meanwhile, a handsome, self-absorbed young student has become enamored with Erika and sets out to seduce her. She resists him at first, but the dark passions roiling under the piano teacher's subdued exterior eventually explode in a release of sexual perversity, suppressed violence, and human degradation.

Celebrated throughout Europe for the intensity and frankness of her writings and awarded the Heinrich Böll Prize for her outstanding contribution to German letters, Elfriede Jelinek is one of the most original and controversial writers in the world today. The film adaptation of The Piano Teacher, released in the United States in 2001, won several major prizes at Cannes, including the Grand Jury Prize.]]>
280 Elfriede Jelinek 1781255687 Hux 3
Erika Kohut (The Piano Teacher), is not of this variety, however; she is VERY overtly this way inclined because of the relationship she has with her overbearing mother. Jelinek makes no bones about this, and the book opens with, and continues to the halfway point, focusing on this co-dependent relationship. Since childhood, Erika's mother has controlled her entire existence and after her father was shipped off to the lunatic asylum, this dominance only exacerbates. Erika was destined to be a great pianist and the pressure of this expectation has taken its toll not only on her talent but also on her personality. She is now reduced to being a teacher, already in her late thirties, the promise of greatness realistically gone but still cherished by her mother so that it can never quite die. As such Erika has become a malformed woman, a disastrous and abnormal soul incapable of developing as a person ought to. She has no meaningful life, no friends, and has acquired a taste for voyeurism in the shape of peep shows and porn. She also deliberately takes large instruments on public transport with her so that she can bump into people without them getting too upset. She stands on their feet so they can blame other people. She's a mess.

Then comes the sexual relationship with one of her younger students, Walter Klemmer, and here she finds an opportunity for release. But again, it's a malformed release and not really an expression of love of sexual desire. After their initial sexual encounter (in a toilet like all good first sexual encounters should be) she writes letters to him giving him instructions to beat her, abuse her, and generally humiliate her. At first glance, this is a straight-forward expression of her pent-up sexual need but as I said at the beginning, this doesn't really cover it. What Erikareally wants is control but she makes the mistake of trying to attain that control by telling him to be physically violent towards her (therefore implying that he is actually the one in control). This isn't really about sex for Erika, but rather a deformed search for love and connection that she doesn't fully know how to grasp. She isn't one of those women I mentioned at the start who take a genuine sexual pleasure from masochism but instead she feels no sexual pleasure at all. She barely feels anything. In this regard, I don't think the book is that interesting because it spoon feeds her obvious psychological trauma to you. There is very little grey area here, Erika is simply seeking answers, meaning, human experiences, control, but doesn't know how. Even as she watches people having sex, her bodily response is not arousal but a need to urinate. Truth be told, she doesn't really understand sex. The relationship with Klemmer, therefore, is her only means of control but it backfires (quite understandably) because she inadvertently opened a door to an entirely different experience.

The book and its characters are interesting. But ultimately, I did not enjoy the book. For me, it was the writing. Jelinek employs a strange third person narration which is far too cold and aloof. A book like this, with such a tormented protagonist, would be far more interesting (and insightful) with a first person narration. I would love to have known what Erika was actually thinking. But we get this flat, rather dull third person instead. Plus the narration itself is just so detached, almost like a robot or a visiting alien is describing the odd behaviours of humans with very metallic and autistic language. I found it almost unbearable to read in truth. It was dense and thick and always remote. This is tricky to pull off without the relief of some highly exquisite prose which Jelinek (and perhaps the translator) don't really have access to. It was so heavy and dull to me, to such an extent that great portions of it were very boring, spoiling what is an otherwise fascinating character study. Worth a read but not a book I can honestly say I enjoyed.]]>
3.59 1983 The Piano Teacher
author: Elfriede Jelinek
name: Hux
average rating: 3.59
book published: 1983
rating: 3
read at: 2025/03/16
date added: 2025/03/16
shelves:
review:
Sooner or later, most men (who date for long enough) will encounter women who want very rough sex. They'll want you to smack them, choke them, and often humiliate them. As a man, you'll find this all very odd and wonder what motivated such a desire but will, ultimately, not care that much. After all, you're getting sex and that's your priority. Sure, it will cross your mind that she has some kind of mental health issue, a childhood trauma, maybe even a severely damaged personality. But (certainly in the modern age) you'll eventually come to the conclusion that it's none of your business. We've been told not to kink shame after all (especially not to kink shame women), told that women are, in fact, enormously empowered and know precisely what they want. I first met one of these women in my thirties and being a good postmodern boy of left-leaning opinion, I never bothered to pursue why she wanted to be treated this way (though a few conversations with her definitely lead me to conclude that it was probably connected to her father). Anyway...the point is I didn't care. Whatever complex psychological turmoil and inner journey she was on, we were not intimate enough for me to take that into account. There's your problem.

Erika Kohut (The Piano Teacher), is not of this variety, however; she is VERY overtly this way inclined because of the relationship she has with her overbearing mother. Jelinek makes no bones about this, and the book opens with, and continues to the halfway point, focusing on this co-dependent relationship. Since childhood, Erika's mother has controlled her entire existence and after her father was shipped off to the lunatic asylum, this dominance only exacerbates. Erika was destined to be a great pianist and the pressure of this expectation has taken its toll not only on her talent but also on her personality. She is now reduced to being a teacher, already in her late thirties, the promise of greatness realistically gone but still cherished by her mother so that it can never quite die. As such Erika has become a malformed woman, a disastrous and abnormal soul incapable of developing as a person ought to. She has no meaningful life, no friends, and has acquired a taste for voyeurism in the shape of peep shows and porn. She also deliberately takes large instruments on public transport with her so that she can bump into people without them getting too upset. She stands on their feet so they can blame other people. She's a mess.

Then comes the sexual relationship with one of her younger students, Walter Klemmer, and here she finds an opportunity for release. But again, it's a malformed release and not really an expression of love of sexual desire. After their initial sexual encounter (in a toilet like all good first sexual encounters should be) she writes letters to him giving him instructions to beat her, abuse her, and generally humiliate her. At first glance, this is a straight-forward expression of her pent-up sexual need but as I said at the beginning, this doesn't really cover it. What Erikareally wants is control but she makes the mistake of trying to attain that control by telling him to be physically violent towards her (therefore implying that he is actually the one in control). This isn't really about sex for Erika, but rather a deformed search for love and connection that she doesn't fully know how to grasp. She isn't one of those women I mentioned at the start who take a genuine sexual pleasure from masochism but instead she feels no sexual pleasure at all. She barely feels anything. In this regard, I don't think the book is that interesting because it spoon feeds her obvious psychological trauma to you. There is very little grey area here, Erika is simply seeking answers, meaning, human experiences, control, but doesn't know how. Even as she watches people having sex, her bodily response is not arousal but a need to urinate. Truth be told, she doesn't really understand sex. The relationship with Klemmer, therefore, is her only means of control but it backfires (quite understandably) because she inadvertently opened a door to an entirely different experience.

The book and its characters are interesting. But ultimately, I did not enjoy the book. For me, it was the writing. Jelinek employs a strange third person narration which is far too cold and aloof. A book like this, with such a tormented protagonist, would be far more interesting (and insightful) with a first person narration. I would love to have known what Erika was actually thinking. But we get this flat, rather dull third person instead. Plus the narration itself is just so detached, almost like a robot or a visiting alien is describing the odd behaviours of humans with very metallic and autistic language. I found it almost unbearable to read in truth. It was dense and thick and always remote. This is tricky to pull off without the relief of some highly exquisite prose which Jelinek (and perhaps the translator) don't really have access to. It was so heavy and dull to me, to such an extent that great portions of it were very boring, spoiling what is an otherwise fascinating character study. Worth a read but not a book I can honestly say I enjoyed.
]]>
The Panopticon 139220932 0 Jenni Fagan Hux 3
I mean, it was fine. I can't say I enjoyed it that much and there were large periods where it felt like something very specifically aimed at teenagers. It just didn't have any meaningful substance to it, any progression, and was very dialogue heavy and prone to drag and repeat itself. The major problem for me was that Anais is just angry all the way through, an angst-ridden girl who is always on the defensive, always with her guard up, always swearing and unwilling to trust anyone. It makes sense given the context of her life but it isn't necessarily fun to read. There's no growth to her character, no sense that she's developing as a human, it's just relentless moodiness and sulking. This is fine for a while but eventually you get bored of it. The book might have been better off had it been narrated by Anais from a later date, as an adult, when she had a more mature outlook. Or if the book covered a larger period of her life. But instead, it's just teensy angst and cocky belligerence to the end.

Then we come to a little bugbear of mine. Why are Scottish writers under the impression that they're the only people on earth who possess an accent? No, seriously. Why? There are countless places in England alone where people have a very strong (certainly much stronger than Scottish), almost indecipherable accent, but they rarely fetishise these in literature the way the Scottish do. It's not that bad here, the occasional 'disnae, umnay, arnay, radge,' etc but I just tire of this bizarre, almost nationalistic notion that dialect is somehow unique to them. Give it a f*cking rest! This is clearly designed for the benefit of the English and American reading audience (after all, why would Scottish people even need to read their own accent? Do people actually hear their own accents? No, which is precisely why you know it's performative, deliberately heightened or exaggerated for purely self-indulgent reasons). Anyway, it's a small gripe I've always had but it irritates me.

Otherwise, the book is fine. It's mostly an easy to read little story. Give it to your angry teen daughter or something. But I wasn't exactly enamoured and I doubt I'll think about the book much beyond this review.]]>
3.50 2011 The Panopticon
author: Jenni Fagan
name: Hux
average rating: 3.50
book published: 2011
rating: 3
read at: 2025/03/14
date added: 2025/03/14
shelves:
review:
The story of a young 15-year-old girl called Anais. The book opens with her being taken by the police to a care home called The Panopticon after engaging in a potentially violent act that has resulted in a policewoman being put into a coma. She meets the other residents and staff and what follows is a rather straight-forward YA novel about an angry teen girl who is coming to terms with her circumstances whilst waiting to see if the policewoman recovers and if there's any evidence to convict her. A brief google of Fagan would suggest that this is very strongly autobiographical.

I mean, it was fine. I can't say I enjoyed it that much and there were large periods where it felt like something very specifically aimed at teenagers. It just didn't have any meaningful substance to it, any progression, and was very dialogue heavy and prone to drag and repeat itself. The major problem for me was that Anais is just angry all the way through, an angst-ridden girl who is always on the defensive, always with her guard up, always swearing and unwilling to trust anyone. It makes sense given the context of her life but it isn't necessarily fun to read. There's no growth to her character, no sense that she's developing as a human, it's just relentless moodiness and sulking. This is fine for a while but eventually you get bored of it. The book might have been better off had it been narrated by Anais from a later date, as an adult, when she had a more mature outlook. Or if the book covered a larger period of her life. But instead, it's just teensy angst and cocky belligerence to the end.

Then we come to a little bugbear of mine. Why are Scottish writers under the impression that they're the only people on earth who possess an accent? No, seriously. Why? There are countless places in England alone where people have a very strong (certainly much stronger than Scottish), almost indecipherable accent, but they rarely fetishise these in literature the way the Scottish do. It's not that bad here, the occasional 'disnae, umnay, arnay, radge,' etc but I just tire of this bizarre, almost nationalistic notion that dialect is somehow unique to them. Give it a f*cking rest! This is clearly designed for the benefit of the English and American reading audience (after all, why would Scottish people even need to read their own accent? Do people actually hear their own accents? No, which is precisely why you know it's performative, deliberately heightened or exaggerated for purely self-indulgent reasons). Anyway, it's a small gripe I've always had but it irritates me.

Otherwise, the book is fine. It's mostly an easy to read little story. Give it to your angry teen daughter or something. But I wasn't exactly enamoured and I doubt I'll think about the book much beyond this review.
]]>
<![CDATA[The Crying Of Lot 49 by Thomas Pynchon (6-Jun-1996) Paperback]]> 144092809 The Crying of Lot 49 opens as Oedipa Maas discovers that she has been made executrix of a former lover's estate. The performance of her duties sets her on a strange trail of detection, in which bizarre characters crowd in to help or confuse her. But gradually, death, drugs, madness and marriage combine to leave Oedipa in isolation on the threshold of revelation, awaiting the Crying of Lot 49.]]> 0 Thomas Pynchon Hux 2
A woman named Oedipa (everyone has a wacky name) is informed that she is the executor of the estate of a past lover (Pierce Invararity... see, wacky) and so she travels to L.A and meets a lawyer called Metzger (a former child star) and they watch a movie that happens to be on TV which starred the young Metzger. Then they have sex. I don't know why. She's married but hey, it's the sixties. Oh, and there's a band called The Paranoids who constantly turn up (hey, hey, we're the Paranoids, and people say we Paranoid around). Have I mentioned that it's the sixties? You'd never guess from reading this book that it's the sixties. Wanna smoke some dope and take some LSD and watch a documentary about Timothy Leary?

Sadly, after a while, I completely lost interest in all of this cartoonish nonsense. I was suddenly reminded of A Confederacy of Dunces and had that awful feeling that I was supposed to find this book immensely funny (certainly funnier than it actually is). To be fair, I enjoyed the first two chapters and thought the writing was inventive and fluid. But the story is just so dull and gradually becomes more (deliberately) obscure and incoherent. We start to delve into secret societies and perpetual motion devices and insane, screeching therapists. None of this was entertaining to me. It was just zany, psychedelic paranoia... of a very 1960s brand. You'd be better off just listening to Lucy in the sky with Diamonds. Or sniffing glue and staring at a picture of Mickey Dolenz.

All the way through, you get the impression that Pynchon himself is deliriously paranoid and drowning in the (heavily dated, my groovy cat) conspiracy theories of the day. Some of this is interesting, the investigation of whether your life is in you hands or influenced, even controlled, by outside forces, this particular anxiety ridden notion very much present in the idea of the secret mail service that works in opposition to the actual mail service. But honestly, no philosophical debate can be adequately explored in such a disposable form of art. Not for me, anyway. And the biggest issue I had, as always, is that it just isn't very fun to read (the story more so than the prose). There's something interesting at the heart of the piece but it feels exaggerated, malformed, and extremely dated. I can imagine hippies and counter culture liberals loving this (oh God, is that why Pynchon is such a hipster's wet dream?). But I found most of it overwrought and contrived, almost like an inadvertent parody of postmodern literature. It's just not that good, kids. I don't care how groovy this cat is. It's well-written gibberish, like that acid infusedepisode of the Monkees. Reading this has convinced me to put Gravity's Rainbow on the back burner indefinitely. I don't care how groovy you dig on this guy, I ain't no square and this just ain't outta sight]]>
2.91 1966 The Crying Of Lot 49 by Thomas Pynchon (6-Jun-1996) Paperback
author: Thomas Pynchon
name: Hux
average rating: 2.91
book published: 1966
rating: 2
read at: 2025/03/10
date added: 2025/03/10
shelves:
review:
Imagine taking lots of LSD and waking up in an episode of the Monkees. Then imagine how banal this is.

A woman named Oedipa (everyone has a wacky name) is informed that she is the executor of the estate of a past lover (Pierce Invararity... see, wacky) and so she travels to L.A and meets a lawyer called Metzger (a former child star) and they watch a movie that happens to be on TV which starred the young Metzger. Then they have sex. I don't know why. She's married but hey, it's the sixties. Oh, and there's a band called The Paranoids who constantly turn up (hey, hey, we're the Paranoids, and people say we Paranoid around). Have I mentioned that it's the sixties? You'd never guess from reading this book that it's the sixties. Wanna smoke some dope and take some LSD and watch a documentary about Timothy Leary?

Sadly, after a while, I completely lost interest in all of this cartoonish nonsense. I was suddenly reminded of A Confederacy of Dunces and had that awful feeling that I was supposed to find this book immensely funny (certainly funnier than it actually is). To be fair, I enjoyed the first two chapters and thought the writing was inventive and fluid. But the story is just so dull and gradually becomes more (deliberately) obscure and incoherent. We start to delve into secret societies and perpetual motion devices and insane, screeching therapists. None of this was entertaining to me. It was just zany, psychedelic paranoia... of a very 1960s brand. You'd be better off just listening to Lucy in the sky with Diamonds. Or sniffing glue and staring at a picture of Mickey Dolenz.

All the way through, you get the impression that Pynchon himself is deliriously paranoid and drowning in the (heavily dated, my groovy cat) conspiracy theories of the day. Some of this is interesting, the investigation of whether your life is in you hands or influenced, even controlled, by outside forces, this particular anxiety ridden notion very much present in the idea of the secret mail service that works in opposition to the actual mail service. But honestly, no philosophical debate can be adequately explored in such a disposable form of art. Not for me, anyway. And the biggest issue I had, as always, is that it just isn't very fun to read (the story more so than the prose). There's something interesting at the heart of the piece but it feels exaggerated, malformed, and extremely dated. I can imagine hippies and counter culture liberals loving this (oh God, is that why Pynchon is such a hipster's wet dream?). But I found most of it overwrought and contrived, almost like an inadvertent parody of postmodern literature. It's just not that good, kids. I don't care how groovy this cat is. It's well-written gibberish, like that acid infusedepisode of the Monkees. Reading this has convinced me to put Gravity's Rainbow on the back burner indefinitely. I don't care how groovy you dig on this guy, I ain't no square and this just ain't outta sight
]]>
<![CDATA[The Gorse Trilogy: The West Pier, Mr Stimpson And Mr Gorse, Unknown Assailant]]> 35788256
Gorse is thought to be based on the real-life murderer Neville Heath, hanged in 1946.

Patrick Hamilton was born in 1904, and achieved early success as a novelist and playwright, his first novel published in his early twenties. He wrote several other novels and a play, Rope, before he was thirty. Both Rope and another play, Gaslight, were adapted for the big screen, the former by Alfred Hitchcock. His novels include Craven House, The Midnight Bell, The Siege of Pleasure, The Plains of Cement (a trilogy later published together under the title Twenty Thousand Streets Under the Sky), Hangover Square and The Slaves of Solitude. He died in 1962, aged fifty-eight, alcoholism undoubtedly a factor in his early death.

‘The entertainment value of this brilliantly told story could hardly be higher�
L.P. HARTLEY

‘a marvellous novelist who’s grossly neglected�
DORIS LESSING

‘A riveting dissector of English life�
KEITH WATERHOUSE]]>
864 Patrick Hamilton 0349141495 Hux 3
The West Pier (1952)

This is by far the best of the three. This one actually feels more like a novel and provides early chapters about his childhood, his school days, and his early forays into criminality. The book eventually jumps ahead to when Gorse is a young man of 18 and living in Brighton. Here, with two of his friends (Ryan and Bell), they meet Esther and Gertrude. Esther is beautiful and likes Ryan and vice versa. But Gorse is more confident, asking her out while Ryan falters, and she is prone (one of the themes of the book) to be impressed by Gorse being upper middle-class and educated. She is even more impressed by his sexually secure nature, his indifference, his apparent sophistication. And yet she finds Ryan more physically attractive. She begins to date both these young men before Gorse manipulates her into viewing Ryan as a threat. It's a rather lightweight story but does a good job of setting up the character of Gorse. Otherwise, it's a little meandering and quaint, never really going anywhere that interesting (we already know that Gorse is a con-man and is going to fleece her). Hamilton clearly has a certain venom for beautiful girls who place great importance in men who exhibit higher class, status, education. The book is very dated in that sense, everyone obsessed with their rank in the social order. Esther allows herself to be seduced by a man who is less attractive to her than Ryan purely because he combines high status with self-assurance. Had this book been written today, it would probably focus on women and their noted attraction to the bad-boy. Gorse has just enough danger about him to make him more intriguing than Ryan. And she comes across as ultimately naive and even a little complicit in her own downfall.

The book is very readable and by far the best of these three. There is an exuberance in the characters, a youthful excitement that permeates, even from the cold and aloof Gorse who openly acknowledges that he's new to the game of confidence trickery. We're essentially seeing him learn his trade. I was enjoying reading this but was a little disappointed by the damp squib ending. It all felt a little inconsequential.

Mr. Stimpson and Mr. Gorse (1953)

Literally more of the same here. Gorse is now a little older and residing in Reading. He takes on the character of a first world war veteran and focuses his attention on an older woman named Mrs Plumleigh-Bruce. She also has the attention of a man named Stimpson (hence the title) but he is, it seemed to me, somewhat insignificant to events. And so yeah, we get more of the same. This time it's a betting swindle (rather than a car in the first book) and it goes along almost identically, with all the same beats, and all the same outcomes. I really didn't get much from this.

Unknown Assailant (1955)

Then finally a much shorter novel (a third of the other two) which has yet another identical set-up. Gorse is now over thirty and seduces a barmaid called Ivy. Very much the same story as before though this time Gorse passes himself off as nobility and goes by the name The Honourable Gerald Claridge. I was really struggling with this one and found it quite dull. There is a slight opportunity to touch on Gorse's sexuality (he likes to tie women up) which also had a brief mention in the first book where he does this to a little girl. But it never really goes anywhere and Hamilton only allows himself to hint and nudge. So we basically just get more of the same here.

I love Hamilton's writing but these final novels didn't quite live up to what had gone before. The West Pier is the best of the three and worth reading but the others can be skipped (unless you want the full character study). Some of his writing (especially in The West Pier) is lovely, very smooth and accomplished, but there are times when it feels like he could have removed so much. For example, in The West Pier there's a whole section where Ryan gets stood up by Esther so Gertrude arrives to tell him and they spend an evening playing arcade games. This adds almost nothing and despite being fun to read, by the end of the book, you do wonder why he wasted time on this, and many other intricate niceties. I suppose it helps to build the world but It's all for the sake of a rather basic story. Anyway, I enjoyed the first book (a little) but found the second two less interesting. Hamilton's writing is always good but the content is ultimately very slight in my opinion. Never mind.]]>
3.73 1992 The Gorse Trilogy: The West Pier, Mr Stimpson And Mr Gorse, Unknown Assailant
author: Patrick Hamilton
name: Hux
average rating: 3.73
book published: 1992
rating: 3
read at: 2025/03/08
date added: 2025/03/08
shelves:
review:
I've always been a big fan of Patrick Hamilton's work and have enjoyed all of his books. Sadly, this one (actually three novels squeezed into one) was a bit of a letdown. Similar to 20,00 Streets Under The Sky, the three novels have been turned into one because they focus on the same characters. In this instance, just one character, the rather marvellous Ralph Ernest Gorse. He is a cad and a bounder, almost certainly a high functioning psychopath, and the three novels follow his nefarious exploits. The biggest problem with the novels is that they're essentially the same story told three times. Gorse meets a woman, manipulates and seduces her, then swindles her life savings.

The West Pier (1952)

This is by far the best of the three. This one actually feels more like a novel and provides early chapters about his childhood, his school days, and his early forays into criminality. The book eventually jumps ahead to when Gorse is a young man of 18 and living in Brighton. Here, with two of his friends (Ryan and Bell), they meet Esther and Gertrude. Esther is beautiful and likes Ryan and vice versa. But Gorse is more confident, asking her out while Ryan falters, and she is prone (one of the themes of the book) to be impressed by Gorse being upper middle-class and educated. She is even more impressed by his sexually secure nature, his indifference, his apparent sophistication. And yet she finds Ryan more physically attractive. She begins to date both these young men before Gorse manipulates her into viewing Ryan as a threat. It's a rather lightweight story but does a good job of setting up the character of Gorse. Otherwise, it's a little meandering and quaint, never really going anywhere that interesting (we already know that Gorse is a con-man and is going to fleece her). Hamilton clearly has a certain venom for beautiful girls who place great importance in men who exhibit higher class, status, education. The book is very dated in that sense, everyone obsessed with their rank in the social order. Esther allows herself to be seduced by a man who is less attractive to her than Ryan purely because he combines high status with self-assurance. Had this book been written today, it would probably focus on women and their noted attraction to the bad-boy. Gorse has just enough danger about him to make him more intriguing than Ryan. And she comes across as ultimately naive and even a little complicit in her own downfall.

The book is very readable and by far the best of these three. There is an exuberance in the characters, a youthful excitement that permeates, even from the cold and aloof Gorse who openly acknowledges that he's new to the game of confidence trickery. We're essentially seeing him learn his trade. I was enjoying reading this but was a little disappointed by the damp squib ending. It all felt a little inconsequential.

Mr. Stimpson and Mr. Gorse (1953)

Literally more of the same here. Gorse is now a little older and residing in Reading. He takes on the character of a first world war veteran and focuses his attention on an older woman named Mrs Plumleigh-Bruce. She also has the attention of a man named Stimpson (hence the title) but he is, it seemed to me, somewhat insignificant to events. And so yeah, we get more of the same. This time it's a betting swindle (rather than a car in the first book) and it goes along almost identically, with all the same beats, and all the same outcomes. I really didn't get much from this.

Unknown Assailant (1955)

Then finally a much shorter novel (a third of the other two) which has yet another identical set-up. Gorse is now over thirty and seduces a barmaid called Ivy. Very much the same story as before though this time Gorse passes himself off as nobility and goes by the name The Honourable Gerald Claridge. I was really struggling with this one and found it quite dull. There is a slight opportunity to touch on Gorse's sexuality (he likes to tie women up) which also had a brief mention in the first book where he does this to a little girl. But it never really goes anywhere and Hamilton only allows himself to hint and nudge. So we basically just get more of the same here.

I love Hamilton's writing but these final novels didn't quite live up to what had gone before. The West Pier is the best of the three and worth reading but the others can be skipped (unless you want the full character study). Some of his writing (especially in The West Pier) is lovely, very smooth and accomplished, but there are times when it feels like he could have removed so much. For example, in The West Pier there's a whole section where Ryan gets stood up by Esther so Gertrude arrives to tell him and they spend an evening playing arcade games. This adds almost nothing and despite being fun to read, by the end of the book, you do wonder why he wasted time on this, and many other intricate niceties. I suppose it helps to build the world but It's all for the sake of a rather basic story. Anyway, I enjoyed the first book (a little) but found the second two less interesting. Hamilton's writing is always good but the content is ultimately very slight in my opinion. Never mind.
]]>
<![CDATA[In Love (Modern Romance Classics)]]> 217357430 128 Alfred Hayes 1805331078 Hux 3
'All I knew, really, was that she had taken away with her when she had gone something which in the past had held me together, some necessary sense of myself, something without which I seemed in danger of collapsing; and whatever it was, an indispensable vanity, an irreplaceable idea of my own invulnerability, it was gone and only she could restore it to me, or so I thought.

It's a nice little novella, a little on the lightweight side (too much to be truly great), but it's very well-written. I wish I could say I loved it more than I actually did but the truth is, I was always slightly uninterested in the actual story. If I ever read this again, however, I would almost certainly ignore the story and focus my attention on the writing which is occasionally fluid and lyrical, and something that reaches genuine heights of sumptuous, liquid prose. My first reading is usually focused on the plot and characters, neither of which especially grabbed me here, so I only mildly enjoyed it. But the second reading, whenever I get around to it, ought to be a far more rewarding experience. A nice little gem that's definitely worth your time.]]>
3.43 1958 In Love (Modern Romance Classics)
author: Alfred Hayes
name: Hux
average rating: 3.43
book published: 1958
rating: 3
read at: 2025/03/01
date added: 2025/03/01
shelves:
review:
A nameless middle-aged man meets a woman in a bar and proceeds to tell her about a doomed love affair he once experienced. The first and last chapter takes place in this bar while the rest of the book is his story. The woman he fell in love with was a young divorcee with a child and while things were going well for a while, she later meets a rich bloke called Howard who offers her money and so things take a turn. After that, it becomes a more adversarial relationship, the power dynamics and transactional nature of love an obvious theme in the book. People are often looking for different things and will manipulate the other in order to get them. This aspect aside, the book is an otherwise very basic story and I would argue the majority of your enjoyment will come from the writing style which Hayes has to offer. Some of it is quite beautiful, a kind of wispish romanticism that was common to the era (or a nostalgic version of this). I also got some flashbacks to the Great Gatsby, a sense of being out of time, lost in jazz music and the rise of burgeoning modernity. Some of the sentences whirl along, slither like snakes that never end, and Hayes clearly has a penchant for the decorous and poetic.

'All I knew, really, was that she had taken away with her when she had gone something which in the past had held me together, some necessary sense of myself, something without which I seemed in danger of collapsing; and whatever it was, an indispensable vanity, an irreplaceable idea of my own invulnerability, it was gone and only she could restore it to me, or so I thought.

It's a nice little novella, a little on the lightweight side (too much to be truly great), but it's very well-written. I wish I could say I loved it more than I actually did but the truth is, I was always slightly uninterested in the actual story. If I ever read this again, however, I would almost certainly ignore the story and focus my attention on the writing which is occasionally fluid and lyrical, and something that reaches genuine heights of sumptuous, liquid prose. My first reading is usually focused on the plot and characters, neither of which especially grabbed me here, so I only mildly enjoyed it. But the second reading, whenever I get around to it, ought to be a far more rewarding experience. A nice little gem that's definitely worth your time.
]]>
<![CDATA[The Waiting Years (Vintage Classics)]]> 18803631 Published for the first time in the UK, one of Japan's greatest modern female writers

In the late nineteenth century, Tomo, the faithful wife of a government official, is sent to Tokyo, where a heartbreaking task is awaiting her. From among hundreds of geishas and daughters offered up for sale by their families she must select a respectable young girl to become her husband’s new lover. Externally calm, but torn apart inside, Tomo dutifully begins the search for an official mistress.

The Waiting Years was awarded Japan’s most prestigious literary award, the Noma Prize.]]>
183 Fumiko Enchi 0099589451 Hux 3
Then comes the part of the book that reallytakes Yukitomo to new levels of acceptable behaviour. His young (and seemingly low intelligence) son, Michimasa meets and marries a young woman named Miya and, sure enough, Yukitomo begins an affair with her too. Eve Tomo finds this behaviour to be crossing a line. More years go by, the young women Suga and Yumi are now in her forties, and Tomo has grown immensely bitter regarding her husband. You can hardly blame her.

I'm not entirely sure what this book is about. Japanese culture? Men being pigs? Dunno. But I've seen some reviews describe the book's title as something that refers to Tomo waiting for death so that she can be released from the humiliating life her husband has inflicted on her. The waiting years, those years when, in that time in Japan, women had little recourse to do anything other than what they were told. Her only escape is death and therefore life is, essentially, nothing more than a waiting room, a thing you have to endure before being released. Sounds about right to me.

An intriguing book to say the least, one which explores an interesting world and characters. But I can't say I enjoyed the writing that much. Like a lot of Japanese literature it was very matter of fact, very succinct, and to the point. Not always fun to read. But a book worth reading nonetheless (if you can stomach the patriarch).]]>
4.03 1957 The Waiting Years (Vintage Classics)
author: Fumiko Enchi
name: Hux
average rating: 4.03
book published: 1957
rating: 3
read at: 2025/02/26
date added: 2025/02/26
shelves:
review:
So the book beginswith Tomo being sent by her husband, Yukitomo, to go find a nice young concubine that can be brought home to live with them. With the help of an old friend, Tomo finds a fifteen-year-old girl called Suga who becomes part of the family. He regularly has ex with Suga (despite the fact that she has not yet begun to menstruate (this will come back later as an explanation for her inability to have children) and Tomo is somewhat sidelined (and growing ever resentful). Meanwhile, another concubine called Yumi is brought into the fold and Tomo has further resentments to deal with. As the years go by the women come to terms with their roles and Tomo even tries to find husbands for them so that they can leave the family. It's all very Japanese (at least late 19th century Japanese).

Then comes the part of the book that reallytakes Yukitomo to new levels of acceptable behaviour. His young (and seemingly low intelligence) son, Michimasa meets and marries a young woman named Miya and, sure enough, Yukitomo begins an affair with her too. Eve Tomo finds this behaviour to be crossing a line. More years go by, the young women Suga and Yumi are now in her forties, and Tomo has grown immensely bitter regarding her husband. You can hardly blame her.

I'm not entirely sure what this book is about. Japanese culture? Men being pigs? Dunno. But I've seen some reviews describe the book's title as something that refers to Tomo waiting for death so that she can be released from the humiliating life her husband has inflicted on her. The waiting years, those years when, in that time in Japan, women had little recourse to do anything other than what they were told. Her only escape is death and therefore life is, essentially, nothing more than a waiting room, a thing you have to endure before being released. Sounds about right to me.

An intriguing book to say the least, one which explores an interesting world and characters. But I can't say I enjoyed the writing that much. Like a lot of Japanese literature it was very matter of fact, very succinct, and to the point. Not always fun to read. But a book worth reading nonetheless (if you can stomach the patriarch).
]]>
Separation 64292889 224 Dan Franck 0552995991 Hux 3
The story is about a couple with two kids going through a separation. She no longer shows affection for him and he suspects an affair which she denies (her first lie) but then later she admits that she's in love with another man but hasn't slept with him yet. The husband wants to know if she still loves him and she says yes (another lie). He wants to know if she intends to leave him and she says it depends. This is the point in the book where I could no longer tolerate her as a character. It's one thing to cheat, to destroy a marriage, but it's another thing to deliberately torture the man and simply make him wait for her lover to decide if he wants her or not (that's what her decision depends on after all). From this point on, she really is just an awful monster with no redeeming features. Franck clearly doesn't want us to view her this way, doing his best to give her a few sympathetic moments, but it's utterly impossible not to.

And that's my primary criticism of the book; this isn't literature, it's melodramatic nonsense designed to provoke the reader. Franck is a screenwriter and it shows. He is dealing with heightened emotions, unrealistic people, incomprehensible decisions, and deliberate provocation, all In the hopes of manipulating the audience into a response. It's effective (oh, how I loved to despise this woman!!!) but again... it's not literature. She is simply acting in a manner that is patently causing her husband (and eldest child) pain and does not seem to care in the slightest; meanwhile, he is a wet blanket, an emasculated coward who lets her walk all over him and tries to rationalise his pathetic weasel-like behaviour by pretending he's a good progressive feminist.Franck very wisely makes a point of letting us know that these people are PAINFULLY left-wing, presumably because he knows we won't buy this garbage any other way. Only that kind of insipid progressive would behave the way his characters do (and even that is a stretch). This whole book is an advert for the limp-wristed worldview of the self-loathing bourgeoisie. It's vomit inducing.

This book is manipulative to the extreme. But it works. I got a kick out of hating both of them and their banal wine drinking friends. And the writing is quite compelling (a kind of stream of consciousness style) but ultimately, it isn't great work. It's just a fun way to waste a Sunday afternoon. It's a low-brow soap opera with the added steps of being about progressive middle class French people (and therefore more profound and meaningful). But don't fall for it, what you're reading is utter trash.]]>
3.00 1991 Separation
author: Dan Franck
name: Hux
average rating: 3.00
book published: 1991
rating: 3
read at: 2025/02/24
date added: 2025/02/24
shelves:
review:
There's a meme. Several naked men are waiting in line to have sex with a woman. At the back of the queue is a man holding flowers and the caption reads: don't be the guy with flowers. Well, this novel is all about that man. And it's some of the most egregious ragebait (in book form) I've ever seen.

The story is about a couple with two kids going through a separation. She no longer shows affection for him and he suspects an affair which she denies (her first lie) but then later she admits that she's in love with another man but hasn't slept with him yet. The husband wants to know if she still loves him and she says yes (another lie). He wants to know if she intends to leave him and she says it depends. This is the point in the book where I could no longer tolerate her as a character. It's one thing to cheat, to destroy a marriage, but it's another thing to deliberately torture the man and simply make him wait for her lover to decide if he wants her or not (that's what her decision depends on after all). From this point on, she really is just an awful monster with no redeeming features. Franck clearly doesn't want us to view her this way, doing his best to give her a few sympathetic moments, but it's utterly impossible not to.

And that's my primary criticism of the book; this isn't literature, it's melodramatic nonsense designed to provoke the reader. Franck is a screenwriter and it shows. He is dealing with heightened emotions, unrealistic people, incomprehensible decisions, and deliberate provocation, all In the hopes of manipulating the audience into a response. It's effective (oh, how I loved to despise this woman!!!) but again... it's not literature. She is simply acting in a manner that is patently causing her husband (and eldest child) pain and does not seem to care in the slightest; meanwhile, he is a wet blanket, an emasculated coward who lets her walk all over him and tries to rationalise his pathetic weasel-like behaviour by pretending he's a good progressive feminist.Franck very wisely makes a point of letting us know that these people are PAINFULLY left-wing, presumably because he knows we won't buy this garbage any other way. Only that kind of insipid progressive would behave the way his characters do (and even that is a stretch). This whole book is an advert for the limp-wristed worldview of the self-loathing bourgeoisie. It's vomit inducing.

This book is manipulative to the extreme. But it works. I got a kick out of hating both of them and their banal wine drinking friends. And the writing is quite compelling (a kind of stream of consciousness style) but ultimately, it isn't great work. It's just a fun way to waste a Sunday afternoon. It's a low-brow soap opera with the added steps of being about progressive middle class French people (and therefore more profound and meaningful). But don't fall for it, what you're reading is utter trash.
]]>
Man in the Holocene 1140780 113 Max Frisch 1564784665 Hux 3
Having just read a book that purports to explore the existential crisis of man (The Evenings) but which, in my opinion, failed, I would have to say that this book (covering the same themes) is an example of a book that actually succeeds. Geiser ruminates on the flood myth in the bible, on the encyclopedia entries about the arrival and demise of dinosaurs, on man's trivial appearance during the Holocene. The erosion of the outside world, falling away and changing shape, represents his own personal erosion as well as that of mankind's. It's a very succinct method of looking at the insignificant ants we are (actual ants are also present in the book) and how quickly life can be formed and destroyed in equal measure. But it's hard for the human mind to grasp the massive time scales involved and so we struggle to see how we don't feature prominently in the life of this planet. Surely, we are the stars of this particular show, its greatest achievement.

Frisch barely narrates this thing, he gives a very stark, even aloof third person narration interspersed with Geiser's thoughts, and encyclopedia entries which work as a way of fleshing out Geiser into a person with a full, rich life, this all despite not getting much in the way of details (probably his memories of his brother Klaus gets the most attention). Like I said, it's very effective and does a good job of exploring the existential nightmare of a transient life in a way that other books often struggle to achieve. It's very simple but it gets to the point. Everything erodes, everything changes.

That all being said, the book is rather lightweight and you can essentially read it in one sitting so I wouldn't call it a masterpiece or anything. It's a solid entry into the existential canon, a lonely old man coming to terms with his smallness in the grand scheme of things. And the ending is rather brilliant, one last encyclopedia entry which Geiser presumably looked at before we, the readers, got to see it. Definitely worth a look.]]>
3.77 1979 Man in the Holocene
author: Max Frisch
name: Hux
average rating: 3.77
book published: 1979
rating: 3
read at: 2025/02/22
date added: 2025/02/22
shelves:
review:
A 74-year-old man named Geiser lives in a valley that is currently experiencing torrential rains. There is some concern that a landslide might bury the village so he decides to pack some things, leave the house, and follow the path through the woods to safety; it doesn't take long, however, for him to abandon this idea and return home. His memory and physical health are not the best so he removes pages from encyclopedias and the bible and posts them on the walls to remind himself of what he's thinking about (these portions of the encyclopedia appear in the book with pictures).

Having just read a book that purports to explore the existential crisis of man (The Evenings) but which, in my opinion, failed, I would have to say that this book (covering the same themes) is an example of a book that actually succeeds. Geiser ruminates on the flood myth in the bible, on the encyclopedia entries about the arrival and demise of dinosaurs, on man's trivial appearance during the Holocene. The erosion of the outside world, falling away and changing shape, represents his own personal erosion as well as that of mankind's. It's a very succinct method of looking at the insignificant ants we are (actual ants are also present in the book) and how quickly life can be formed and destroyed in equal measure. But it's hard for the human mind to grasp the massive time scales involved and so we struggle to see how we don't feature prominently in the life of this planet. Surely, we are the stars of this particular show, its greatest achievement.

Frisch barely narrates this thing, he gives a very stark, even aloof third person narration interspersed with Geiser's thoughts, and encyclopedia entries which work as a way of fleshing out Geiser into a person with a full, rich life, this all despite not getting much in the way of details (probably his memories of his brother Klaus gets the most attention). Like I said, it's very effective and does a good job of exploring the existential nightmare of a transient life in a way that other books often struggle to achieve. It's very simple but it gets to the point. Everything erodes, everything changes.

That all being said, the book is rather lightweight and you can essentially read it in one sitting so I wouldn't call it a masterpiece or anything. It's a solid entry into the existential canon, a lonely old man coming to terms with his smallness in the grand scheme of things. And the ending is rather brilliant, one last encyclopedia entry which Geiser presumably looked at before we, the readers, got to see it. Definitely worth a look.
]]>
<![CDATA[The Evenings (Pushkin Press Classics)]]> 193385320 De Avonden vertelt het verhaal van Frits van Egters, die in de donkere decemberdagen van vlak na de Tweede Wereldoorlog zich een houding probeert te geven tegenover zijn ouders en vrienden. Over alles ligt een grijze waas van melancholie, en met zijn eigenzinnige gevoel voor humor probeert hij door het pantser van de verveling te breken. In het ontroerende slothoofdstuk komt hij tot het louterende inzicht dat hij door te kijken en te observeren de zinloosheid heeft bezworen: 'Het is gezien, het is niet onopgemerkt gebleven.']]> 320 Gerard Reve 1805330268 Hux 2
It's an easy trap to fall into. Because, in truth, boredom can actually be very interesting if you explore it with a sense of purpose and creativity. Sadly, that doesn't happen here. Reves has a nice style of writing, or at least the English translation does, and I think it was this style that kept me going longer than I normally would before noticing... it just isn't very fun. The protagonist, Frits, is a slightly charmless individual with a penchant for mockery and pretension. He lives with his parents and they sit and eat potatoes, or they smoke a cigarette, or they listen to the radio. He visits friends, goes to dances, gets drunk, makes fun of his brother's balding hair, or he just takes walks in the cold winter streets by the frozen canal. There are ten chapters representing ten days over Christmas. Oh, and there's a lot of dream sequences too, almost every chapter (at the day's end) concluding with one. I'm tempted to believe that Reves included these because what could better represent boredom than having to listen to another man tell you about his dreams? It is the absolute embodiment of the tedious. But I'm not sure if that wasn't purely coincidental. Otherwise, not much happens (as you'd expect) and the book is nothing more than a brief investigation of a dull, normal life. That this takes place just after the war gives it a strange dimension. I mean, just how bored could people really be after such a dramatic conflict? Then again, maybe the immediate post war years were all the more dull precisely because everyone had just experienced something so visceral.

But the book just never grabbed me. It's like someone putting up wallpaper. You understand why it's being done, might even like the pattern they've chosen, but do you really want to watch them doing it? Not me. Again, the themes are interesting but this is a tricky thing to do successfully. I was reminded of Camera by Toussaint, the mundane more curiously presented in that book, perhaps because it was an almost ethereal, heightened version of reality, or, even more so, Skylark by Kosztolanyi, a book which this feels eerily similar to. In fact, these two books could be related, the same book but from different perspectives; in Skylark we get the parents' version of events, here, the adult child's. Ultimately, I think Skylark did a better job of exploring the mundane (and did so much earlier in 1924). To me, this was the less interesting version while Skylark focused on the bored parents, people who had truly known tedium, blandness, and disappointment.

Anyway, I struggled with this. It never remotely excited me. I had high hopes but was slightly let down. Its themes have been better dealt with elsewhere. The writing is pretty good, in fact I'm tempted to say it was actually quite contemporary, at least in the sense that it was easy to read with very standard prose. But otherwise, nope. It didn't succeed as a novel about nothing. It wasn't dynamic enough to be about nothing. Nothing is more interesting than this. Nothing is the most profound of all the human experiences. This was just dull. ]]>
3.00 1947 The Evenings (Pushkin Press Classics)
author: Gerard Reve
name: Hux
average rating: 3.00
book published: 1947
rating: 2
read at: 2025/02/21
date added: 2025/02/21
shelves:
review:
Occasionally, I like to read books about the mundane, the banal, the everyday; books which explore the repetition and ennui of existence. If they're good, they will almost certainly become favourites. If they're not, they will infuriate me. In most cases, it's usually the latter because, in my opinion, books about this particular subject matter (the boredom of everyday life) are very difficult to pull off, and very often make the mistake of assuming that a book about boredom should also be boring itself. As such, this book goes nowhere, invites no development, offers no excitement. The author makes the mistake of thinking the book must be a mirror for the subject matter. If it's about life being repetitive then the book must be repetitive. If it's about the tedium of bureaucracy then the book must also demonstrate dry bureaucracy. If it's about nothing then the book must exemplify a certain nothingness.

It's an easy trap to fall into. Because, in truth, boredom can actually be very interesting if you explore it with a sense of purpose and creativity. Sadly, that doesn't happen here. Reves has a nice style of writing, or at least the English translation does, and I think it was this style that kept me going longer than I normally would before noticing... it just isn't very fun. The protagonist, Frits, is a slightly charmless individual with a penchant for mockery and pretension. He lives with his parents and they sit and eat potatoes, or they smoke a cigarette, or they listen to the radio. He visits friends, goes to dances, gets drunk, makes fun of his brother's balding hair, or he just takes walks in the cold winter streets by the frozen canal. There are ten chapters representing ten days over Christmas. Oh, and there's a lot of dream sequences too, almost every chapter (at the day's end) concluding with one. I'm tempted to believe that Reves included these because what could better represent boredom than having to listen to another man tell you about his dreams? It is the absolute embodiment of the tedious. But I'm not sure if that wasn't purely coincidental. Otherwise, not much happens (as you'd expect) and the book is nothing more than a brief investigation of a dull, normal life. That this takes place just after the war gives it a strange dimension. I mean, just how bored could people really be after such a dramatic conflict? Then again, maybe the immediate post war years were all the more dull precisely because everyone had just experienced something so visceral.

But the book just never grabbed me. It's like someone putting up wallpaper. You understand why it's being done, might even like the pattern they've chosen, but do you really want to watch them doing it? Not me. Again, the themes are interesting but this is a tricky thing to do successfully. I was reminded of Camera by Toussaint, the mundane more curiously presented in that book, perhaps because it was an almost ethereal, heightened version of reality, or, even more so, Skylark by Kosztolanyi, a book which this feels eerily similar to. In fact, these two books could be related, the same book but from different perspectives; in Skylark we get the parents' version of events, here, the adult child's. Ultimately, I think Skylark did a better job of exploring the mundane (and did so much earlier in 1924). To me, this was the less interesting version while Skylark focused on the bored parents, people who had truly known tedium, blandness, and disappointment.

Anyway, I struggled with this. It never remotely excited me. I had high hopes but was slightly let down. Its themes have been better dealt with elsewhere. The writing is pretty good, in fact I'm tempted to say it was actually quite contemporary, at least in the sense that it was easy to read with very standard prose. But otherwise, nope. It didn't succeed as a novel about nothing. It wasn't dynamic enough to be about nothing. Nothing is more interesting than this. Nothing is the most profound of all the human experiences. This was just dull.
]]>
Harassment Architecture 45363333 146 Mike Ma 1795641495 Hux 2
Like I said, I was enjoying it for a while. But then it just gets very repetitive and self-indulgent. The male equivalent of Agua Viva by Lispector but more... chronically online. Everything about this book screams... here is my internet assembled philosophy. It's like reading someone's edgy blog about Ted Kacynski. He hates hipsters who go to thrift stores to buy books but then five pages later starts telling you about the books he bought from a thrift store (because his hipster tastes are more valid). It would be tempting to say this is deliberate but I don't think so. Because later, after lamenting the mediocrity of a western existence permeated with ennui and routine, he will whine about some band that he loves (Homeshake -- they're not that good). Or he'll criticise political correctness and the late stage capitalist nightmare of soulless human interactions. Or he'll fantasise about and celebrate mass killings. Then moan about women and blacks. But fundamentally, he will fixate on the lack of beauty in the world, this especially demonstrated by brutalist architecture which (more by design than accident he implies) is purposely meant to crush and defeat us, turn us into self-hating automatons. I don't disagree with a lot of his opining (especially regarding architecture) but it's all presented in a very dull and obvious way. There's no plot or characters to hang any of it on, just relentless teenage angst and whining. To be fair, he does include a warning at the beginning:

If you came here expecting coherent plot or structure, you bought or stole the wrong book.

Fair enough. But none of this changes the fact that the book drones on. If you're into this kind of incel rebellion, or a book that posits that the left have ruined civilisation (and I am), or you like misanthropic characters of the American Psycho variety, who crave saying the N-word, and find the trappings of modernity to be repugnant, this might have something for you. But I doubt it. The book just doesn't have enough meat on its bones.

Occasionally, it can be fun to read, even offer up some intriguing truths about modern life. That we secretly like it when there's a mass shooting or terrorist attack, for example, because we're so bored of our tedious routines, of MacDonald's and Netflix, of Steve from accounts who just had a baby and won't shut up about it, that we crave a disturbance, a crash, a reminder that life can be more than this, more visceral and authentic, more immediate, more akin to the word ALIVE! All true, and yes, sometimes you will stand on a train station and think: "what if I pushed that woman onto the tracks. What would that feel like?" But these little moments are all lost in a rather dense format that, after a while, begs to be more coherent or just significantly more entertaining. You just feel like you need a break, some dialogue, a plot point, an event, anything -- but it's just one blog post after another.

Honestly, you'd be better off reading Catcher in the Rye. At least that book has some heart. Alternatively, you might try Houellebecq. Because it felt to me like this guy was just... tying too hard.]]>
3.85 2019 Harassment Architecture
author: Mike Ma
name: Hux
average rating: 3.85
book published: 2019
rating: 2
read at: 2025/02/18
date added: 2025/02/18
shelves:
review:
I can't remember where I first heard about this book but I had a feeling it would be some kind of modernist manifesto decrying the progressive decay of western civilisation (which it was). As such, I thought it might appeal to me. Sadly, after some initially enjoyable pages (nearly halfway), it really began to get on my nerves. The problem is format, it's essentially a book where a misanthropic man sporadically gives his opinions on the state of the world. Fun to begin with, full of cynicism and volatile hatred for the banal niceties of the modern world, full of entertaining transgressive thought that would be deemed (by the very dull) as outrageous or shocking content. This is essentially a polemic by a man whose distaste for the blandness of an ever left-leaning civilisation vomits onto the page.

Like I said, I was enjoying it for a while. But then it just gets very repetitive and self-indulgent. The male equivalent of Agua Viva by Lispector but more... chronically online. Everything about this book screams... here is my internet assembled philosophy. It's like reading someone's edgy blog about Ted Kacynski. He hates hipsters who go to thrift stores to buy books but then five pages later starts telling you about the books he bought from a thrift store (because his hipster tastes are more valid). It would be tempting to say this is deliberate but I don't think so. Because later, after lamenting the mediocrity of a western existence permeated with ennui and routine, he will whine about some band that he loves (Homeshake -- they're not that good). Or he'll criticise political correctness and the late stage capitalist nightmare of soulless human interactions. Or he'll fantasise about and celebrate mass killings. Then moan about women and blacks. But fundamentally, he will fixate on the lack of beauty in the world, this especially demonstrated by brutalist architecture which (more by design than accident he implies) is purposely meant to crush and defeat us, turn us into self-hating automatons. I don't disagree with a lot of his opining (especially regarding architecture) but it's all presented in a very dull and obvious way. There's no plot or characters to hang any of it on, just relentless teenage angst and whining. To be fair, he does include a warning at the beginning:

If you came here expecting coherent plot or structure, you bought or stole the wrong book.

Fair enough. But none of this changes the fact that the book drones on. If you're into this kind of incel rebellion, or a book that posits that the left have ruined civilisation (and I am), or you like misanthropic characters of the American Psycho variety, who crave saying the N-word, and find the trappings of modernity to be repugnant, this might have something for you. But I doubt it. The book just doesn't have enough meat on its bones.

Occasionally, it can be fun to read, even offer up some intriguing truths about modern life. That we secretly like it when there's a mass shooting or terrorist attack, for example, because we're so bored of our tedious routines, of MacDonald's and Netflix, of Steve from accounts who just had a baby and won't shut up about it, that we crave a disturbance, a crash, a reminder that life can be more than this, more visceral and authentic, more immediate, more akin to the word ALIVE! All true, and yes, sometimes you will stand on a train station and think: "what if I pushed that woman onto the tracks. What would that feel like?" But these little moments are all lost in a rather dense format that, after a while, begs to be more coherent or just significantly more entertaining. You just feel like you need a break, some dialogue, a plot point, an event, anything -- but it's just one blog post after another.

Honestly, you'd be better off reading Catcher in the Rye. At least that book has some heart. Alternatively, you might try Houellebecq. Because it felt to me like this guy was just... tying too hard.
]]>
Severance 56349579
Candace won’t be able to make it on her own forever, though. Enter a group of survivors, led by the power-hungry IT tech Bob. They’re traveling to a place called the Facility, where, Bob promises, they will have everything they need to start society anew. But Candace is carrying a secret she knows Bob will exploit. Should she escape from her rescuers?

A send-up and takedown of the rituals, routines, and missed opportunities of contemporary life, Ling Ma’s Severance is a quirky coming-of-adulthood tale and satire.]]>
304 Ling Ma 1922330647 Hux 2
The apocalypse stuff itself is okay, but it doesn't get fleshed out enough to be truly worthwhile, probably due to the fact that she focuses more on the life she was living before the fever arrives (from China as it happens). As far as the fever stuff is concerned, there are some unique elements; namely the fact that people don't die or become murderous zombies, instead they simply become catatonic people, unthinkingly repeating behaviours from their dull, routined lives (walking around the kitchen table, setting the plates, walking around aimlessly etc). But while this is fairly original (unless you view it as 'capitalism made us all zombies' which would be banal), it also sucks all the tension out of events. There's no threat from these docile creatures, there's no sense of needing to escape, survive. So why does she join up with a group of people (lead by Bob) that are heading to Chicago? There's no danger, she could literally go anywhere she wants, safe in the knowledge that there is an abundance of food available in the supermarkets (the real answer is because Ma is obviously making a point about Bob being another cult leader like the ones her parents bought into). But in the real world, it doesn't add up and seems entirely futile.

The front copy of my book has the quote: 'a New York Times notable book of the year.' Notable? LOL. That's the best you could do?

It just isn't very good. Dry and unremarkable writing (albeit readable) and a dull story that doesn't dwell on the post-apocalyptic aspect as much as it ought to. The book seems to want to be a satire on modern, middle-class office life rather than a story about the apocalypse. Fine, but that's just not very interesting to me. Sometimes, I get the impression that Millennials thought life was going to be all sunshine and roses and when they discovered otherwise, they somehow came to the conclusion that this was unique to them, and not literally the same for every other generation that came before them. Internet really did convince these people that they were special.

Very mediocre stuff if you ask me. Never mind.]]>
3.89 2018 Severance
author: Ling Ma
name: Hux
average rating: 3.89
book published: 2018
rating: 2
read at: 2025/02/16
date added: 2025/02/16
shelves:
review:
After a couple of heavyweight books, I retreated back into the safety of an easy-to-read, post-apocalyptic novel. Sadly, it's another one that falls flat. The book's primary failure is that very little of it actually takes place in the post-apocalyptic environment but rather in the life she, Candace, was living just prior to the end. As such, it just wasn't very interesting to me. Why would I care about her boring life in New York working at a publishing company? Her boring boyfriend? Her boring Mormon parents who came from China to settle in America? It felt like Ling Ma probably wanted to write a story about her own experiences but knew they wouldn't be very appealing so she crowbarred them into a post-apocalypse story. In the end, I'd say only about 20% of the book is about the apocalypse and 80% of the book is a rather dry satire about New York yuppie, office politics.

The apocalypse stuff itself is okay, but it doesn't get fleshed out enough to be truly worthwhile, probably due to the fact that she focuses more on the life she was living before the fever arrives (from China as it happens). As far as the fever stuff is concerned, there are some unique elements; namely the fact that people don't die or become murderous zombies, instead they simply become catatonic people, unthinkingly repeating behaviours from their dull, routined lives (walking around the kitchen table, setting the plates, walking around aimlessly etc). But while this is fairly original (unless you view it as 'capitalism made us all zombies' which would be banal), it also sucks all the tension out of events. There's no threat from these docile creatures, there's no sense of needing to escape, survive. So why does she join up with a group of people (lead by Bob) that are heading to Chicago? There's no danger, she could literally go anywhere she wants, safe in the knowledge that there is an abundance of food available in the supermarkets (the real answer is because Ma is obviously making a point about Bob being another cult leader like the ones her parents bought into). But in the real world, it doesn't add up and seems entirely futile.

The front copy of my book has the quote: 'a New York Times notable book of the year.' Notable? LOL. That's the best you could do?

It just isn't very good. Dry and unremarkable writing (albeit readable) and a dull story that doesn't dwell on the post-apocalyptic aspect as much as it ought to. The book seems to want to be a satire on modern, middle-class office life rather than a story about the apocalypse. Fine, but that's just not very interesting to me. Sometimes, I get the impression that Millennials thought life was going to be all sunshine and roses and when they discovered otherwise, they somehow came to the conclusion that this was unique to them, and not literally the same for every other generation that came before them. Internet really did convince these people that they were special.

Very mediocre stuff if you ask me. Never mind.
]]>
The Last Temptation 62201435
'When Kazantzakis describes the raising of Lazarus, the early life of Mary Magdalene, the domestic lives of Martha and Mary, it is as if an old box of lantern slides had suddenly become a moving picture. The author has achieved a new and moving interpretation of a truly human Christ.' Times Literary Supplement]]>
589 Nikos Kazantzakis 0571178561 Hux 4
It's obviously difficult to write a review of a story most of you (if not all) are already familiar with. For the most part, Kazantzakis sticks to the basics and merely provides colour to events we already know. But he also takes the opportunity to add his own interpretation and, more specifically, to deepen and flesh out characters who are often two dimensional and almost caricatures at this point. The story starts, for example, by telling us that Jesus is a cross maker. At first, you're like... that seems a bit distasteful. But then you think: he was a carpenter and there were crucifixions every week. Of course he must have built a few crosses in his time.

Jesus begins the book as a pious individual but never someone who thinks of himself as the son of God. In fact, it's others who are seemingly looking for new messiahs at every available opportunity (this part of the book did remind me of Life of Brian). Everyone is a new messiah. Everyone has a message from God. Everyone is eager to interpret things so that they can identify the next great prophet. It was during this period where Jesus is seeking God and leaves his home where his relationship with Mary Magdalene is explored. She is presented as a sinful whore but one who is in love with Jesus. He also has feelings for her but must resist temptation and, if possible save her. What follows is his realisation (more precisely others realise it) that he is the son of God. Jesus always comes across as a real person but one who is unequivocally devout. Meanwhile his apostles all slowly emerge and the most interesting, by far, is Judas. The book presents him as an angry hothead, a man who wants Jesus to lead a revolution against the Romans but instead all he gets is talk of love, peace, and brotherhood. Judas, for me at least (given what little I know of him beyond being the baddie) is the most complex of all the characters in this book (save for the ending and the imaginary life Jesus lives - but we'll get to that). Judas is enraged at most things, especially Jesus, but all of his ferocity comes from a profound sense of injustice. In many ways, he is the only character, the only apostle, pushing Jesus forward (sometimes against his will).

Then we have the parts of the book where something spiritual is happening. Kazantzakis keeps things on the ground for the most part, allowing the reader to interpret the moments where Jesus heals people as both real or allegorical. Instead of seeing Lazarus come back from the grave, for example, we simply get Melchzedek's retelling of the event. Later, however, there are miracles performed that are impossible to deny, almost (for me) spoiling the narrative a little as it takes away from the book being set in reality among real people. Another part of the book that was interesting was John writing a chronicle of what is happening. Angels (so we are told) are dictating to him and they tell him to say that Jesus was born in Bethlehem rather than Nazareth. Even Jesus is perplexed by these lies but later concedes that the angels must have a purpose for doing so (the narrative of his life being more important than the literal truth of it).

The only truly controversial part of the book is the ending. When Jesus is crucified, an angel takes him away and allows him to live a normal life. In this life he marries Mary Magdalene and has children. He grows old and experiences life the way others would experience it. I can understand why Christians might have issues with this (Jesus being an old man is weird -- Jesus having sex is even weirder) but it's clearly Kazantzakis simply highlighting that Jesus had human desires like everyone else but, ultimately, and despite their immense temptation, chose to sacrifice himself for humanity instead. When he realises he's still on the cross, that it was all an illusion, he is, despite all the pain and suffering, relieved that he sacrificed himself, that everything has begun.

I must say, the book feels profound and meaningful all the way through, It feels like it is a weighty piece of literature. That being said, it isn't always easy to read. Sometimes it can be very dry and meandering, sometimes there are large swaths of relentless text. But then there are moments of levity and fascination, chapters that utterly pull you in and keep you reading. It's capable of both. And then there are little bits of prose that are either exquisite or comical in their descriptive power:

Outside, the male waters poured out of the skies with a roar and the earth opened its thighs and giggled.

Nice!

So yeah, not an easy read at times, and often prone to large portions that slightly drag, but overall a piece that is in service of a masterful attempt to explore something very difficult to explore; and more so, a book that is clearly written with passion and respect for the subject matter. Kazantzakis is clearly a man who loved and took his faith seriously, but who also recognised the importance of reminding everyone, believers especially, that Jesus was one of us. A man.]]>
4.30 1955 The Last Temptation
author: Nikos Kazantzakis
name: Hux
average rating: 4.30
book published: 1955
rating: 4
read at: 2025/02/14
date added: 2025/02/14
shelves:
review:
So, there's this fella, right? And he's called Jesus. And you'll never guess who his dad is.

It's obviously difficult to write a review of a story most of you (if not all) are already familiar with. For the most part, Kazantzakis sticks to the basics and merely provides colour to events we already know. But he also takes the opportunity to add his own interpretation and, more specifically, to deepen and flesh out characters who are often two dimensional and almost caricatures at this point. The story starts, for example, by telling us that Jesus is a cross maker. At first, you're like... that seems a bit distasteful. But then you think: he was a carpenter and there were crucifixions every week. Of course he must have built a few crosses in his time.

Jesus begins the book as a pious individual but never someone who thinks of himself as the son of God. In fact, it's others who are seemingly looking for new messiahs at every available opportunity (this part of the book did remind me of Life of Brian). Everyone is a new messiah. Everyone has a message from God. Everyone is eager to interpret things so that they can identify the next great prophet. It was during this period where Jesus is seeking God and leaves his home where his relationship with Mary Magdalene is explored. She is presented as a sinful whore but one who is in love with Jesus. He also has feelings for her but must resist temptation and, if possible save her. What follows is his realisation (more precisely others realise it) that he is the son of God. Jesus always comes across as a real person but one who is unequivocally devout. Meanwhile his apostles all slowly emerge and the most interesting, by far, is Judas. The book presents him as an angry hothead, a man who wants Jesus to lead a revolution against the Romans but instead all he gets is talk of love, peace, and brotherhood. Judas, for me at least (given what little I know of him beyond being the baddie) is the most complex of all the characters in this book (save for the ending and the imaginary life Jesus lives - but we'll get to that). Judas is enraged at most things, especially Jesus, but all of his ferocity comes from a profound sense of injustice. In many ways, he is the only character, the only apostle, pushing Jesus forward (sometimes against his will).

Then we have the parts of the book where something spiritual is happening. Kazantzakis keeps things on the ground for the most part, allowing the reader to interpret the moments where Jesus heals people as both real or allegorical. Instead of seeing Lazarus come back from the grave, for example, we simply get Melchzedek's retelling of the event. Later, however, there are miracles performed that are impossible to deny, almost (for me) spoiling the narrative a little as it takes away from the book being set in reality among real people. Another part of the book that was interesting was John writing a chronicle of what is happening. Angels (so we are told) are dictating to him and they tell him to say that Jesus was born in Bethlehem rather than Nazareth. Even Jesus is perplexed by these lies but later concedes that the angels must have a purpose for doing so (the narrative of his life being more important than the literal truth of it).

The only truly controversial part of the book is the ending. When Jesus is crucified, an angel takes him away and allows him to live a normal life. In this life he marries Mary Magdalene and has children. He grows old and experiences life the way others would experience it. I can understand why Christians might have issues with this (Jesus being an old man is weird -- Jesus having sex is even weirder) but it's clearly Kazantzakis simply highlighting that Jesus had human desires like everyone else but, ultimately, and despite their immense temptation, chose to sacrifice himself for humanity instead. When he realises he's still on the cross, that it was all an illusion, he is, despite all the pain and suffering, relieved that he sacrificed himself, that everything has begun.

I must say, the book feels profound and meaningful all the way through, It feels like it is a weighty piece of literature. That being said, it isn't always easy to read. Sometimes it can be very dry and meandering, sometimes there are large swaths of relentless text. But then there are moments of levity and fascination, chapters that utterly pull you in and keep you reading. It's capable of both. And then there are little bits of prose that are either exquisite or comical in their descriptive power:

Outside, the male waters poured out of the skies with a roar and the earth opened its thighs and giggled.

Nice!

So yeah, not an easy read at times, and often prone to large portions that slightly drag, but overall a piece that is in service of a masterful attempt to explore something very difficult to explore; and more so, a book that is clearly written with passion and respect for the subject matter. Kazantzakis is clearly a man who loved and took his faith seriously, but who also recognised the importance of reminding everyone, believers especially, that Jesus was one of us. A man.
]]>
Eileen 29779228 So here we are. My name was Eileen Dunlop. Now you know me. I was twenty-four years old then, and had a job that paid fifty-seven dollars a week as a kind of secretary at a private juvenile correctional facility for teenage boys. I think of it now as what it really was for all intents and purposes—a prison for boys. I will call it Moorehead. Delvin Moorehead was a terrible landlord I had years later, and so to use his name for such a place feels appropriate. In a week, I would run away from home and never go back.

This is the story of how I disappeared.

The Christmas season offers little cheer for Eileen Dunlop, an unassuming yet disturbed young woman trapped between her role as her alcoholic father’s caretaker in a home whose squalor is the talk of the neighborhood and a day job as a secretary at the boys� prison, filled with its own quotidian horrors. Consumed by resentment and self-loathing, Eileen tempers her dreary days with perverse fantasies and dreams of escaping to the big city. In the meantime, she fills her nights and weekends with shoplifting, stalking a buff prison guard named Randy, and cleaning up her increasingly deranged father’s messes. When the bright, beautiful, and cheery Rebecca Saint John arrives on the scene as the new counselor at Moorehead, Eileen is enchanted and proves unable to resist what appears at first to be a miraculously budding friendship. In a Hitchcockian twist, her affection for Rebecca ultimately pulls her into complicity in a crime that surpasses her wildest imaginings.

Played out against the snowy landscape of coastal New England in the days leading up to Christmas, young Eileen’s story is told from the gimlet-eyed perspective of the now much older narrator. Creepy, mesmerizing, and sublimely funny, in the tradition of Shirley Jackson and early Vladimir Nabokov, this powerful debut novel enthralls and shocks, and introduces one of the most original new voices in contemporary literature. Ottessa Moshfegh is also the author of My Year of Rest and Relaxation, Homesick for Another World: Stories, and McGlue.]]>
260 Ottessa Moshfegh 1784701467 Hux 2
This book is called 'Eileen' but really it ought to have been called... 'Tease.' Because that's what the first 4/5ths of this book are, just endless teasing of what's to come.

'Then I met Rebecca but we'll get to her. Then my life changed but we'll get to that. Then I took my father's gun but we'll get to that.'

It really is just the worst example of teasing the reader with some salacious and naughty twist that is endlessly signposted and pointed at (and which ironically turns out to be dumb and not even that shocking at all). But still, we have to build up to it so the first two thirds of the book are nothing but bland details of her life, all while constantly reminding you not to worry because... 'something sexy and interesting is gonna happen soon. Don't worry, it's gonna happen very soon. That Exciting twist that I promised, it's definitely coming. But in the meantime, here's more banal details of my fixation on a guy called Randy. Oh, and have I mentioned that I feel really sorry for myself? And let's not forget the ritual of my profoundly fascinating bowel movements.

So the book is about a 24-year-old woman in 1964 called Eileen who lives with her cartoonish alcoholic father and works in a kind of criminal correctional facility for boys. She hates herself, daydreams, isn't happy. Then one day a woman called Rebecca starts working there too. Then the twist ending. Yawn. But before you get to any of that, here's some more garbage about how she hates herself and the world, and wants to run away one day, etc.

That a book this poorly executed, banal, and manipulative could be shortlisted for the Booker prize is yet another reminder not to take that laughable institution seriously.

The bland plot with the signposted (get ready for it!!) twist was bad enough. But then we have the format of this book. Eileen is narrating these events from the perspective of being an old woman (at least ageing and grey she tells us). Yet as she reminisces about being a 24-year-old, she also has the 24-year-old version of herself reminisce about being even younger. Do I have to explain why this is bad writing? Really? Occasionally, she will even reminisce about being in her thirties, which, from the old narrator's point of view, is in the past, but from the book's perspective (really ours) is in the future. This is not how memories work. They're not dreams within dreams or files kept in a cabinet. It's a mess. And it serves no purpose other than to allow the narrator to be (pointlessly) omnipotent and untouchable (removing any possibility for tension). Then we have Rebecca, a woman with no character, no background, no meaning, and no motivation for her actions. She just turns up as a convenient prop for the endless pages of teasing to finally pay off. It's like the book was written by AI to appeal to midwit teenage girls.

I can't express in words how mediocre this thing was. The writing's fine but the whole book is artless and without creativity. It's just... 'once upon a time I was normal then something amazing happened. But we won't get to that until the last chapter. Are you excited? Are you looking forward to the twist? It's gonna be so exciting and fun (spoiler: it isn't). 'But before we get to any of that, let me first bore you with many chapters about how I really don't think my breasts are very nice.'

No!]]>
3.54 2015 Eileen
author: Ottessa Moshfegh
name: Hux
average rating: 3.54
book published: 2015
rating: 2
read at: 2024/09/06
date added: 2025/02/13
shelves:
review:
Quite tedious.

This book is called 'Eileen' but really it ought to have been called... 'Tease.' Because that's what the first 4/5ths of this book are, just endless teasing of what's to come.

'Then I met Rebecca but we'll get to her. Then my life changed but we'll get to that. Then I took my father's gun but we'll get to that.'

It really is just the worst example of teasing the reader with some salacious and naughty twist that is endlessly signposted and pointed at (and which ironically turns out to be dumb and not even that shocking at all). But still, we have to build up to it so the first two thirds of the book are nothing but bland details of her life, all while constantly reminding you not to worry because... 'something sexy and interesting is gonna happen soon. Don't worry, it's gonna happen very soon. That Exciting twist that I promised, it's definitely coming. But in the meantime, here's more banal details of my fixation on a guy called Randy. Oh, and have I mentioned that I feel really sorry for myself? And let's not forget the ritual of my profoundly fascinating bowel movements.

So the book is about a 24-year-old woman in 1964 called Eileen who lives with her cartoonish alcoholic father and works in a kind of criminal correctional facility for boys. She hates herself, daydreams, isn't happy. Then one day a woman called Rebecca starts working there too. Then the twist ending. Yawn. But before you get to any of that, here's some more garbage about how she hates herself and the world, and wants to run away one day, etc.

That a book this poorly executed, banal, and manipulative could be shortlisted for the Booker prize is yet another reminder not to take that laughable institution seriously.

The bland plot with the signposted (get ready for it!!) twist was bad enough. But then we have the format of this book. Eileen is narrating these events from the perspective of being an old woman (at least ageing and grey she tells us). Yet as she reminisces about being a 24-year-old, she also has the 24-year-old version of herself reminisce about being even younger. Do I have to explain why this is bad writing? Really? Occasionally, she will even reminisce about being in her thirties, which, from the old narrator's point of view, is in the past, but from the book's perspective (really ours) is in the future. This is not how memories work. They're not dreams within dreams or files kept in a cabinet. It's a mess. And it serves no purpose other than to allow the narrator to be (pointlessly) omnipotent and untouchable (removing any possibility for tension). Then we have Rebecca, a woman with no character, no background, no meaning, and no motivation for her actions. She just turns up as a convenient prop for the endless pages of teasing to finally pay off. It's like the book was written by AI to appeal to midwit teenage girls.

I can't express in words how mediocre this thing was. The writing's fine but the whole book is artless and without creativity. It's just... 'once upon a time I was normal then something amazing happened. But we won't get to that until the last chapter. Are you excited? Are you looking forward to the twist? It's gonna be so exciting and fun (spoiler: it isn't). 'But before we get to any of that, let me first bore you with many chapters about how I really don't think my breasts are very nice.'

No!
]]>
A Book of Memories 15533944 706 Péter Nádas 0099766310 Hux 2
Look, I like a meandering novel in the Proustian style as much as the next man. But this was just so painfully awful, tediously executed, and appallingly dry. If you're going to write this kind of book, where the narrator reminisces relentlessly and goes on wonderful digressions and tangents (often for many pages) then you need to be a much better writer than this. You need to give the reader some exquisite prose and lyrical beauty, the likes of which it is very difficult to compose (or ignore). Sadly, Nadas simply doesn't have the skill to do that and so you end up with a very slow, boring, and thoroughly dry experience.I mean, Nadas can write, but there's a difference between writing and artistry. And for me, that's what's missing here.

The story (not that it matters) concerns a nameless male narrator in Berlin engaged in a highly unconvincing love triangle with a man named Melchior and a woman named Thea. A straight man writing about gay love is a tad inauthentic at the best of times but the narrator also takes us back to his childhood in Hungary where he also fell in love with a boy called Kristian. None of this feels sincere, none of it is entertaining, and none of it is memorable. I struggled to maintain any interest or care about any of these characters; and it goes without saying that there are also large parts of the book that I didn't really follow because my heart wasn't in it (I think the narrator is an author and one of his characters narrates at some point - and i think Kristian narrates at the end too - but honestly, I just wasn't paying attention). It was all I could do to keep reading. I kept waiting for something but it never comes. And aside from the failed Proust impression, there's also a lot of cliched flowery language that feels phoney too. For example:

The garden was huge, like a park, shady, mildly fragrant in the warm summer air; pungent smell of pines, their resin dripping from green cones that snap quietly as they grow; firm rosebuds resplendent in red, yellow, white and pink hues; and yes, a single, ruffled, and slightly singed petal that could open no further, now almost ready to fall; and the tall, rearing lilies with their wasp-enticing nectar; violet, maroon, and blue cups of petunias fluttering in the slightest breeze; long-stemmed snapdragons swaying more indolently in the wind; and along the footpaths, great patches of foxgloves luxuriating in the flaming brilliance of their own colours; opalescent shimmer of dewy grass in the morning sun; clusters of....

I could go on (and he does... resplendently, indolently, opalescently) but you get the picture. So even when Nadas isn't aping Proust, his prose is hackneyed and obvious, the kind of thing you'd expect a hipster called Lance on a creative writing course to come up with between Lattes. I'd be willing to forgive it if the story was captivating but it's tiresome in the extreme; or if those flights of fancy where he digresses until you forget where you are were magnificent examples of supreme invention and creativity. But they never are. If you're going to have a character ask: 'what time is it?' then digress for 75 pages about how his nostrils remind you of the housemaid who, when you were ten, often spoke about the works of Kant and made delicious apple pies that sat cooling on the window ledge, before another character finally says: 'it's 7:30pm,' then great, go for it. But it better be utterly wonderful to read.

And it just never is.

The book is too dry. I mean, I have very little respect for Susan Sontag already (she appears to be a left-winger who never did a day's work in her life) but why I'm supposed to care that she considers this greatest work of the century (says so on the cover) is anyone's guess. She clearly isn't that credible. Perhaps she read the dry Proustian imitation language, saw how long the thing is, and concluded... well, it must be good, books like this (with all those boxes ticked) usually are. And that's true, books like this usually do get enormous amounts of praise by ensuring they meet the criteria required for such an accolade. Thank God those days are dying. Because it's nothing but a bloated mess of self-indulgent cliches and forgettable waffle. Walls of text that mean nothing. Walls of text that take you nowhere. Walls of text that crave applause.

I tried coming at this from various angles. It just never took. ]]>
3.39 1986 A Book of Memories
author: Péter Nádas
name: Hux
average rating: 3.39
book published: 1986
rating: 2
read at: 2025/02/09
date added: 2025/02/09
shelves:
review:
Bleurghh!! So unbearably dull.

Look, I like a meandering novel in the Proustian style as much as the next man. But this was just so painfully awful, tediously executed, and appallingly dry. If you're going to write this kind of book, where the narrator reminisces relentlessly and goes on wonderful digressions and tangents (often for many pages) then you need to be a much better writer than this. You need to give the reader some exquisite prose and lyrical beauty, the likes of which it is very difficult to compose (or ignore). Sadly, Nadas simply doesn't have the skill to do that and so you end up with a very slow, boring, and thoroughly dry experience.I mean, Nadas can write, but there's a difference between writing and artistry. And for me, that's what's missing here.

The story (not that it matters) concerns a nameless male narrator in Berlin engaged in a highly unconvincing love triangle with a man named Melchior and a woman named Thea. A straight man writing about gay love is a tad inauthentic at the best of times but the narrator also takes us back to his childhood in Hungary where he also fell in love with a boy called Kristian. None of this feels sincere, none of it is entertaining, and none of it is memorable. I struggled to maintain any interest or care about any of these characters; and it goes without saying that there are also large parts of the book that I didn't really follow because my heart wasn't in it (I think the narrator is an author and one of his characters narrates at some point - and i think Kristian narrates at the end too - but honestly, I just wasn't paying attention). It was all I could do to keep reading. I kept waiting for something but it never comes. And aside from the failed Proust impression, there's also a lot of cliched flowery language that feels phoney too. For example:

The garden was huge, like a park, shady, mildly fragrant in the warm summer air; pungent smell of pines, their resin dripping from green cones that snap quietly as they grow; firm rosebuds resplendent in red, yellow, white and pink hues; and yes, a single, ruffled, and slightly singed petal that could open no further, now almost ready to fall; and the tall, rearing lilies with their wasp-enticing nectar; violet, maroon, and blue cups of petunias fluttering in the slightest breeze; long-stemmed snapdragons swaying more indolently in the wind; and along the footpaths, great patches of foxgloves luxuriating in the flaming brilliance of their own colours; opalescent shimmer of dewy grass in the morning sun; clusters of....

I could go on (and he does... resplendently, indolently, opalescently) but you get the picture. So even when Nadas isn't aping Proust, his prose is hackneyed and obvious, the kind of thing you'd expect a hipster called Lance on a creative writing course to come up with between Lattes. I'd be willing to forgive it if the story was captivating but it's tiresome in the extreme; or if those flights of fancy where he digresses until you forget where you are were magnificent examples of supreme invention and creativity. But they never are. If you're going to have a character ask: 'what time is it?' then digress for 75 pages about how his nostrils remind you of the housemaid who, when you were ten, often spoke about the works of Kant and made delicious apple pies that sat cooling on the window ledge, before another character finally says: 'it's 7:30pm,' then great, go for it. But it better be utterly wonderful to read.

And it just never is.

The book is too dry. I mean, I have very little respect for Susan Sontag already (she appears to be a left-winger who never did a day's work in her life) but why I'm supposed to care that she considers this greatest work of the century (says so on the cover) is anyone's guess. She clearly isn't that credible. Perhaps she read the dry Proustian imitation language, saw how long the thing is, and concluded... well, it must be good, books like this (with all those boxes ticked) usually are. And that's true, books like this usually do get enormous amounts of praise by ensuring they meet the criteria required for such an accolade. Thank God those days are dying. Because it's nothing but a bloated mess of self-indulgent cliches and forgettable waffle. Walls of text that mean nothing. Walls of text that take you nowhere. Walls of text that crave applause.

I tried coming at this from various angles. It just never took.
]]>
Paradise Rot 176729907
Jo is in a strange new country for university and having a more peculiar time than most. In a house with no walls, shared with a woman who has no boundaries, she finds her strange home coming to life in unimaginable ways. Jo’s sensitivity and all her senses become increasingly heightened and fraught, as the lines between bodies and plants, dreaming and wakefulness, blur and mesh. This debut novel from critically acclaimed artist and musician Jenny Hval presents a heady and hyper-sensual portrayal of sexual awakening and queer desire.]]>
148 Jenny Hval 1804294527 Hux 3
And yet... I wasn't entirely enamoured with it. It felt a little dry and slow despite its curious nature. I liked what Hval was doing, I just think I've seen it before. There are so many comparisons to make here. First of all, the Tenant by Topor is an obvious place to start, the slow burn of a mundane existence being gradually twisted into something surreal and slightly unnerving. Then there's the film Persona by Bergman where two women seemingly begin to merge into one another (this was also facilitated by the presence of a man which Paradise Rot also utilises, a man named Pym who becomes a focal point for both women). We've seen this done before often with greater skill. But it's still very effective.

The book is visceral and immediate -- the beauty and disgust of the human body being explored in equal measure. Books like this are always interesting, full of weird atmosphere and dark, eerie sentiment, like warm treacle being poured down your back. It very successfully becomes a tangible experience, one that is enormously influenced by the raw sensation of touch, sight, sound, taste. All through the book Jo references the taste and smell of things, the sounds (she has hearing that an eagle would envy) and the perceptible feel of things. The human experience is informed by our five physical senses but then is interpreted by a mind that is more ethereal; like an imaginary hammer trying to hit a corporeal nail.

There are references to Adam and Eve, the snake, the apple, the myriad temptations at the heart of living. I rather liked her description of the apple rolling away between Eve's legs, turning black and transforming into a vulva (the greatest temper there is) and developing labia and scent. That was certainly a defining image to take away from the book. I also notice a lot of reviews fixating on the LGBT angle but I really don't know why. Both women are straight, their sensual connection more existential (even philosophical) than sexual. But hey, everything has to be sold through the queer prism now.

The book was extremely thought provoking and easy to read. I liked it but it just never quite pulled me in entirely for some reason. I'm not sure why. Maybe because it always felt a little too gentle and safe, with too many short chapters that often felt trivial and slow. Can't quite put my finger on it. Something was missing. For all its wonderful creepiness and effective slow-burn development, I was never gripped, never turning the pages with mad anticipation or enthusiasm. But it was good, and definitely worth reading. Highly recommended.]]>
3.54 2009 Paradise Rot
author: Jenny Hval
name: Hux
average rating: 3.54
book published: 2009
rating: 3
read at: 2025/02/03
date added: 2025/02/03
shelves:
review:
This was a curious one. A young Norwegian woman named Jo moves to England (the fictional town of Aybourne) to study Biology at university. The Novel begins with her at a hostel before she goes to several places to see if she can find a more permanent residence. Eventually she meets Carral and moves in with her, into what was an old brewery warehouse that has been turned into modern apartments. The plot never goes beyond their shared living arrangement, a few characters coming and going, but essentially the landscape and the two women being the focus. Jo being a virgin is important but only in the sense that she is exploring these things with a certain innocence.Meanwhile, the home they share becomes an almost gothic mansion, a curious labyrinth of uncertain spaces and mezzanines, prone to rotting (a strong theme in the book) and spurts of vegetation and growth. Everything is described in terms of living organisms, of things being and growing and rotting and dying. The book is very sensual and captivating, perversely drenched in fungi (growing in the bathroom) and spiders (appearing on skin and seeking out mouths) and decaying fruit and sweat and (quite a lot of) urine. Jo and Carral become entwined, as though merging into one being, sharing the same feelings, desires, even memories. It's a wonderfully mesmerising reading experience.

And yet... I wasn't entirely enamoured with it. It felt a little dry and slow despite its curious nature. I liked what Hval was doing, I just think I've seen it before. There are so many comparisons to make here. First of all, the Tenant by Topor is an obvious place to start, the slow burn of a mundane existence being gradually twisted into something surreal and slightly unnerving. Then there's the film Persona by Bergman where two women seemingly begin to merge into one another (this was also facilitated by the presence of a man which Paradise Rot also utilises, a man named Pym who becomes a focal point for both women). We've seen this done before often with greater skill. But it's still very effective.

The book is visceral and immediate -- the beauty and disgust of the human body being explored in equal measure. Books like this are always interesting, full of weird atmosphere and dark, eerie sentiment, like warm treacle being poured down your back. It very successfully becomes a tangible experience, one that is enormously influenced by the raw sensation of touch, sight, sound, taste. All through the book Jo references the taste and smell of things, the sounds (she has hearing that an eagle would envy) and the perceptible feel of things. The human experience is informed by our five physical senses but then is interpreted by a mind that is more ethereal; like an imaginary hammer trying to hit a corporeal nail.

There are references to Adam and Eve, the snake, the apple, the myriad temptations at the heart of living. I rather liked her description of the apple rolling away between Eve's legs, turning black and transforming into a vulva (the greatest temper there is) and developing labia and scent. That was certainly a defining image to take away from the book. I also notice a lot of reviews fixating on the LGBT angle but I really don't know why. Both women are straight, their sensual connection more existential (even philosophical) than sexual. But hey, everything has to be sold through the queer prism now.

The book was extremely thought provoking and easy to read. I liked it but it just never quite pulled me in entirely for some reason. I'm not sure why. Maybe because it always felt a little too gentle and safe, with too many short chapters that often felt trivial and slow. Can't quite put my finger on it. Something was missing. For all its wonderful creepiness and effective slow-burn development, I was never gripped, never turning the pages with mad anticipation or enthusiasm. But it was good, and definitely worth reading. Highly recommended.
]]>
Mothwise 62687219 orig. Sværmere 122 Knut Hamsun 1910346047 Hux 3
As is the case with everything I've read by Hamsun (possibly excluding Hunger), this had a fairytale quality to it, a communal warmth and charm, the environment (a fishing village) full of mountains and forests, fjords and lakes, and an ever present sense of simultaneous falling winter snow and bright summer evenings. Likewise, the characters are staples of this period, the priest, his wife, the butcher, the local (and successful) businessman, the housekeepers and the various mercurial young lovers. Hamsun has a way of taking the picturesque and making it both old-fashioned and enchanting as well as modern and real. Amid all this is our protagonist Ove Rolandsen, a hulking giant of a man, a romantic womaniser and drunk who, despite being engaged to housekeeper Marie Van Loos, flirts with every other woman in the village, often to their shame but equally to their pleasure.

A new priest arrives with his wife and she, along with Elise (Daughter of Mack, the dominant local businessman) and Olga (another villager) becomes the new inspiration for his romantic attention. Meanwhile, Mack has his money and insurance policy stolen and is willing to pay a reward for the name of whoever did it (even the culprit himself is free to receive this reward). The plot essentially sees Rolandsen confess to the crime only for it to be discovered later that it was someone else. While the book is called Dreamers (not mine, obviously), I think a better tittle might have been The Romantic or The Charismatic because while Ove is certainly a dreamer, his dreams are all rather whimsical and romantic, tinged with juvenile ambition and, perhaps, an immature desire to never stand still or be caught by meaningful adult commitments. What could represent that better than a yearning for new love? To be fair, he's not the only who sharesthis capricious nature and the book (more specifically Hamsun) identifies that we humans have a natural aversion to responsibility and commitment, in fact, for anything that reiterates the ageing process and its dull consequences. The young, meanwhile, can always entertain fantastical dreams, and exciting notions of adventure and romance. Hamsun is always good at exploring these little human foibles, especially at a time when it was not readily done. After all, why shouldn't Rolandsen have romantic or sexual dalliances with these many women? And why shouldn't they reciprocate with breathless excitement? Social conventions, I suppose.

Then again, maybe this is just the story of a drunk with dreams (he does eventually come to a business deal with Mack). Even the ending suggests that his flirtatious nature has been successful in seducing the many women he encounters. I wasn't entirely sure what to make of it but as always with Hamsun, a little mystery is always part of the experience. Not quite as good as his other books but, as ever, still wonderful to read.]]>
3.50 1904 Mothwise
author: Knut Hamsun
name: Hux
average rating: 3.50
book published: 1904
rating: 3
read at: 2025/01/31
date added: 2025/01/31
shelves:
review:
This book appears to be called Dreamers in most translations but for some reason the English version I bought has the bizarre and slightly awful title of Mothwise. I can only speculate on why it would be called that (is it an old term with some long-forgotten yet poetic meaning?). Not sure. Anyway...

As is the case with everything I've read by Hamsun (possibly excluding Hunger), this had a fairytale quality to it, a communal warmth and charm, the environment (a fishing village) full of mountains and forests, fjords and lakes, and an ever present sense of simultaneous falling winter snow and bright summer evenings. Likewise, the characters are staples of this period, the priest, his wife, the butcher, the local (and successful) businessman, the housekeepers and the various mercurial young lovers. Hamsun has a way of taking the picturesque and making it both old-fashioned and enchanting as well as modern and real. Amid all this is our protagonist Ove Rolandsen, a hulking giant of a man, a romantic womaniser and drunk who, despite being engaged to housekeeper Marie Van Loos, flirts with every other woman in the village, often to their shame but equally to their pleasure.

A new priest arrives with his wife and she, along with Elise (Daughter of Mack, the dominant local businessman) and Olga (another villager) becomes the new inspiration for his romantic attention. Meanwhile, Mack has his money and insurance policy stolen and is willing to pay a reward for the name of whoever did it (even the culprit himself is free to receive this reward). The plot essentially sees Rolandsen confess to the crime only for it to be discovered later that it was someone else. While the book is called Dreamers (not mine, obviously), I think a better tittle might have been The Romantic or The Charismatic because while Ove is certainly a dreamer, his dreams are all rather whimsical and romantic, tinged with juvenile ambition and, perhaps, an immature desire to never stand still or be caught by meaningful adult commitments. What could represent that better than a yearning for new love? To be fair, he's not the only who sharesthis capricious nature and the book (more specifically Hamsun) identifies that we humans have a natural aversion to responsibility and commitment, in fact, for anything that reiterates the ageing process and its dull consequences. The young, meanwhile, can always entertain fantastical dreams, and exciting notions of adventure and romance. Hamsun is always good at exploring these little human foibles, especially at a time when it was not readily done. After all, why shouldn't Rolandsen have romantic or sexual dalliances with these many women? And why shouldn't they reciprocate with breathless excitement? Social conventions, I suppose.

Then again, maybe this is just the story of a drunk with dreams (he does eventually come to a business deal with Mack). Even the ending suggests that his flirtatious nature has been successful in seducing the many women he encounters. I wasn't entirely sure what to make of it but as always with Hamsun, a little mystery is always part of the experience. Not quite as good as his other books but, as ever, still wonderful to read.
]]>
Água Viva 17573207 New York Times Book Review called "the premier Latin American woman prose writer of this century." An intense and lyrical work, it chronicles its female protagonist's journey of self-discovery and self-affirmation.]]> 88 Clarice Lispector 0141197366 Hux 2
What colour is the spatial infinity? it is the colour of air.

Wow, profound. But seriously, this whole book reads like a teenage girl's diary, full of wafer thin axioms and self-indulgent navel-gazing. It really is everything I hate, just endless pixie dreams and flabby meandering thoughts on the nature of now, this moment, the present, the is -- oh, how I danced upon the shadows and stars as they melted like lifebeams into the shimmering moonlight and the blah blah blah... it really is just relentless gushing of emotion and self-absorbed nonsense attempting to reflect or investigate a human being's naked existence and the concept of being alive. But there's only so much unfiltered gushing I can take. At the very least books like this need an element of hardness to balance the watery gibberish, something solid and (dare I say it) masculine amid the overflowing sentiment of a feminine perspective. I've read books where there is a contemplative aspect, a deep meditation of the human condition (Book of Disquiet/Dissipatio H.G) but those books are saved by a severe melancholy and bleakness that is sorely lacking here. This is just insipid flim-flam.

I want to die with life

Well, of course you do, dear. But not right now, I'm watching Big Bang Theory. Maybe after supper. I mean, I don't mind fluffy pastel coloured bedwetting literature (each to their own) but I was in desperate need of something more than what I got here and I'm slightly worried that I'm being unfair. Maybe this was a terrible place to start with Lispector and this one is just for the hardcore fans or something -- I don't know. But it truly was appalling.

I think I'm going to have to ask for permission to die.

Okay love, but make sure to empty the bins before you do. They won't empty themselves, you know. Honestly, there were parts of this book where I laughed out loud at the whimsical nature of it, the deliberate obscurantism and muddy language. If you're a young girl madly in love with a boy at school called Zach (he's so dreamy), this might be something you'll like otherwise I'd be perplexed to grasp who this might appeal to. I guess you could argue it's well written but then... so is a dictionary. What of it? Normally, when I hate a book, I rant about it but this one was too funny to rant at. Instead, I just want to point at it and laugh.

Now suddenly at three in the morning I woke and met myself.

Good for you, now that you've met yourself can you tell yourself to make me a nice cup of tea. Much obliged. So yeah, I think we can safely say this wasn't for me. Now I'm going to go stare at my copy of 'As I Lay Dying' until something happens.]]>
4.15 1973 Água Viva
author: Clarice Lispector
name: Hux
average rating: 4.15
book published: 1973
rating: 2
read at: 2025/01/26
date added: 2025/01/26
shelves:
review:
There are certain writers I deliberately avoid because, despite their universal acclaim, I intuitively worry (perhaps even know) that I will utterly despise them. Faulkner is one of them and Lispector is another. Well, wouldn't you just know it, I absolutely loathed this book (as anticipated). I'm not sure if this is a good place to start with her work (I hope not) but examining the book purely on its own merits (outside of any influence of other works), it was everything I hated. I shall begin with a quote (this may become a theme):

What colour is the spatial infinity? it is the colour of air.

Wow, profound. But seriously, this whole book reads like a teenage girl's diary, full of wafer thin axioms and self-indulgent navel-gazing. It really is everything I hate, just endless pixie dreams and flabby meandering thoughts on the nature of now, this moment, the present, the is -- oh, how I danced upon the shadows and stars as they melted like lifebeams into the shimmering moonlight and the blah blah blah... it really is just relentless gushing of emotion and self-absorbed nonsense attempting to reflect or investigate a human being's naked existence and the concept of being alive. But there's only so much unfiltered gushing I can take. At the very least books like this need an element of hardness to balance the watery gibberish, something solid and (dare I say it) masculine amid the overflowing sentiment of a feminine perspective. I've read books where there is a contemplative aspect, a deep meditation of the human condition (Book of Disquiet/Dissipatio H.G) but those books are saved by a severe melancholy and bleakness that is sorely lacking here. This is just insipid flim-flam.

I want to die with life

Well, of course you do, dear. But not right now, I'm watching Big Bang Theory. Maybe after supper. I mean, I don't mind fluffy pastel coloured bedwetting literature (each to their own) but I was in desperate need of something more than what I got here and I'm slightly worried that I'm being unfair. Maybe this was a terrible place to start with Lispector and this one is just for the hardcore fans or something -- I don't know. But it truly was appalling.

I think I'm going to have to ask for permission to die.

Okay love, but make sure to empty the bins before you do. They won't empty themselves, you know. Honestly, there were parts of this book where I laughed out loud at the whimsical nature of it, the deliberate obscurantism and muddy language. If you're a young girl madly in love with a boy at school called Zach (he's so dreamy), this might be something you'll like otherwise I'd be perplexed to grasp who this might appeal to. I guess you could argue it's well written but then... so is a dictionary. What of it? Normally, when I hate a book, I rant about it but this one was too funny to rant at. Instead, I just want to point at it and laugh.

Now suddenly at three in the morning I woke and met myself.

Good for you, now that you've met yourself can you tell yourself to make me a nice cup of tea. Much obliged. So yeah, I think we can safely say this wasn't for me. Now I'm going to go stare at my copy of 'As I Lay Dying' until something happens.
]]>
Doctor Glas 29199911 Hjalmar Söderberg (1869�1941) is considered one of the greatest writers in the Swedish language. Doctor Glas , originally published in 1905, was his third novel. This is a new English translation of the work.]]> 146 Hjalmar Söderberg 1516835603 Hux 4
Dr Glas is written in the form of a diary and the doctor has little concern for expressing his opinions freely and honestly. He ruminates on several aspects of life, predominantly his own loneliness (this explained somewhat by his youthful experience of heartbreak) and his dislike of many aspects of (what was to him) the modern world. He also dislikes patients and has a series of amusing and judgemental opinions about them, these moments feeling very reminiscent of Celine's Journey to the End of the Night when Bardamu is a doctor making house calls. Then comes the main plot point, the arrival at his surgery of Helga Gregorius, the wife of the local priest, a woman who confesses to the doctor that she needs an excuse not to sleep with her husband. She happily admits that she finds him repulsive and, without needing to, that she is also having an affair. The doctor agrees to tell her husband that she has lady troubles but this only works for a while and so he then tells the priest (who already has heart problems) that he must abstain and go away for six weeks.

It's during this period that Dr Glas wonders if he should kill the priest with cyanide. If he can't be happy then at least Helga can be, at least one person on the planet won't be alone and miserable. He also seems to recognise his developing feelings for her but accepts they are not reciprocated. Her being free to experience love becomes an obsession for him. There's an excellent part of the book where he debates with the part of himself that thinks yes, do it, and the part of himself that thinks no. It's a nice bit of foreshadowing because the voice saying yes is being answered by a vague version of the doctor, but the voice saying no is being answered more obviously by Dr Glas himself. His decision has clearly already been made.

A wonderful little novel about loneliness, regret, human frailty, and an uninterested universe which is beautifully written and ahead of its time.

Nothing diminishes a man and drags him down so much as the consciousness of not being loved.
]]>
3.86 Doctor Glas
author: Hjalmar Söderberg
name: Hux
average rating: 3.86
book published:
rating: 4
read at: 2025/01/25
date added: 2025/01/25
shelves:
review:
Very good. I knew little of this book (one of those that pops up here, on BookTube etc) and went into it cold, the first thing I noticed being the very modern prose and themes. Dr Glas talks about the need to legalise euthanasia, abortion, and discusses sex in a way that feels very contemporary. So I checked and was surprised to discover that it was published in 1905.

Dr Glas is written in the form of a diary and the doctor has little concern for expressing his opinions freely and honestly. He ruminates on several aspects of life, predominantly his own loneliness (this explained somewhat by his youthful experience of heartbreak) and his dislike of many aspects of (what was to him) the modern world. He also dislikes patients and has a series of amusing and judgemental opinions about them, these moments feeling very reminiscent of Celine's Journey to the End of the Night when Bardamu is a doctor making house calls. Then comes the main plot point, the arrival at his surgery of Helga Gregorius, the wife of the local priest, a woman who confesses to the doctor that she needs an excuse not to sleep with her husband. She happily admits that she finds him repulsive and, without needing to, that she is also having an affair. The doctor agrees to tell her husband that she has lady troubles but this only works for a while and so he then tells the priest (who already has heart problems) that he must abstain and go away for six weeks.

It's during this period that Dr Glas wonders if he should kill the priest with cyanide. If he can't be happy then at least Helga can be, at least one person on the planet won't be alone and miserable. He also seems to recognise his developing feelings for her but accepts they are not reciprocated. Her being free to experience love becomes an obsession for him. There's an excellent part of the book where he debates with the part of himself that thinks yes, do it, and the part of himself that thinks no. It's a nice bit of foreshadowing because the voice saying yes is being answered by a vague version of the doctor, but the voice saying no is being answered more obviously by Dr Glas himself. His decision has clearly already been made.

A wonderful little novel about loneliness, regret, human frailty, and an uninterested universe which is beautifully written and ahead of its time.

Nothing diminishes a man and drags him down so much as the consciousness of not being loved.

]]>
<![CDATA[The Man Who Watched the Trains Go By]]> 60441232
'A certain furtive, almost shameful emotion ... disturbed him whenever he saw a train go by, a night train especially, its blinds drawn down on the mystery of its passengers'


Kees Popinga is a respectable Dutch citizen and family man. Then he discovers that his boss has bankrupted the shipping firm he works for - and something snaps. Kees used to watch the trains go by to exciting destinations. Now, on some dark impulse, he boards one at random, and begins a new life of recklessness and violence. This chilling portrayal of a man who breaks from society and goes on the run asks who we are, and what we are capable of.

'Classic Simenon ... extraordinary in its evocative power' Independent

'What emerges is the bare human animal' John Gray

'Read him at your peril, avoid him at your loss' Sunday Times]]>
0 Georges Simenon 0141983264 Hux 3
It was easy enough to read but I just never really cared about what was happening; which is strange because this book has everything I like. A protagonist who descends into madness, recognising the lie of his mundane existence, and who, in a moment of abrupt clarity, embraces the carnage of... doing whatever he wants. Simenon is exploring the very thing I find most interesting to explore, the mediocrity of life when properly scrutinised, the daily endeavour of kidding ourselves that we are who we want to be, or are living a life that we want to live.

Simply, at the age of forty, I have decided to live as I please, not worrying about conventions, or laws, because I have found out, rather late in the day, that nobody observes them and that, until now, I have been duped.

I have spent forty years being bored. For forty years, I looked at life like some street urchin with his nose pressed up against the window of a cake shop, watching other people eating pastries. Now I know that the pastries go to the people who take the trouble to grab them.

Nicely put. And yet despite all this, again, the story just never excited me very much. Parts of it felt unrealistic (why would a gang of underworld thugs agree to help a murderer based on nothing more than... he's a criminal like us so we should help him?). Plus, his breakdown is all too sudden. Sure, he was a man who clearly had a sexual problem (he never sleeps with any of the prostitutes he encounters) and he clearly has issues (touched on by the psychiatrists) but his actions remain inexplicable. This is the third non-detective novel by Simenon I've read and I'm starting to think he begins them as detective stories then abandons them when he realises they're a bit thin, turning them into little oddities that nonetheless retain a criminal theme. This one just never made an impact (despite being mostly fun to read).

Interesting premise and character but ultimately forgettable.]]>
3.67 1938 The Man Who Watched the Trains Go By
author: Georges Simenon
name: Hux
average rating: 3.67
book published: 1938
rating: 3
read at: 2025/01/21
date added: 2025/01/21
shelves:
review:
This one didn't quite grab me. It starts well and throws you right into things, the protagonist, Kees Popinga, finding his boss at the pub and being told by him that, due to bankrupcy, he intends to fake his own death and run away. For some reason this seems to trigger Popinga into his own bizarre meltdown leading him to essentially conclude that he has been wasting his life (married with kids, decent house and job) to the extent that he feels compelled to just leave his life behind. First of all he visits his boss's former lover, Pamela, in Amsterdam (a woman he has always craved) and then, due to her laughing at him, kills her. After this he heads off to Paris where he wanders the streets, receives help from underworld criminals, and writes letters to the newspapers and police (specifically Inspector Lucas) to criticise their investigation into him.

It was easy enough to read but I just never really cared about what was happening; which is strange because this book has everything I like. A protagonist who descends into madness, recognising the lie of his mundane existence, and who, in a moment of abrupt clarity, embraces the carnage of... doing whatever he wants. Simenon is exploring the very thing I find most interesting to explore, the mediocrity of life when properly scrutinised, the daily endeavour of kidding ourselves that we are who we want to be, or are living a life that we want to live.

Simply, at the age of forty, I have decided to live as I please, not worrying about conventions, or laws, because I have found out, rather late in the day, that nobody observes them and that, until now, I have been duped.

I have spent forty years being bored. For forty years, I looked at life like some street urchin with his nose pressed up against the window of a cake shop, watching other people eating pastries. Now I know that the pastries go to the people who take the trouble to grab them.

Nicely put. And yet despite all this, again, the story just never excited me very much. Parts of it felt unrealistic (why would a gang of underworld thugs agree to help a murderer based on nothing more than... he's a criminal like us so we should help him?). Plus, his breakdown is all too sudden. Sure, he was a man who clearly had a sexual problem (he never sleeps with any of the prostitutes he encounters) and he clearly has issues (touched on by the psychiatrists) but his actions remain inexplicable. This is the third non-detective novel by Simenon I've read and I'm starting to think he begins them as detective stories then abandons them when he realises they're a bit thin, turning them into little oddities that nonetheless retain a criminal theme. This one just never made an impact (despite being mostly fun to read).

Interesting premise and character but ultimately forgettable.
]]>
Hopeful Monsters 21386215 604 Nicholas Mosley 1906011117 Hux 4
When Mosley is focused on these big ideas, it's actually very engaging and I found these parts of the book immensely enjoyable. When he's focused on pushing their lives along (adding some semblance of a plot) it somewhat drags in my opinion. And the longer the book goes on, the more he abandons the heavy subjects and spends more time on character interactions which, gradually, I found a little dull and slow. The first third of the book was gripping but it loosens up as it goes along and becomes a little bloated and scruffy. There are huge sections where Max goes to Russia and Eleanor goes to Africa which adds nothing and only slows everything down. You get the distinct impression that Mosley is simply filling their lives with something before the Nazis push the continent into war. This is often the trouble with books that take advantage of knowing the past while their characters don't.

Speaking of characters, Mosley has them both narrate their sections in almost identical fashion. While I'm open to the idea that Max and Eleanor are essentially meant to be the same person, it felt a little off that they both spoke and thought in the same way (Then I thought -- Then I wondered --). This is also not helped by Mosley's dialogue tags where he has all speech start with 'he said or she said.' It becomes rather repetitive and tiresome after a while.

I really loved the first third and, despite losing interest as we went along, would say that the book is actually superb and beautifully written. I like listening to smart people discussing the great changes and ideas of the century, debating them, examining their consequences etc. The plot (or developing relationship between Max and Eleanor) was less interesting, their love affair somewhat aloof and detached; I never felt that these two ever truly fell in love. It's a very middle-class relationship of convenience with no meaningful passion or commitment. They both write to each other about their various love affairs (people sleep together willy-nilly) despite apparently being soulmates. It's very Bohemian and smug (I thought). But given Mosley's background, that makes sense. I was especially irked by the section where Max goes to the north of England and Mosley describes it like it's some kind of post-apocalyptic hellscape where people haven't yet acquired civilisation. Mosley was, of course, a privately educated son of a fascist Baron (he makes a point of celebrating the Jews a little too often in the book -- almost winking at the reader) and you can certainly understand why. But his understanding of the world is profoundly privileged and it always has the feeling of the observer rather than someone actually living it (even when he forces them into Franco's civil war or other momentous periods of upheaval).They (Max in particular) are always outside of it. Like protected angels commenting on events that they will forever remain safe from.

The book is a mammoth achievement and I would highly recommend it. But, much like many other large tombs, it outstays its welcome a little and fails to follow its own established rules. After all, is it a book of ideas or a story about love? I mean, it's clearly the former so why bore me with Russian peasant girls who like a roll in the hay or queer students who like to be beaten up? None of that felt like anything other than a forced attempt to include some normal people in these great historic experiences.

But otherwise an excellent novel albeit one, I would say, which has many many flaws.Initially gave it a 3/5 but upped to 4 due to the pure ambition of the piece.]]>
4.75 1990 Hopeful Monsters
author: Nicholas Mosley
name: Hux
average rating: 4.75
book published: 1990
rating: 4
read at: 2025/01/18
date added: 2025/01/18
shelves:
review:
The novel of ideas has always appealed to me. But it requires one of two things to be entertaining. A unique voice and perspective which ponders (often on behalf of the reader) the ideas being explored, or, more strategically, a plot which builds and feels that it is arriving somewhere. Mosley slightly fails on the latter but (initially at least) has more success with the former. The book takes place between the wars and follows Eleanor (a German girl growing up in Berlin) and Max, an English boy growing up in Cambridge. The book alternates between them, Max and Eleanor taking turns to narrate their own story (all while seemingly aware of one another's presence) until they, inevitably it seems, come into contact with one another. They live through these great moments and the changes of this period, are touched by the events and experiences, and regularly give their own thoughts on the ideas and technologies being brought into the world at this time. Sometimes, they are literally touched by these events and people, Eleanor's mother being a friend of Rosa Luxembourg while Max's father is a friend of the disgraced biologist Paul Kammerer. Other big names are involved in the narrative; Einstein, Schrodinger, Hitler, Darwin, Franco, you name it. Both Eleanor and Max internally contemplate these ideas and changes, and they discuss them together (or with other characters) to an almost fetishisitic degree (it's all very heavy and sincere and not once does anyone talk about anything trivial).

When Mosley is focused on these big ideas, it's actually very engaging and I found these parts of the book immensely enjoyable. When he's focused on pushing their lives along (adding some semblance of a plot) it somewhat drags in my opinion. And the longer the book goes on, the more he abandons the heavy subjects and spends more time on character interactions which, gradually, I found a little dull and slow. The first third of the book was gripping but it loosens up as it goes along and becomes a little bloated and scruffy. There are huge sections where Max goes to Russia and Eleanor goes to Africa which adds nothing and only slows everything down. You get the distinct impression that Mosley is simply filling their lives with something before the Nazis push the continent into war. This is often the trouble with books that take advantage of knowing the past while their characters don't.

Speaking of characters, Mosley has them both narrate their sections in almost identical fashion. While I'm open to the idea that Max and Eleanor are essentially meant to be the same person, it felt a little off that they both spoke and thought in the same way (Then I thought -- Then I wondered --). This is also not helped by Mosley's dialogue tags where he has all speech start with 'he said or she said.' It becomes rather repetitive and tiresome after a while.

I really loved the first third and, despite losing interest as we went along, would say that the book is actually superb and beautifully written. I like listening to smart people discussing the great changes and ideas of the century, debating them, examining their consequences etc. The plot (or developing relationship between Max and Eleanor) was less interesting, their love affair somewhat aloof and detached; I never felt that these two ever truly fell in love. It's a very middle-class relationship of convenience with no meaningful passion or commitment. They both write to each other about their various love affairs (people sleep together willy-nilly) despite apparently being soulmates. It's very Bohemian and smug (I thought). But given Mosley's background, that makes sense. I was especially irked by the section where Max goes to the north of England and Mosley describes it like it's some kind of post-apocalyptic hellscape where people haven't yet acquired civilisation. Mosley was, of course, a privately educated son of a fascist Baron (he makes a point of celebrating the Jews a little too often in the book -- almost winking at the reader) and you can certainly understand why. But his understanding of the world is profoundly privileged and it always has the feeling of the observer rather than someone actually living it (even when he forces them into Franco's civil war or other momentous periods of upheaval).They (Max in particular) are always outside of it. Like protected angels commenting on events that they will forever remain safe from.

The book is a mammoth achievement and I would highly recommend it. But, much like many other large tombs, it outstays its welcome a little and fails to follow its own established rules. After all, is it a book of ideas or a story about love? I mean, it's clearly the former so why bore me with Russian peasant girls who like a roll in the hay or queer students who like to be beaten up? None of that felt like anything other than a forced attempt to include some normal people in these great historic experiences.

But otherwise an excellent novel albeit one, I would say, which has many many flaws.Initially gave it a 3/5 but upped to 4 due to the pure ambition of the piece.
]]>
Far North 9000774 304 Marcel Theroux 0571237789 Hux 2
But then, after a traumatic event occurs, the protagonist (Makepeace) decides to leave to see if she can find some sign of civilisation. Eventually she does come across others but, as you might expect, it's not very pretty or what she had anticipated. This was basically the point in the story where I was quickly starting to lose interest; it all just becomes very samey and repetitive and involves a great deal of slavery, abuse, and tyrannical hierarchy. She gets locked up by a community and this is pretty much where the book stays until the very end. From this point on, the book abandons the cosy catastrophe element (what is what I most enjoy) of surviving and travelling and switches instead to a rather dull series of beatings, solitude, and abuse which slows the whole thing down. I just wasn't very invested or entertained. It all became a little boring and obvious and frankly, I just wanted it to end. The knowledge we acquire towards the end does add some colour to her background (and the reasons Ping's story affected her so much) but I was already done by then.

Ultimately, it was a tad disappointing. Theroux does a pretty good job of convincingly writing a woman but, in my opinion, he only achieves this because he keeps her personality very mannish and aloof, especially making sure to avoid any form of sexuality. Truth be told, if you want a woman surviving the apocalypse by pretending to be a man, I would recommend The Book of The Unnamed Midwife instead. This was just a bit... meh!]]>
3.56 2009 Far North
author: Marcel Theroux
name: Hux
average rating: 3.56
book published: 2009
rating: 2
read at: 2025/01/13
date added: 2025/01/13
shelves:
review:
Whenever I am oppressed by reading a particular book, or just drained by life in general, I often like to return to my guilty pleasure of post-apocalyptic fiction for some cosy, escapist nonsense. And for me, that's usually post-apocalyptic stories about loners surviving in some isolated wilderness (preferably with a dog). This book seemed like the perfect candidate for that kind of thing and for the first third, it was indeed exactly what I had hoped for. The book is set in the Far North (in this case Siberia) and takes place after some kind of global catastrophe that we don't get much background on (possibly nuclear war but unclear). The book opens with an ambiguous narrator who turns out to be a woman (but Theroux keeps this vague for a few chapters) who is is surviving alone in this frozen wasteland, scavenging, hunting, occasionally trading with the native Tungus people, and sometimes even having to kill them if need be. Then she meets a young Chinese boy called Ping who also (later) turns out to be a woman (women making themselves look like men is understandable during an apocalypse); and for a while their quiet lives become very stable and happy (though this period is very quickly dealt with before we move on). This first third of the book was hugely enjoyable to read and it was precisely what I had hoped it would be, hunting for food, exploring the barren landscape for food, building a home, etc. I was completely on board.

But then, after a traumatic event occurs, the protagonist (Makepeace) decides to leave to see if she can find some sign of civilisation. Eventually she does come across others but, as you might expect, it's not very pretty or what she had anticipated. This was basically the point in the story where I was quickly starting to lose interest; it all just becomes very samey and repetitive and involves a great deal of slavery, abuse, and tyrannical hierarchy. She gets locked up by a community and this is pretty much where the book stays until the very end. From this point on, the book abandons the cosy catastrophe element (what is what I most enjoy) of surviving and travelling and switches instead to a rather dull series of beatings, solitude, and abuse which slows the whole thing down. I just wasn't very invested or entertained. It all became a little boring and obvious and frankly, I just wanted it to end. The knowledge we acquire towards the end does add some colour to her background (and the reasons Ping's story affected her so much) but I was already done by then.

Ultimately, it was a tad disappointing. Theroux does a pretty good job of convincingly writing a woman but, in my opinion, he only achieves this because he keeps her personality very mannish and aloof, especially making sure to avoid any form of sexuality. Truth be told, if you want a woman surviving the apocalypse by pretending to be a man, I would recommend The Book of The Unnamed Midwife instead. This was just a bit... meh!
]]>
The Obscene Bird of Night 181712751 Newly revised and updated by Megan McDowell, and with a new introduction by Alejandro Zambra: at last, the unabridged, centennial edition of Donoso’s terrifying masterpiece sees the light of day.

Deep in a maze of musty, forgotten hallways, Mudito rummages through piles of old newspapers. The mute caretaker of the crumbling former abbey, he is hounded by a coven of ancient witches who are bent on transforming him, bit by bit, into the terrifying imbunche: a twisted monster with all of its orifices sewn up, buried alive in its own body. Once, Mudito walked upright and spoke clearly; once he was the personal assistant to one of Chile’s most powerful politicians, Jerónimo de Azcoitía. Once, he ruled over a palace of monsters, built to shield Jeronimo’s deformed son from any concept of beauty. Once, he plotted with the wise woman Peta Ponce to bed Inés, Jerónimo’s wife. Mudito was Humberto, Jerónimo was strong, Inés was beautiful―once upon a time... Narrated in voices that shift and multiply, The Obscene Bird of Night frets the seams between master and slave, rich and poor, reality and nightmares, man and woman, self and other in a maniacal inquiry into the horrifying transformations that power can wreak on identity.

Now, star translator Megan McDowell has revised and updated the classic translation, restoring nearly twenty pages of previously untranslated text that was mysteriously cut from the 1972 edition. Newly complete, with missing motifs restored, plots deepened, and characters more richly shaded, Donoso’s pajarito (little bird), as he called it, returns to print to celebrate the centennial of its author’s birth in full plumage, as brilliant as it is bizarre.]]>
464 José Donoso 0811232220 Hux 2
As far as the story is concerned the only meaningful narrative I could find (and I'm still not entirely certain about this) revolved around a man called Mudito (who occasionally has other names and other physical forms) who lives in a weird little enclosed square of witches and orphans and these witches are either controlling him (or vice versa) and he is their child or creation (or vice versa) and he is potentially a monster (an imbunche in Chilean culture) or at least turning into one, and there's a girl called Iris who gets pregnant and he is both the father and the child but also... he isn't. And there are other characters who come and go (but I really didn't know who they were) and then there's a guy called Humberto (but he's also Mudito). Then there's Jeronimo who has a deformed son and wants him to be raised in this same place of misfits so that his son feels less weird. Oh and Jeronimo and Mudito might also be the same person. So yeah... things are happening... it's a fever dream of incoherent madness and even when you momentarily know what's happening and who people are, the very next chapter morphs them into something, or someone, else until everything is a blur of static and white noise. These people seem to be trapped outside of time and exist only in the minds of the narrator (who himself only exists in someone else's mind) and nothing is ever remotely stable or fixed. Got that? Good then I shall continue...

It's all over the place. Even when the book is weirdly compelling (such as when the old lady pretends to be Iris's baby and suckles on her tits before they massage her old-lady vagina??) the book is hard to stay focused on. It's so difficult to maintain eye contact with this thing. But then, I suppose that's the point. And Donoso admits as much in moments of lucidity...

Old women like Peta Ponce have the power to fold time over and confuse it, they multiply and divide it, events are refracted in their gnarled hands as in the most brilliant prism, they cut the consecutive happening of things into fragments they arrange in parallel form, they bend those fragments and twist them into shapes that enable them to carry out their designs.

It's all very interesting stuff but as I said at the start, it's very difficult to enjoy any of this when you can't latch onto anything. I never had a strong sense of what was happening or who these people were. Without that, it's extremely difficult to care. Why would I invest in such a (long) book if I get so very little back?

Reading and watching some of the positive reviews of this book is eye opening; people will admit that they found it a slog, that it could have had hundreds of pages removed without losing anything, that it was impossible to follow, but then they'll finish their review by saying.. it's a masterpiece!! Do these people not know what the word masterpiece means? They sound like battered wives defending their husband's violent behaviour because he happens to be wearing a really nice suit. It's bizarre. People are so desperate for literature to matter beyond mere reading experience that they will imbue books which, by their own admission, are unpleasant to get through, as magnificent. Plus the fact that Donoso can clearly write is a factor. But so what? If I go to a urinal and see some beautifully written and profound graffiti on the wall, it doesn't change the fact that I'm surrounded by shit and piss. That Donoso can write only makes this worse (like all those talented writers who, having read Joyce and seen how much respect he commands, choose to waste their talents on banal stream-of-consciousness drivel. Some may even tell you that it's playing with themes regarding the novel and what constitutes plot, character, etc, challenging those expectations. But again, that's like me making you eat a turd and telling you that I'm challenging the bourgeoisie expectations of what food can be. In the bin with that pretentious crap! This might be a good time to confess that I absolutely despise magical realism. I mean, I just utterly despise it.

I remember reading Pedro Paramo and thinking... well, at least this ethereal weirdness is short. But this one is NOT short. It never ends. It's like Donoso read Sabato's On Heroes and Tombs and ignored all the reality and said, I'm gonna focus on those parts of the book where obsession spirals into an incoherent mess of nightmarish surrealism and drag it out until the reader loses their fucking mind. Its's a book worth investigating but one which, I assure you, can only ever disappoint (even if you like it). As such the only people I can recommend this book to are people who genuinely love magical realism (you sickos!) or hipsters (so they can impress their wife Susan and their boyfriend Steve all at once). Otherwise, for me, it's a book that I just couldn't find any love for. If I read this for a thousand years (a form of hell no doubt), I would still never enjoy it. I might understand it better. But I still wouldn't like it.]]>
4.37 1970 The Obscene Bird of Night
author: José Donoso
name: Hux
average rating: 4.37
book published: 1970
rating: 2
read at: 2025/01/10
date added: 2025/01/10
shelves:
review:
Where to begin? I suppose with the fact that it's extremely difficult to enjoy a book when there's nothing to latch onto, nothing solid that you can grab, with both hands, and ingest in a way that makes the thing come alive. It's like trying to grab hold of a piece of air. I think there was only one chapter (towards the beginning) where I did get a momentary glimpse of sanity and could actually cling to something tangible but this vanished almost immediately. The structure is chaotic from start to finish and any logic or coherency you might find is either accidental or located in madness.

As far as the story is concerned the only meaningful narrative I could find (and I'm still not entirely certain about this) revolved around a man called Mudito (who occasionally has other names and other physical forms) who lives in a weird little enclosed square of witches and orphans and these witches are either controlling him (or vice versa) and he is their child or creation (or vice versa) and he is potentially a monster (an imbunche in Chilean culture) or at least turning into one, and there's a girl called Iris who gets pregnant and he is both the father and the child but also... he isn't. And there are other characters who come and go (but I really didn't know who they were) and then there's a guy called Humberto (but he's also Mudito). Then there's Jeronimo who has a deformed son and wants him to be raised in this same place of misfits so that his son feels less weird. Oh and Jeronimo and Mudito might also be the same person. So yeah... things are happening... it's a fever dream of incoherent madness and even when you momentarily know what's happening and who people are, the very next chapter morphs them into something, or someone, else until everything is a blur of static and white noise. These people seem to be trapped outside of time and exist only in the minds of the narrator (who himself only exists in someone else's mind) and nothing is ever remotely stable or fixed. Got that? Good then I shall continue...

It's all over the place. Even when the book is weirdly compelling (such as when the old lady pretends to be Iris's baby and suckles on her tits before they massage her old-lady vagina??) the book is hard to stay focused on. It's so difficult to maintain eye contact with this thing. But then, I suppose that's the point. And Donoso admits as much in moments of lucidity...

Old women like Peta Ponce have the power to fold time over and confuse it, they multiply and divide it, events are refracted in their gnarled hands as in the most brilliant prism, they cut the consecutive happening of things into fragments they arrange in parallel form, they bend those fragments and twist them into shapes that enable them to carry out their designs.

It's all very interesting stuff but as I said at the start, it's very difficult to enjoy any of this when you can't latch onto anything. I never had a strong sense of what was happening or who these people were. Without that, it's extremely difficult to care. Why would I invest in such a (long) book if I get so very little back?

Reading and watching some of the positive reviews of this book is eye opening; people will admit that they found it a slog, that it could have had hundreds of pages removed without losing anything, that it was impossible to follow, but then they'll finish their review by saying.. it's a masterpiece!! Do these people not know what the word masterpiece means? They sound like battered wives defending their husband's violent behaviour because he happens to be wearing a really nice suit. It's bizarre. People are so desperate for literature to matter beyond mere reading experience that they will imbue books which, by their own admission, are unpleasant to get through, as magnificent. Plus the fact that Donoso can clearly write is a factor. But so what? If I go to a urinal and see some beautifully written and profound graffiti on the wall, it doesn't change the fact that I'm surrounded by shit and piss. That Donoso can write only makes this worse (like all those talented writers who, having read Joyce and seen how much respect he commands, choose to waste their talents on banal stream-of-consciousness drivel. Some may even tell you that it's playing with themes regarding the novel and what constitutes plot, character, etc, challenging those expectations. But again, that's like me making you eat a turd and telling you that I'm challenging the bourgeoisie expectations of what food can be. In the bin with that pretentious crap! This might be a good time to confess that I absolutely despise magical realism. I mean, I just utterly despise it.

I remember reading Pedro Paramo and thinking... well, at least this ethereal weirdness is short. But this one is NOT short. It never ends. It's like Donoso read Sabato's On Heroes and Tombs and ignored all the reality and said, I'm gonna focus on those parts of the book where obsession spirals into an incoherent mess of nightmarish surrealism and drag it out until the reader loses their fucking mind. Its's a book worth investigating but one which, I assure you, can only ever disappoint (even if you like it). As such the only people I can recommend this book to are people who genuinely love magical realism (you sickos!) or hipsters (so they can impress their wife Susan and their boyfriend Steve all at once). Otherwise, for me, it's a book that I just couldn't find any love for. If I read this for a thousand years (a form of hell no doubt), I would still never enjoy it. I might understand it better. But I still wouldn't like it.
]]>
Brian 61966682 184 Jeremy Cooper 1804270369 Hux 4
And I loved it. The writing really appealed to me, was so easy to read, and insightful, and the subject matter was extremely engaging.

The book begins by sparing us the banal details of his youth and early adult life; instead we jump straight into his life when Brian is in his late thirties. Because this is the point in his life when he begins to take an interest in films (especially arty, foreign language films), an interest that will gradually become an obsession. He visits the BFI every day after working another dull day in his office job which only briefly gets fleshed out. He has colleagues but only casually knows (or cares about) them. His family are non-existent; and he has, despite being open to the possibility of either gender, no sex life to speak of. It isn't explicitly declared but there does seem to be a potential for Brian to be autistic (cliched yes, but often accurate). And so he works, reads, travels by bus, eats at the same restaurant, watches the football, and consumes new films each day at the BFI. Understandably, there are other oddballs like him, equally nerdy and obsessive, who also regularly watch films at the BFI, and he comes to know most of them, even regarding them as (albeit distant) friends. Jack (a connoisseur of film scores) in particular becomes a confidante.

Brian develops a specialist interest in Japanese cinema whereby he becomes the groups resident expert. As the book goes along, and Brian ages, into his fifties, sixties, seventies, you're essentially given a catalogue of views and opinions regarding works by all manner of disparate filmmakers (all excellently done). There is something appealing in the way Cooper mirrors Brian's intricate and obsessive knowledge by offering these film (and actor) criticisms throughout the book. In fact, it's hard not to conclude that this is precisely what the book is about -- male isolation and the fetishisation of things. None of the film buffs are women of course. Why would they be? This kind of solipsistic love of stuff seems to be a uniquely male experience. There are subtle hints to this at various points in the book:

"He had joined a book � reading club, mostly of women, jolly, middle-aged, who ridiculed his proposals of novels to read, listened in silence to his halting comments on the book-of-the–month and moved promptly on the topics of their own concerns."

It's also hard not to conclude that Cooper is celebrating this male world of fixation, especially if it possesses some degree of artistic merit. I tend to disagree here and consider Brian's love of film as inconsequential as anything else. Brian has wasted his life. But then... who doesn't? Even as he ages and begins to develop physical ailments (including poor eyesight), he takes refuge in his life choices which, from an outsider's perspective, can seem rather trivial. But the best existential novels always leave you wondering why. What was the point? Did any of it matter?

There seems to be a spate of novels these days (presumably due to women's dominance of publishing) that focus on female oddballs. But these books always focus on feelings, attitudes, and mental health. In such times, we are reliably told that men should deal with their mental health more like women, by talking and exploring emotions, and looking inward. But I think this is awful advice. Men need to do things, fix things, obsess over things -- books, football, sex, war, anything. If you know a man who is depressed, don't ask him to talk about it. Ask him to fix the fence in your back garden. Things are important. Things matter. Fences always need fixing. Men understand things.

Brian's life is unquestionably a pointless waste of time. But it's his life to waste (and he does so in an appropriate way to him). And the bottom line is... I like oddballs who waste their lives (without all that mental health narcissism and blubbering).

Brian is more discerning, and definitely worth getting to know.]]>
3.81 Brian
author: Jeremy Cooper
name: Hux
average rating: 3.81
book published:
rating: 4
read at: 2025/01/06
date added: 2025/01/06
shelves:
review:
I've always had a soft spot for a particular genre of book and that genre is... 'oddball men with poor social skills who fixate on a thing whilst allowing their lives to pass them by.' It's a very specific genre and yet one which, more often than you'd think, comes along quite frequently. And thank goodness because they always speak to me in some way. And so here is another entry, this time about a bloke called Brian.

And I loved it. The writing really appealed to me, was so easy to read, and insightful, and the subject matter was extremely engaging.

The book begins by sparing us the banal details of his youth and early adult life; instead we jump straight into his life when Brian is in his late thirties. Because this is the point in his life when he begins to take an interest in films (especially arty, foreign language films), an interest that will gradually become an obsession. He visits the BFI every day after working another dull day in his office job which only briefly gets fleshed out. He has colleagues but only casually knows (or cares about) them. His family are non-existent; and he has, despite being open to the possibility of either gender, no sex life to speak of. It isn't explicitly declared but there does seem to be a potential for Brian to be autistic (cliched yes, but often accurate). And so he works, reads, travels by bus, eats at the same restaurant, watches the football, and consumes new films each day at the BFI. Understandably, there are other oddballs like him, equally nerdy and obsessive, who also regularly watch films at the BFI, and he comes to know most of them, even regarding them as (albeit distant) friends. Jack (a connoisseur of film scores) in particular becomes a confidante.

Brian develops a specialist interest in Japanese cinema whereby he becomes the groups resident expert. As the book goes along, and Brian ages, into his fifties, sixties, seventies, you're essentially given a catalogue of views and opinions regarding works by all manner of disparate filmmakers (all excellently done). There is something appealing in the way Cooper mirrors Brian's intricate and obsessive knowledge by offering these film (and actor) criticisms throughout the book. In fact, it's hard not to conclude that this is precisely what the book is about -- male isolation and the fetishisation of things. None of the film buffs are women of course. Why would they be? This kind of solipsistic love of stuff seems to be a uniquely male experience. There are subtle hints to this at various points in the book:

"He had joined a book � reading club, mostly of women, jolly, middle-aged, who ridiculed his proposals of novels to read, listened in silence to his halting comments on the book-of-the–month and moved promptly on the topics of their own concerns."

It's also hard not to conclude that Cooper is celebrating this male world of fixation, especially if it possesses some degree of artistic merit. I tend to disagree here and consider Brian's love of film as inconsequential as anything else. Brian has wasted his life. But then... who doesn't? Even as he ages and begins to develop physical ailments (including poor eyesight), he takes refuge in his life choices which, from an outsider's perspective, can seem rather trivial. But the best existential novels always leave you wondering why. What was the point? Did any of it matter?

There seems to be a spate of novels these days (presumably due to women's dominance of publishing) that focus on female oddballs. But these books always focus on feelings, attitudes, and mental health. In such times, we are reliably told that men should deal with their mental health more like women, by talking and exploring emotions, and looking inward. But I think this is awful advice. Men need to do things, fix things, obsess over things -- books, football, sex, war, anything. If you know a man who is depressed, don't ask him to talk about it. Ask him to fix the fence in your back garden. Things are important. Things matter. Fences always need fixing. Men understand things.

Brian's life is unquestionably a pointless waste of time. But it's his life to waste (and he does so in an appropriate way to him). And the bottom line is... I like oddballs who waste their lives (without all that mental health narcissism and blubbering).

Brian is more discerning, and definitely worth getting to know.
]]>
Camera 3465543 122 Jean-Philippe Toussaint 156478522X Hux 3
On paper, this ought to have appealed to me. And I did enjoy a lot of the book (I especially liked Toussaint's writing when he allowed his prose to flow), but after a while, you need something... anything... to give the piece a little more meat on its bones. But the tone remains the same throughout. The narrator tells us about meeting a woman at the drivers ed office, then he tells us about going to get groceries. Then he tells us about the car breaking down, needing some propane, trying to find the Metro, what the weather is like. Then he and Pascale (the woman) go to London for a trip and eat in a restaurant, and look at things, and say things, and do things. It's all very minimalist, the insignificant aspects of life we all endure, with no discernible plot and no desire to waste any time introducing one. It's just an average man, living an average life. And THAT'S where we acquire the existential qualities of this novel. Because what could be more existential than merely existing?

It's a nice idea and the book has a gentle feel (some may even be tempted to describe it as charming). It reminded me of a few things. Autumn Rounds, The Sundays of Jean Desert. But those books had different qualities when it came to the existential themes (the latter in particular being more thought provoking in my opinion). This book is, at face value, a very quiet novella about a man meeting a woman and doing dull, normal things. That's it... that's your lot! While that does indeed cover the basics in regards to a reflective novel exploring existential ideas, it ultimately was a little too lightweight for my liking. There were periods where the writing was really fluid and crisp, and I would have liked more of that, but the book is too busy offering tedious aspects of an average life, the classic humdrum of western existence, that it doesn't get to dwell too long on those beautiful sentences very often. Which is a shame because that's the book's best feature.

Fundamentally, I don't think I will ponder this one for very long. Short and sweet. Easy to read. An odd little book to be sure. But ultimately underwhelming.]]>
3.57 1989 Camera
author: Jean-Philippe Toussaint
name: Hux
average rating: 3.57
book published: 1989
rating: 3
read at: 2025/01/03
date added: 2025/01/03
shelves:
review:
Here's a crazy idea: how about a novel about the trivial banalities of living, the day-to-day mediocrity and smallness of things. After all, what could be more existential than a novel about the very boring and mundane, the dull and ordinary?

On paper, this ought to have appealed to me. And I did enjoy a lot of the book (I especially liked Toussaint's writing when he allowed his prose to flow), but after a while, you need something... anything... to give the piece a little more meat on its bones. But the tone remains the same throughout. The narrator tells us about meeting a woman at the drivers ed office, then he tells us about going to get groceries. Then he tells us about the car breaking down, needing some propane, trying to find the Metro, what the weather is like. Then he and Pascale (the woman) go to London for a trip and eat in a restaurant, and look at things, and say things, and do things. It's all very minimalist, the insignificant aspects of life we all endure, with no discernible plot and no desire to waste any time introducing one. It's just an average man, living an average life. And THAT'S where we acquire the existential qualities of this novel. Because what could be more existential than merely existing?

It's a nice idea and the book has a gentle feel (some may even be tempted to describe it as charming). It reminded me of a few things. Autumn Rounds, The Sundays of Jean Desert. But those books had different qualities when it came to the existential themes (the latter in particular being more thought provoking in my opinion). This book is, at face value, a very quiet novella about a man meeting a woman and doing dull, normal things. That's it... that's your lot! While that does indeed cover the basics in regards to a reflective novel exploring existential ideas, it ultimately was a little too lightweight for my liking. There were periods where the writing was really fluid and crisp, and I would have liked more of that, but the book is too busy offering tedious aspects of an average life, the classic humdrum of western existence, that it doesn't get to dwell too long on those beautiful sentences very often. Which is a shame because that's the book's best feature.

Fundamentally, I don't think I will ponder this one for very long. Short and sweet. Easy to read. An odd little book to be sure. But ultimately underwhelming.
]]>
The Blind Assassin 78433 The Blind Assassin is a richly layered and uniquely rewarding experience.

It opens with these simple, resonant words: "Ten days after the war ended, my sister drove a car off the bridge." They are spoken by Iris, whose terse account of her sister Laura's death in 1945 is followed by an inquest report proclaiming the death accidental. But just as the reader expects to settle into Laura's story, Atwood introduces a novel-within-a-novel. Entitled The Blind Assassin, it is a science fiction story told by two unnamed lovers who meet in dingy backstreet rooms. When we return to Iris, it is through a 1947 newspaper article announcing the discovery of a sailboat carrying the dead body of her husband, a distinguished industrialist.

For the past twenty-five years, Margaret Atwood has written works of striking originality and imagination. In The Blind Assassin, she stretches the limits of her accomplishments as never before, creating a novel that is entertaining and profoundly serious. The Blind Assassin proves once again that Atwood is one of the most talented, daring, and exciting writers of our time. Like The Handmaid's Tale, it is destined to become a classic.]]>
637 Margaret Atwood Hux 2
I've always been critical of Atwood's robotic women; they never think anything real or interesting, only ever expressing themselves in clean, crisp, mature thoughts that seem a little bland and empty. That being said this particular style seems ubiquitous today. This wasn't quite as bad as her other works (though to be fair those books are about voiceless women so a lack of personality makes a certain amount of sense), but Iris was still too stoney and blank, like she knows she's a narrator, never developed enough to feel like a real person (her age didn't help in this regard either). Ironically, it was Laura who felt more like a real person despite her distance from the main story.

I didn't see the twist coming (if you can even call it a twist), though, I know a lot of people did. Truth be told, I wasn't really looking for it so it packed a decent punch (not enough to make up for the flaws however). The book within a book within a book was jarring at first but once I knew what was happening, I was fine with it. I could have lived without the newspaper notices too.

It was mostly enjoyable, easy to read, but once I finished the book immediately vanished from my thoughts entirely. And when I think about it now, it seems overly melodramatic, uninteresting, and a little dull. Not great.]]>
3.96 2000 The Blind Assassin
author: Margaret Atwood
name: Hux
average rating: 3.96
book published: 2000
rating: 2
read at:
date added: 2025/01/03
shelves:
review:
Enjoyed it for the most part, though, like so many books, it probably didn't need to be anywhere as long as it was and I did find myself (about two thirds the way through) wishing she would hurry up and get to the point.

I've always been critical of Atwood's robotic women; they never think anything real or interesting, only ever expressing themselves in clean, crisp, mature thoughts that seem a little bland and empty. That being said this particular style seems ubiquitous today. This wasn't quite as bad as her other works (though to be fair those books are about voiceless women so a lack of personality makes a certain amount of sense), but Iris was still too stoney and blank, like she knows she's a narrator, never developed enough to feel like a real person (her age didn't help in this regard either). Ironically, it was Laura who felt more like a real person despite her distance from the main story.

I didn't see the twist coming (if you can even call it a twist), though, I know a lot of people did. Truth be told, I wasn't really looking for it so it packed a decent punch (not enough to make up for the flaws however). The book within a book within a book was jarring at first but once I knew what was happening, I was fine with it. I could have lived without the newspaper notices too.

It was mostly enjoyable, easy to read, but once I finished the book immediately vanished from my thoughts entirely. And when I think about it now, it seems overly melodramatic, uninteresting, and a little dull. Not great.
]]>
Seven Years 17369516 272 Peter Stamm 1847085105 Hux 4
But what really got me was the book's exploration of the existential trauma of love. This really fascinated me. The story is a straight forward one about a student (Alex) who has a casual one night stand with a stranger, a slightly dull Polish girl called Ivona. Meanwhile he develops a serious relationship with Sonia (she being among his architect student friends). As the novel progresses, his relationship with Sonia intensifies until marriage inevitably comes along. But he continues, almost against his will, to keep seeing Ivona. He doesn't entirely understand why. Sonia is beautiful and clever, middle-class, has a wonderful future ahead of her. Ivona, by contrast, is not physically attractive, an uneducated immigrant, poor, and not very interesting, she is devoutly religious and lacks opinions on most subjects.

The book goes from being a rather bland love triangle into something far more existential. Sonia is a good match, who he should be with, the perfect woman. But she doesn't need him. She doesn't crave him. Her love has conditions. Ivona, on the other hand, is almost a slave, utterly captivated by Alex and accepts him in totality as her spiritual husband. She will not disagree with him, she will not resist him (especially when he wants sex), and she will always be on his side, unconditionally. Alex tries to grasp the pull she has on him but can't quite do it. There are some people that want us but there are others who need, crave, and live for us. Sometimes two human beings simply connect in a way that burrows deep into the soul. Sometimes, it is inexplicable.

It would tempting to dismiss this book as yet another insight into the bored lives of middle-class people (and yes, there is a lot of that here), but for me the narrator (Alex) is not the point. Neither is Sonia, nor their daughter Sophie, nor their aunt, Antje. This book is entirely about Ivona. She is something quite remarkable.
.]]>
3.88 2009 Seven Years
author: Peter Stamm
name: Hux
average rating: 3.88
book published: 2009
rating: 4
read at: 2023/08/16
date added: 2025/01/03
shelves:
review:
This is a tricky (more nuanced) review to write. Because on the one hand, I thought the writing was very basic and forgettable, dry and matter-of-fact, with very little in the way of creative or imaginative prose. The language is sparse, to-the-point and, truth be told, of little literary significance. That being said, it's immensely easy to read and goes along at a pace. I enjoyed reading the book (especially the middle section) a great deal.

But what really got me was the book's exploration of the existential trauma of love. This really fascinated me. The story is a straight forward one about a student (Alex) who has a casual one night stand with a stranger, a slightly dull Polish girl called Ivona. Meanwhile he develops a serious relationship with Sonia (she being among his architect student friends). As the novel progresses, his relationship with Sonia intensifies until marriage inevitably comes along. But he continues, almost against his will, to keep seeing Ivona. He doesn't entirely understand why. Sonia is beautiful and clever, middle-class, has a wonderful future ahead of her. Ivona, by contrast, is not physically attractive, an uneducated immigrant, poor, and not very interesting, she is devoutly religious and lacks opinions on most subjects.

The book goes from being a rather bland love triangle into something far more existential. Sonia is a good match, who he should be with, the perfect woman. But she doesn't need him. She doesn't crave him. Her love has conditions. Ivona, on the other hand, is almost a slave, utterly captivated by Alex and accepts him in totality as her spiritual husband. She will not disagree with him, she will not resist him (especially when he wants sex), and she will always be on his side, unconditionally. Alex tries to grasp the pull she has on him but can't quite do it. There are some people that want us but there are others who need, crave, and live for us. Sometimes two human beings simply connect in a way that burrows deep into the soul. Sometimes, it is inexplicable.

It would tempting to dismiss this book as yet another insight into the bored lives of middle-class people (and yes, there is a lot of that here), but for me the narrator (Alex) is not the point. Neither is Sonia, nor their daughter Sophie, nor their aunt, Antje. This book is entirely about Ivona. She is something quite remarkable.
.
]]>
1982, Janine 44019032 341 Alasdair Gray Hux 3
But then, sadly, as the book goes along, it starts to outstay its welcome. The very premise of the book is somewhat abandoned. The deeper you get, the less frequent these fantastical stories become and by the halfway point, Gray has essentially focused most of his attention on Jock's parents, his work life, his ex-wife, his first girlfriend, Denny, and the countless other aspects of his real life. I kept getting bored and waiting for Janine to return, or Superb, or any of the other fictional creations he might conjure but their presence becomes increasingly sparse and the book starts to drag. Eventually, it even begins to feel a little self-indulgent as Jock (or is it Gray?) continue to tell you rather banal things from his own life which are very rarely interesting. A lot of writers seem to fall into this trap; they become a little solipsistic and self-serving, failing to realise that what they're saying is only interesting to them. Sure, a story about THAT man going to the shop for some milk isn't very interesting but a story about me - a great writer who can make his life fascinating with sublime prose - going to the shop for some milk would be mesmerising! Gray gets sidetracked by the real life elements of Jock McLeish, and the memory of Janine and Superb gradually begins to fade. I wanted more of them both (even the less developed Big Momma character). I wanted Gray to follow through with the idea more fully and break the narrative up with these entertaining interludes, these flights of sexual fancy, but he chooses instead to focus more on Jock's real life which, in truth, isn't that interesting at all. His time working as a security installation man, his failed marriage, or an especially dull part of the book where he is working in the theatre (I think... I was tuning out by this point) all slow things down to a standstill.

I wish Gray had stuck with the premise. It was fun and original, had a unique perspective, almost surreal and magical (momentarily very reminiscent of Andrew Sinclair's wildly unique book 'Gog'). But the book loses momentum as it goes along and gets a little bogged down in the mundane qualities of Jock which left me a little bored. Why start with such explosive concepts if you intend to defuse them? By the halfway point Janine is an afterthought, a dissipating character with little involvement in his fantasies or his mind. In fact, Superb probably gets more attention as the most prominent of his fictional creations. But she too is gradually left by the wayside in favour of the real women in his life.

The book had the potential to be amazing. But it loses its way. Gray is patently a writer I need to learn more about and hopefully his inventive style and voice will resonate with me more in his other works. I'll probably read Lanark at some point but avoid Poor Things until after the film stuff has died down. The man is clearly a great writer and worth investigating. This book had me for a while (really HAD ME) but then, unfortunately, it lost me. Nonetheless, this is still very highly recommended. Unique and different in a world that is often tediously predictable.]]>
4.17 1984 1982, Janine
author: Alasdair Gray
name: Hux
average rating: 4.17
book published: 1984
rating: 3
read at: 2025/01/02
date added: 2025/01/02
shelves:
review:
A man named Jock McLeish is alone in a hotel room ruminating on his life. He is suicidal, contemplating his past, his lovers, his wife, his parents, his failures. Sometimes he fantasises about a variety of women (Janine being one of them), and he tells stories about these women and their sexual adventures in between telling stories of his actual life. The first third of this book was just magnificent, so unique and inventive, so clever and entertaining. Gray brilliantly interweaves reality and fantasy making the reading experience a joy, the narrative vibrant and alive, full of intrigue and originality. He manages to make you want to know more about both his real life experiences and, very successfully, his made-up stories too -- you are enthralled by both and the switch from one to the other makes the book an absolute joy to read. There's a story, for example, about one of his fictional women (named Superb) where she is cheating on her husband and going to meet a man. She is stopped by the police and taken to the station in a surreal arrest that combines sexual fantasy with comical farce. But then Jock returns to his real life story for a while and we take a break from that narrative. Then he goes back to it but this time instead of being stopped by the police, she meets her lover and we get an entirely new, improvised story that goes in a completely different direction than it did before The whole thing works effectively to make the piece always feel fresh and interesting. You get sucked into his life and his fantasies. Like I said, the first third is just fantastic.

But then, sadly, as the book goes along, it starts to outstay its welcome. The very premise of the book is somewhat abandoned. The deeper you get, the less frequent these fantastical stories become and by the halfway point, Gray has essentially focused most of his attention on Jock's parents, his work life, his ex-wife, his first girlfriend, Denny, and the countless other aspects of his real life. I kept getting bored and waiting for Janine to return, or Superb, or any of the other fictional creations he might conjure but their presence becomes increasingly sparse and the book starts to drag. Eventually, it even begins to feel a little self-indulgent as Jock (or is it Gray?) continue to tell you rather banal things from his own life which are very rarely interesting. A lot of writers seem to fall into this trap; they become a little solipsistic and self-serving, failing to realise that what they're saying is only interesting to them. Sure, a story about THAT man going to the shop for some milk isn't very interesting but a story about me - a great writer who can make his life fascinating with sublime prose - going to the shop for some milk would be mesmerising! Gray gets sidetracked by the real life elements of Jock McLeish, and the memory of Janine and Superb gradually begins to fade. I wanted more of them both (even the less developed Big Momma character). I wanted Gray to follow through with the idea more fully and break the narrative up with these entertaining interludes, these flights of sexual fancy, but he chooses instead to focus more on Jock's real life which, in truth, isn't that interesting at all. His time working as a security installation man, his failed marriage, or an especially dull part of the book where he is working in the theatre (I think... I was tuning out by this point) all slow things down to a standstill.

I wish Gray had stuck with the premise. It was fun and original, had a unique perspective, almost surreal and magical (momentarily very reminiscent of Andrew Sinclair's wildly unique book 'Gog'). But the book loses momentum as it goes along and gets a little bogged down in the mundane qualities of Jock which left me a little bored. Why start with such explosive concepts if you intend to defuse them? By the halfway point Janine is an afterthought, a dissipating character with little involvement in his fantasies or his mind. In fact, Superb probably gets more attention as the most prominent of his fictional creations. But she too is gradually left by the wayside in favour of the real women in his life.

The book had the potential to be amazing. But it loses its way. Gray is patently a writer I need to learn more about and hopefully his inventive style and voice will resonate with me more in his other works. I'll probably read Lanark at some point but avoid Poor Things until after the film stuff has died down. The man is clearly a great writer and worth investigating. This book had me for a while (really HAD ME) but then, unfortunately, it lost me. Nonetheless, this is still very highly recommended. Unique and different in a world that is often tediously predictable.
]]>
Portnoy's Complaint 32487313
Portnoy's Complaint is the famously outrageous confession made to his analyst by Alexander Portnoy, the Huck Finn of Newark, who is trust through life by his unappeasable sexuality, yet held back at the same time by the iron grip of his unforgettable childhood. Thirty years after it was first published, Portnoy's Complaint remains a classic of American literature, a tour de force of comic and carnal brilliance, and probably the funniest book about sex ever written. It was recently designated one of the hundred best books of the twentieth century by the Modern Library judges.]]>
272 Philip Roth Hux 2
And so here we are, a book where, in a full length monologue, the main character, Alex Portnoy, sits on a psychiatrist's couch and tells him (and us) his life story, most of which revolves around sex and masturbation. Had I known that this was a comic novel, I would have skipped it since, not once, in my entire life, have I ever read a book that ever made me laugh; at best, you might get a smirk out of me or, if you're lucky, a very post-modern expression of air while the words: 'that was clever' rattle around my noggin. But that's it. That's as good as it gets. In my experience, comic novels are painfully unfunny and generally a mess of self-indulgent (often juvenile) crap. Much like A Confederacy of Dunces, you either find the character hilarious or you don't; and if you don't, you inevitably find him unbearable.

The early chapters about childhood are mildly diverting, his obsession with masturbation and sticking it in everything he can find (including an apple core and slab of liver) are just disgusting enough to be entertaining. There was even a burgeoning smile as his mother complained about her friends and affirmed that she was naming no names only to follow this by literally naming several names. But that was as amusing as it ever got for me and thus, I was left with a rather indulgent and somewhat tiresome Jew shoving his neuroses down my throat whilst finding himself immensely entertaining and funny. I found him dull and repetitive, and the whole thing felt like a combination of bad stand-up, cliched psycho-analysis, and Woody Allen-esque buffoonery where every sentence essentially ended with 'oy vey.' The stories he tells about his parents, his love life, his experiences all left me thoroughly cold and unmoved. I just didn't care. And so, again, you either find this guy immensely funny (and acquire some quality and entertainment in that) or you're left immensely irritated.

I just don't like comic novels. They always fail to make me laugh and, inevitably when they fail, they only end up coming across as profoundly self-serving. And that's all this book really has -- that gimmick. The prose is basic, the plot non-existent. You're basically hanging everything on Portnoy as a character and his routine being enormously hilarious to you. As such, I would definitely recommend this book to people who do enjoy comic novels; because of that genre, I suspect this is actually pretty good. I personally just don't like them. They rarely resonate with me. A few moments of interest at the beginning aside (when it had more of a bildungsroman feel), this one simply never appealed to me.]]>
3.54 1969 Portnoy's Complaint
author: Philip Roth
name: Hux
average rating: 3.54
book published: 1969
rating: 2
read at: 2024/12/28
date added: 2024/12/28
shelves:
review:
If someone asked me to describe my idea of hell, it would be listening to a New York Jew whining about his sex life.

And so here we are, a book where, in a full length monologue, the main character, Alex Portnoy, sits on a psychiatrist's couch and tells him (and us) his life story, most of which revolves around sex and masturbation. Had I known that this was a comic novel, I would have skipped it since, not once, in my entire life, have I ever read a book that ever made me laugh; at best, you might get a smirk out of me or, if you're lucky, a very post-modern expression of air while the words: 'that was clever' rattle around my noggin. But that's it. That's as good as it gets. In my experience, comic novels are painfully unfunny and generally a mess of self-indulgent (often juvenile) crap. Much like A Confederacy of Dunces, you either find the character hilarious or you don't; and if you don't, you inevitably find him unbearable.

The early chapters about childhood are mildly diverting, his obsession with masturbation and sticking it in everything he can find (including an apple core and slab of liver) are just disgusting enough to be entertaining. There was even a burgeoning smile as his mother complained about her friends and affirmed that she was naming no names only to follow this by literally naming several names. But that was as amusing as it ever got for me and thus, I was left with a rather indulgent and somewhat tiresome Jew shoving his neuroses down my throat whilst finding himself immensely entertaining and funny. I found him dull and repetitive, and the whole thing felt like a combination of bad stand-up, cliched psycho-analysis, and Woody Allen-esque buffoonery where every sentence essentially ended with 'oy vey.' The stories he tells about his parents, his love life, his experiences all left me thoroughly cold and unmoved. I just didn't care. And so, again, you either find this guy immensely funny (and acquire some quality and entertainment in that) or you're left immensely irritated.

I just don't like comic novels. They always fail to make me laugh and, inevitably when they fail, they only end up coming across as profoundly self-serving. And that's all this book really has -- that gimmick. The prose is basic, the plot non-existent. You're basically hanging everything on Portnoy as a character and his routine being enormously hilarious to you. As such, I would definitely recommend this book to people who do enjoy comic novels; because of that genre, I suspect this is actually pretty good. I personally just don't like them. They rarely resonate with me. A few moments of interest at the beginning aside (when it had more of a bildungsroman feel), this one simply never appealed to me.
]]>
So Long, See You Tomorrow 15863638 153 William Maxwell 0099560933 Hux 3
The story opens with a murder and what follows is an explanation for that murder and its motivations. The narrator details how his friend Cletus and he drifted apart after Cletus' father apparently murdered a man named Lloyd Wilson. The book explores their childhood and the circumstances and it's wonderfully written but... I just got very bored in truth. Each time I went back to it, I was hoping this time... this time it will grab me. But it never did.

I would describe this book as a very slow burn. Maxwell methodically investigates events to such a drawn out extent that it begins to feel more like memoir than fiction. I got the very distinct impression that this was more Maxwell exercising some personal demons from his real life and dealing with his own trauma via the telling of a fictionalised account. As such the book is very dry despite the excellent writing and takes a very simplistic story and drags it out into something that loses its shape. It felt very private, personal. But at no point was I remotely interested in any of it. I didn't care.

This is a book that might justify giving it another try in the future. I don't know.]]>
3.90 1980 So Long, See You Tomorrow
author: William Maxwell
name: Hux
average rating: 3.90
book published: 1980
rating: 3
read at: 2024/12/26
date added: 2024/12/26
shelves:
review:
Occasionally, I will read a book and simply not enjoy it. But unlike other books I will come to the conclusion that it wasn't the book's fault, it was mine (I suspect this is a feeling other readers often experience). Generally I'm not a fan of blaming the reader - if a book doesn't resonate then it just doesn't resonate - but there are times when you just feel like it was more about you. I dunno. It was Christmas and I wasn't really focused and despite liking the opening pages and the prose, the intricate qualities of a slow relaxed yarn, my mind wasn't taking much of it in (and the deeper I got, the less engaged I became).

The story opens with a murder and what follows is an explanation for that murder and its motivations. The narrator details how his friend Cletus and he drifted apart after Cletus' father apparently murdered a man named Lloyd Wilson. The book explores their childhood and the circumstances and it's wonderfully written but... I just got very bored in truth. Each time I went back to it, I was hoping this time... this time it will grab me. But it never did.

I would describe this book as a very slow burn. Maxwell methodically investigates events to such a drawn out extent that it begins to feel more like memoir than fiction. I got the very distinct impression that this was more Maxwell exercising some personal demons from his real life and dealing with his own trauma via the telling of a fictionalised account. As such the book is very dry despite the excellent writing and takes a very simplistic story and drags it out into something that loses its shape. It felt very private, personal. But at no point was I remotely interested in any of it. I didn't care.

This is a book that might justify giving it another try in the future. I don't know.
]]>
The Moustache 218703050 192 Emmanuel Carrère 1529949084 Hux 3
It starts with a man in the bathroom pondering if she should shave his moustache off or not. He decides to do it and when his wife, Agnes, returns from shopping he waits to see her reaction. But there is no reaction, something which he concludes must be her playing a trick on him, pretending not to notice. They have dinner with two friends, Serge and Veronique, both of whom also fail to notice he has removed his moustache leading him to believe that they, in collusion with Agnes, have agreed to play along with this charade. But on the way home, in the car, he gets tired of the game and confronts Agnes only to discover that she insists he never had a moustache. Slowly but surely, he begins to grow paranoid and even contemplates that his wife is losing her mind, or playing a very intricate game, or worse, deliberately encouraging him to question his sanity, perhaps even have him locked up.

Then the game accelerates at a pace, and, when discussing their trip to Java, his wife sighs and informs him that they have never been to Java. This spiralling sensation of unnerving madness then increases further when she also confirms that the two friends they had dinner with (Serge and Veronique) do not exist. And that his father, who he believes is alive, died many years ago. All of this results in him running away and believing that she is trying to poison his mind with lies. But why? What is the purpose?

These first two thirds of the book are spectacular and I loved them. They brought to mind the Tenant and other eerie books about the fragile nature of reality. Just fantastic to read, gripping, odd, creepy, and fascinating. It had so much potential and was on course for becoming a book I utterly adored, exploring all those inner fears we have about the world turning against us at any moment, that we're puppets being toyed with by a reality that is capricious. So... good!! But then the book just goes off the deep end. He runs off to Hong Kong and the book simply meanders here, drowsily, repetitively, for the whole final third, with inane descriptions of him going back and forth on the ferry, walking around, changing hotels -- it's all very bland and unengaging; and it slows the book down almost to a halt. It was just so dull compared to everything that came before it. Such a letdown.

The ending was equally disappointing. It offers no meaningful interpretation of events (whether it be hallucination, a deception, or something else). It isn't even very ambiguous. Essentially we're expected to believe that this was just a man having a psychotic breakdown, one without cause or solution. But this isn't how people have breakdowns in reality, only in literature. I wanted something more concrete or (preferably) something more vague and unsure. It doesn't really accomplish either and fails to truly reach the heights one hoped for at the beginning. All that Hong Kong nonsense was for nothing, and simply slowed everything down quite badly. Such a shame. The book had such a great start. I was so close to loving it.

4.5 for the first two thirds. 2.5 for the last third.]]>
3.66 1986 The Moustache
author: Emmanuel Carrère
name: Hux
average rating: 3.66
book published: 1986
rating: 3
read at: 2024/12/21
date added: 2024/12/21
shelves:
review:
There's nothing worse than a book that starts so well -- to the extent that you're convinced you're reading a new favourite -- but then descends into stale mediocrity. This book completely had me for the first two thirds and I was loving every second of it.

It starts with a man in the bathroom pondering if she should shave his moustache off or not. He decides to do it and when his wife, Agnes, returns from shopping he waits to see her reaction. But there is no reaction, something which he concludes must be her playing a trick on him, pretending not to notice. They have dinner with two friends, Serge and Veronique, both of whom also fail to notice he has removed his moustache leading him to believe that they, in collusion with Agnes, have agreed to play along with this charade. But on the way home, in the car, he gets tired of the game and confronts Agnes only to discover that she insists he never had a moustache. Slowly but surely, he begins to grow paranoid and even contemplates that his wife is losing her mind, or playing a very intricate game, or worse, deliberately encouraging him to question his sanity, perhaps even have him locked up.

Then the game accelerates at a pace, and, when discussing their trip to Java, his wife sighs and informs him that they have never been to Java. This spiralling sensation of unnerving madness then increases further when she also confirms that the two friends they had dinner with (Serge and Veronique) do not exist. And that his father, who he believes is alive, died many years ago. All of this results in him running away and believing that she is trying to poison his mind with lies. But why? What is the purpose?

These first two thirds of the book are spectacular and I loved them. They brought to mind the Tenant and other eerie books about the fragile nature of reality. Just fantastic to read, gripping, odd, creepy, and fascinating. It had so much potential and was on course for becoming a book I utterly adored, exploring all those inner fears we have about the world turning against us at any moment, that we're puppets being toyed with by a reality that is capricious. So... good!! But then the book just goes off the deep end. He runs off to Hong Kong and the book simply meanders here, drowsily, repetitively, for the whole final third, with inane descriptions of him going back and forth on the ferry, walking around, changing hotels -- it's all very bland and unengaging; and it slows the book down almost to a halt. It was just so dull compared to everything that came before it. Such a letdown.

The ending was equally disappointing. It offers no meaningful interpretation of events (whether it be hallucination, a deception, or something else). It isn't even very ambiguous. Essentially we're expected to believe that this was just a man having a psychotic breakdown, one without cause or solution. But this isn't how people have breakdowns in reality, only in literature. I wanted something more concrete or (preferably) something more vague and unsure. It doesn't really accomplish either and fails to truly reach the heights one hoped for at the beginning. All that Hong Kong nonsense was for nothing, and simply slowed everything down quite badly. Such a shame. The book had such a great start. I was so close to loving it.

4.5 for the first two thirds. 2.5 for the last third.
]]>
Through the Night 16284818 259 Stig Sæterbakken 1564788628 Hux 3
Once again, I am going to have to quote Rick and Morty. "We should start our stories where they begin, not start them where they get interesting."

What follows is an unbearably dull (and painfully middle-class) story of Karl, a dentist, and how he meets his equally banal middle-class wife, Eva, and the children they have, and the affair Karl has with a woman called Mona; and then there's a great deal of navel-gazing and hand-wringing, and middle-class hijinks. I was actually enjoying the writing but found the content to be so unutterably tedious and indulgent. It felt, to me, that Saeterbakken was doing an awful impression of Kundera and mimicking the mundane qualities of The Unbearable Lightness of Being. But the problem is, this book (and the protagonist, Karl) simply aren't interesting enough. Tomas lives in a Communist country and is, without apology, an unpleasant and selfish man. But Karl lives in a comfortable western country and is endlessly presented (mostly by himself) as a good egg who only has noble intentions at heart. None of it remotely convinces or results in a worthwhile story. The death of his son feels like a plot (or rather a character study) convenience with nothing but cynicism and cliche at its source. I really did find it dull and derivative. Only the appearance of his sister, who writes boring middle-class novels, provided a modicum of entertainment.

Then comes the final third. And suddenly the book transforms into something weird and fascinating, a mad dream of surreal panic and fear. It's utterly mesmerising and comes out of nowhere. Earlier in the book there is a throwaway comment (a story) about a house in Slovakia where people seeking answers go and are confronted by their darkest fears and their truest selves. The book ends with Karl actually going there and being tormented by the ongoing grief of his loss in a strange and unnerving manner. The book changes gear entirely, begins to swirl in waves of madness, and you're left isolated in a horror story of utter bleakness and despair. Where did this come from? Finally the book got good. But alas... far too late for me.

Before any of that, however, we have to endure the most banal middle-class nonsense imaginable. As a book exploring grief it was full of cliches and mediocrity. As a book exploring the ennui and emptiness of a man's western life, it was too slow and meandering. Only at the end, when it became a bizarre ghost story, an existential nightmare (mildly reminiscent of Hesse's Steppenwolf), did it get interesting. But I was already checked out by then.

Definitely worth a look though.]]>
4.05 2011 Through the Night
author: Stig Sæterbakken
name: Hux
average rating: 4.05
book published: 2011
rating: 3
read at: 2024/12/18
date added: 2024/12/18
shelves:
review:
Narrated by a man named Karl who informs us, bluntly, and immediately, of the death of his son, Ole-Jakob, dropping us into a sudden fever of excitement and horror at such a terrible occurrence. Then the next chapter jumps back in time to when they were all a family and everything was fine.

Once again, I am going to have to quote Rick and Morty. "We should start our stories where they begin, not start them where they get interesting."

What follows is an unbearably dull (and painfully middle-class) story of Karl, a dentist, and how he meets his equally banal middle-class wife, Eva, and the children they have, and the affair Karl has with a woman called Mona; and then there's a great deal of navel-gazing and hand-wringing, and middle-class hijinks. I was actually enjoying the writing but found the content to be so unutterably tedious and indulgent. It felt, to me, that Saeterbakken was doing an awful impression of Kundera and mimicking the mundane qualities of The Unbearable Lightness of Being. But the problem is, this book (and the protagonist, Karl) simply aren't interesting enough. Tomas lives in a Communist country and is, without apology, an unpleasant and selfish man. But Karl lives in a comfortable western country and is endlessly presented (mostly by himself) as a good egg who only has noble intentions at heart. None of it remotely convinces or results in a worthwhile story. The death of his son feels like a plot (or rather a character study) convenience with nothing but cynicism and cliche at its source. I really did find it dull and derivative. Only the appearance of his sister, who writes boring middle-class novels, provided a modicum of entertainment.

Then comes the final third. And suddenly the book transforms into something weird and fascinating, a mad dream of surreal panic and fear. It's utterly mesmerising and comes out of nowhere. Earlier in the book there is a throwaway comment (a story) about a house in Slovakia where people seeking answers go and are confronted by their darkest fears and their truest selves. The book ends with Karl actually going there and being tormented by the ongoing grief of his loss in a strange and unnerving manner. The book changes gear entirely, begins to swirl in waves of madness, and you're left isolated in a horror story of utter bleakness and despair. Where did this come from? Finally the book got good. But alas... far too late for me.

Before any of that, however, we have to endure the most banal middle-class nonsense imaginable. As a book exploring grief it was full of cliches and mediocrity. As a book exploring the ennui and emptiness of a man's western life, it was too slow and meandering. Only at the end, when it became a bizarre ghost story, an existential nightmare (mildly reminiscent of Hesse's Steppenwolf), did it get interesting. But I was already checked out by then.

Definitely worth a look though.
]]>
The Librarianist 175740857 From bestselling and award-winning author Patrick deWitt comes the story of Bob Comet, a man who has lived his life through and for literature, unaware that his own experience is a poignant and affecting narrative in itself.

Bob Comet is a retired librarian passing his solitary days surrounded by books and small comforts in a mint-colored house in Portland, Oregon. One morning on his daily walk he encounters a confused elderly woman lost in a market and returns her to the senior center that is her home. Hoping to fill the void he’s known since retiring, he begins volunteering at the center. Here, as a community of strange peers gathers around Bob, and following a happenstance brush with a painful complication from his past, the events of his life and the details of his character are revealed.

Behind Bob Comet’s straight-man façade is the story of an unhappy child’s runaway adventure during the last days of the Second World War, of true love won and stolen away, of the purpose and pride found in the librarian’s vocation, and of the pleasures of a life lived to the side of the masses. Bob’s experiences are imbued with melancholy but also a bright, sustained comedy; he has a talent for locating bizarre and outsize players to welcome onto the stage of his life.

With his inimitable verve, skewed humor, and compassion for the outcast, Patrick deWitt has written a wide-ranging and ambitious document of the introvert’s condition. The Librarianist celebrates the extraordinary in the so-called ordinary life, and depicts beautifully the turbulence that sometimes exists beneath a surface of serenity.]]>
336 Patrick deWitt 1526646935 Hux 3
Anyhooo... this novel begins with Bob Comet, a man in his 70s who finds a confused woman in the local store and returns her to the retirement centre where she lives. He begins working there as a volunteer and, as he begins to build relationships, we discover that he was married in his youth to a woman named Connie but she left him for his best friend Ethan. This essentially (for some unknown reason) resulted in him never having another relationship (or sex) ever again. Don't ask me why -- seems a bit excessive. Then the book jumps back in time to that very period when he was in his 20s and he met both Connie and Ethan. Which brings us back to the problem of this book's formatting. I already know that his wife left him for his best friend because he ALREADY told me that in part one. All he's doing in part two is fleshing the story out a little, adding details which, in truth, aren't as significant as the primary fact that his wife left him for his best friend. So the whole section feels utterly redundant. Also in this section, he tells a throwaway story about how he ran away from home when he was 11 years old. This isn't remotely important until...

Section three. Bob is now 11 and runs away from home, you see. We're going back in time again, you see. Anyway, he gets on the train and meets two actresses who take him under their wing. It's utterly banal and worthless. I did not care. Then we return to the present and you'll never guess what. That old woman he found in the store, remember her, that was his wife Connie (how could he possibly not recognise her?). Sigh.

I mean... just no.

I would give the book a much lower rating but for the fact that dewitt is very easy to read. So he has that going for him. This book is what's known as a character study which (through experience) I have discovered in just another way of saying... a book that's not very good. The truth is dewitt's writing is generally fun but it's simply not literary enough for this, not difficult nor complex, not suitable for this kind of attempted character study. He doesn't have the talent for it and should stick to plot driven stories with heavy dialogue (in my opinion). The book was immensely forgettable.]]>
3.49 2023 The Librarianist
author: Patrick deWitt
name: Hux
average rating: 3.49
book published: 2023
rating: 3
read at: 2024/12/14
date added: 2024/12/14
shelves:
review:
There's a joke in Rick and Morty where a man who has written a screenplay asks Morty to listen to it. The man starts telling the story which opens with an exciting scene then he says 'three weeks earlier.' Morty rolls his eyes and says: 'we should start our stories where they begin, not start them where they get interesting.'

Anyhooo... this novel begins with Bob Comet, a man in his 70s who finds a confused woman in the local store and returns her to the retirement centre where she lives. He begins working there as a volunteer and, as he begins to build relationships, we discover that he was married in his youth to a woman named Connie but she left him for his best friend Ethan. This essentially (for some unknown reason) resulted in him never having another relationship (or sex) ever again. Don't ask me why -- seems a bit excessive. Then the book jumps back in time to that very period when he was in his 20s and he met both Connie and Ethan. Which brings us back to the problem of this book's formatting. I already know that his wife left him for his best friend because he ALREADY told me that in part one. All he's doing in part two is fleshing the story out a little, adding details which, in truth, aren't as significant as the primary fact that his wife left him for his best friend. So the whole section feels utterly redundant. Also in this section, he tells a throwaway story about how he ran away from home when he was 11 years old. This isn't remotely important until...

Section three. Bob is now 11 and runs away from home, you see. We're going back in time again, you see. Anyway, he gets on the train and meets two actresses who take him under their wing. It's utterly banal and worthless. I did not care. Then we return to the present and you'll never guess what. That old woman he found in the store, remember her, that was his wife Connie (how could he possibly not recognise her?). Sigh.

I mean... just no.

I would give the book a much lower rating but for the fact that dewitt is very easy to read. So he has that going for him. This book is what's known as a character study which (through experience) I have discovered in just another way of saying... a book that's not very good. The truth is dewitt's writing is generally fun but it's simply not literary enough for this, not difficult nor complex, not suitable for this kind of attempted character study. He doesn't have the talent for it and should stick to plot driven stories with heavy dialogue (in my opinion). The book was immensely forgettable.
]]>
Skylark 6760818
Now Skylark is going away, for one week only, it’s true, but a week that yawns endlessly for her parents. What will they do? Before they know it, they are eating at restaurants, reconnecting with old friends, and attending the theater. But this is just a prelude to Father’s night out at the Panther Club, about which the less said the better. Drunk, in the light of dawn Father surprises himself and Mother with his true, buried, unspeakable feelings about Skylark.

Then, Skylark is back. Is there a world beyond the daily grind and life's creeping disappointments? Kosztolányi’s crystalline prose, perfect comic timing, and profound human sympathy conjure up a tantalizing beauty that lies on the far side of the irredeemably ordinary. To that extent, Skylark is nothing less than a magical novel.]]>
222 Dezső Kosztolányi 1590173392 Hux 3
Written in 1924 but set in 1899, the book tells us that the parents are old despite only being in their 50s. But back then I guess that was old. Skylark is overweight, unattractive, and seemingly without any talents or gifts. The trend for children to remain infantilised and unable to fly the nest is a story we hear often about men (incels and the like) but not so much women, especially from this time period. It's hard not to assume the book is about the parents allowing their daughter's life to define them and, in turn, giving them the excuse they need to justify their own shortcomings. But I'm not entirely sure. That Skylark is the title of the book yet as a character she is only present in the first and last chapter (their week without her revealing the depths of the parents' misery and even shame regarding her) would suggest she is the least of their worries. Or maybe it's a simple satire on parenthood and the inevitability of disappointment. No-one wants to be ugly. But then... no-one wants to be the parents of the ugly, either.

An interesting book to be sure, and nicely written, but ultimately I was never entirely engaged by it. It plods along and you do occasionally smirk but overall, it probably won't live too long in the memory. Truth be told, a genuine story about Skylark, a narrative about (or from) her perspective, probably would have been more to my liking. Poor cow.]]>
3.91 1924 Skylark
author: Dezső Kosztolányi
name: Hux
average rating: 3.91
book published: 1924
rating: 3
read at: 2024/12/11
date added: 2024/12/11
shelves:
review:
An odd duck of a book about the parents of an ugly duckling woman. Actually, duckling is misleading given that their daughter (Skylark) is 35 years of age. It's also a misleading title since the book is about them, not her. It opens with Skylark going away for the week to spend time with relatives. This week away allows the parents to spend more time outside of the house, go to restaurants, visit the theatre, all manner of activities which, due, in no small part, to Skylark's sensitive nature and unwillingness to venture beyond her daily comforts, they rarely do. It's presented as though Skylark is the one who is holding them back but as the book goes along, the father (drunk for the first time in years) announces to his wife that their daughter is... ugly. She cannot find a husband and is still at home at 35 and they are both weighed down by this truth and must face it. The mother is somewhat shocked at this outburst and the book balances between this being the cause of their frustrations or simply being their excuse for them.

Written in 1924 but set in 1899, the book tells us that the parents are old despite only being in their 50s. But back then I guess that was old. Skylark is overweight, unattractive, and seemingly without any talents or gifts. The trend for children to remain infantilised and unable to fly the nest is a story we hear often about men (incels and the like) but not so much women, especially from this time period. It's hard not to assume the book is about the parents allowing their daughter's life to define them and, in turn, giving them the excuse they need to justify their own shortcomings. But I'm not entirely sure. That Skylark is the title of the book yet as a character she is only present in the first and last chapter (their week without her revealing the depths of the parents' misery and even shame regarding her) would suggest she is the least of their worries. Or maybe it's a simple satire on parenthood and the inevitability of disappointment. No-one wants to be ugly. But then... no-one wants to be the parents of the ugly, either.

An interesting book to be sure, and nicely written, but ultimately I was never entirely engaged by it. It plods along and you do occasionally smirk but overall, it probably won't live too long in the memory. Truth be told, a genuine story about Skylark, a narrative about (or from) her perspective, probably would have been more to my liking. Poor cow.
]]>
Roadside Picnic 16118280 209 Arkady Strugatsky 0575093137 Hux 2
I did not like this. The story is fairly interesting but I just found the writing to be so drab and uninspired. It always felt like I was reading something written by a science fiction committee, which makes sense given that it was written by two brothers. There is no voice to the piece, no artistry, just a lot of dry, prosaic language which I found unbearable to read. Sometimes I get the impression that sci-fi writers are so engrossed by the high concept, the science fiction plotting, that they forget to occasionally include a beautiful sentence or two. My guilty pleasure is post-apocalyptic stories but every time I read something with a greater degree of the traditional sci-fi tropes, it often leaves me a little cold. I found the whole thing to be bereft of creative prose and, as a result, I just couldn't bring myself to care about the content. The only part of the book where I was momentarily engaged was the part where the book acquires its title. Valentine Pillman and Richard Noonan are discussing the aliens and Pillman suggests that it's like a group of humans having a roadside picnic and when they leave and the animals and insects return, these creatures are confronted by food, litter, bottles, spark plugs, broken bulbs, oil from the car, all manner of things which they, the animals, have no means of properly grasping. This conversation aside, however, the book simply never grabbed me once.

Again, I found the writing just so bland. It was like Hemingway attempting science fiction but worse; additionally, the two Russian writers do a strange kind of impression of American vernacular where the characters all have Anglicized (yet very distinctly American) names and speech which felt entirely false. As unique and intriguing as the story is, I was never remotely entertained and ultimately place all the blame for this on the prose. I really did find it very average and uninteresting. Not for me.]]>
3.97 1972 Roadside Picnic
author: Arkady Strugatsky
name: Hux
average rating: 3.97
book published: 1972
rating: 2
read at: 2024/12/09
date added: 2024/12/09
shelves:
review:
Aliens visited earth many years ago but then left (seemingly never having made contact with humans). The areas they left behind across the globe are referred to as zones and are replete with artefacts and technology which the world governments endeavour to keep people from accessing (there seems to be some unspecified risk to their health). Certain individuals, known as Stalkers, are known to raid these sites in order to make a profit from these curious materials. The novel focuses on one such Stalker called Redrick Schuhart.

I did not like this. The story is fairly interesting but I just found the writing to be so drab and uninspired. It always felt like I was reading something written by a science fiction committee, which makes sense given that it was written by two brothers. There is no voice to the piece, no artistry, just a lot of dry, prosaic language which I found unbearable to read. Sometimes I get the impression that sci-fi writers are so engrossed by the high concept, the science fiction plotting, that they forget to occasionally include a beautiful sentence or two. My guilty pleasure is post-apocalyptic stories but every time I read something with a greater degree of the traditional sci-fi tropes, it often leaves me a little cold. I found the whole thing to be bereft of creative prose and, as a result, I just couldn't bring myself to care about the content. The only part of the book where I was momentarily engaged was the part where the book acquires its title. Valentine Pillman and Richard Noonan are discussing the aliens and Pillman suggests that it's like a group of humans having a roadside picnic and when they leave and the animals and insects return, these creatures are confronted by food, litter, bottles, spark plugs, broken bulbs, oil from the car, all manner of things which they, the animals, have no means of properly grasping. This conversation aside, however, the book simply never grabbed me once.

Again, I found the writing just so bland. It was like Hemingway attempting science fiction but worse; additionally, the two Russian writers do a strange kind of impression of American vernacular where the characters all have Anglicized (yet very distinctly American) names and speech which felt entirely false. As unique and intriguing as the story is, I was never remotely entertained and ultimately place all the blame for this on the prose. I really did find it very average and uninteresting. Not for me.
]]>
Rat 660184 Andrzej Zaniewski 0330335766 Hux 2
I found it rather boring. The first half only became momentarily interesting when he fucked his own mother with psychotic detachment. He is a rat after all, it's what they do. As I said, Zaniewski knows that he can't anthropomorphise the rat otherwise it loses its only intriguing feature, namely that it is a bleak and realistic interpretation of an animal's existence. He further accomplishes a cold detachment by switching from first person to second person on a regular basis, pulling and pushing the rat in and out of focus. This is actually very effective. But it isn't necessarily much fun to read. My interest picked up a little when he went on the ship and arrived in some war torn country (followed by a few more trips here and there, including a tropical climate). But even this begins to return to the repetition of gnawing, and eating, and fucking, and surviving. The only book I can really compare it to is Black Beauty, where the protagonist also narrates (and with equal detachment) but at least Black Beauty meets different people, has different experiences with people who treat him well or poorly and speak to him (giving the reader some respite). But this is just relentless gnawing, fucking, fighting, etc. It's obviously a much bleaker view of the animal's life but it's also less enjoyable to read too. Maybe an adventure with a squirrel called Dave would have improved it.

The book is worth a look. It manages to be both awful and beautiful in its cynical outlook. But the bottom line remains... I was bored when reading it and found the whole thing to be very dry, dull, and stolid.]]>
3.73 1990 Rat
author: Andrzej Zaniewski
name: Hux
average rating: 3.73
book published: 1990
rating: 2
read at: 2024/11/29
date added: 2024/12/07
shelves:
review:
A novel about being a rat. The book is entirely from the rat's perspective, he narrates, but as is often the case with animal narration, this narration always remains detached and aloof, no opinions given, no feelings, no expectations, only facts and events, only the harsh reality of a blunt existence. Consequently, this makes for a dry reading experience so you're relying on the plot. Sadly, that doesn't exist either because Zaniewski isn't telling a Disney story about a rat who goes on an adventure with a plucky squirrel called Dave, he's telling a real story of a real rat, which ultimately involves little more than eating, gnawing, fucking, fighting, surviving. This is the format of the whole book, just an endless repetition of these moments with only the occasional deviation (listening to the sound of a man playing an instrument and being, seemingly, moved by the music). But otherwise, it's rinse and repeat. Eating, fighting, fucking, existing.

I found it rather boring. The first half only became momentarily interesting when he fucked his own mother with psychotic detachment. He is a rat after all, it's what they do. As I said, Zaniewski knows that he can't anthropomorphise the rat otherwise it loses its only intriguing feature, namely that it is a bleak and realistic interpretation of an animal's existence. He further accomplishes a cold detachment by switching from first person to second person on a regular basis, pulling and pushing the rat in and out of focus. This is actually very effective. But it isn't necessarily much fun to read. My interest picked up a little when he went on the ship and arrived in some war torn country (followed by a few more trips here and there, including a tropical climate). But even this begins to return to the repetition of gnawing, and eating, and fucking, and surviving. The only book I can really compare it to is Black Beauty, where the protagonist also narrates (and with equal detachment) but at least Black Beauty meets different people, has different experiences with people who treat him well or poorly and speak to him (giving the reader some respite). But this is just relentless gnawing, fucking, fighting, etc. It's obviously a much bleaker view of the animal's life but it's also less enjoyable to read too. Maybe an adventure with a squirrel called Dave would have improved it.

The book is worth a look. It manages to be both awful and beautiful in its cynical outlook. But the bottom line remains... I was bored when reading it and found the whole thing to be very dry, dull, and stolid.
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The Red and the Black 14662 The Red and the Black is a lively, satirical portrayal of French society after Waterloo, riddled with corruption, greed, and ennui, and Julien - the cold exploiter whose Machiavellian campaign is undercut by his own emotions - is one of the most intriguing characters in European literature.

Roger Gard's fine translation remains faithful to the natural, conversational tone of the original, while his introduction elucidates the complexities of Julien's character. This edition also contains a chronology, further reading and an appendix on Stendhal's use of epigraphs.]]>
577 Stendhal 0140447644 Hux 4
Like so many 19th century tomes, this book possesses those two qualities which define the era's literature. 1 - Exquisite prose. 2 - But way too long. The book is split into two but I would say that it actually has three distinct parts. The first third focuses on our hero, the intelligent, working class, 20-year-old Julian Sorel, and the affair he begins with a 30-year-old, aristocratic married woman with two kids. Sorel is hired by the husband, Monsieur Renal, to teach their children Latin and what follows is a long, very drawn-out romance which Stendhal painstakingly explores to the extent that it is hard not to get utterly invested in it. This has a downside later when the book changes direction entirely; but I would definitely argue that this first section is the most engaging in terms of plot and character. The strength of feeling between them is tangible, the sexual chemistry and psychological torment (due to their sinning ways) very deftly explored. I was almost as excited by their affair as they were.

Once their relationship is discovered, however, (at least hinted at without concrete evidence), Sorel is encouraged to move away and, in this second section, intends to become a vicar and train at a seminary outside Paris. This part of the book was less interesting to me, aided by the fact that I had just spent all my time investing in their relationship only to see it suddenly taken away from me. Julian unsurprisingly excels in his studies (to the irritation of many others) and finds himself recommended to the Marquis De la Mole as a secretary. This is another chance to climb the ladder among the fraudulent nobles and powerful men which he both adores and despises. It's during this period where we get the most blatant expressions of hatred for the hypocrisy of the wealthy and, more so, the liberals who, as a tradition of the age, say one thing whilst meaning another. Julian is himself encouraged to play this game and mocked for not intuitively grasping the obvious etiquette of feigning his opinions and behaviour. He begins a romantic relationship with the Marquis' daughter,Mathilde, but this relationship never feels entirely genuine, lacking in the passion of his relationship with Mademoiselle Renal (on both sides), to the extent that Julian is advised by a Russian friend to show disinterest in her as a form of enticement (which works), further reiterating that performance is more important in this society that sincerity. This romance is given equal weight by Stendhal (it takes up many pages) but it never shares the same intensity (which Julian confesses to himself) and which only exposes its false nature. These people are playing roles which Julian is also learning to play but always with an obvious resentment in his heart.

At the end of the book, Mademoiselle Renal (under duress) writes a letter warning the Marquis that Julian is a cad intent on climbing the social ladder which results in Julian trying to shoot her. The books ends with him in prison awaiting the guillotine knowing that he only truly loved her and had become the very thing he most despised. He can see that these people and their rules of conduct for society are disgusting and yet equally, he willingly participated.

The book is sublime, a great look at the stifling hypocrisy of the age, the notion of progress endlessly stagnated by the realities of the necessary trade-offs, by the realpolitik which hinders social change. Sorel wants to rise through the ranks and become a powerful man, something which is removed from him outside of a military career (or perhaps going to the seminary) or, if we're being honest, banging the wives and daughters of powerful aristocrats. And so that's what he does. And as much as he hates it, the power of the aristocracy, the hypocrisy of liberalism, the endless performance, he ultimately succumbs and plays the game as well as any of them. Because what choice did he have?

The book is way ahead of its time in regards to psychological internal monologues, not to mention the lack of speech tags (which people still seem to be impressed by today), and you can see why it has been so influential on many other writers (ignoring Dostoevski and the psychological aspects, I couldn't help but think of a young man called Holden who suddenly realises that adults are all phonies). Sorel is a fascinating character, weighed down by his social class, destined to sink in the quicksand of societal expectation and tradition. Even when change comes, or is promised, it is instantly compromised and diluted.Ultimately, my interpretation of the book was that Stendhal was predominantly criticising the hypocrisy of liberalism, it's capacity for self-congratulatory smugness in the face of no real change, its proclivity for corruption as each participant is seduced by wealth and power, and fundamentally its Utopian sway on the minds of the young who cannot see, despite the ceaseless repetition of failure, the hypocrisy that awaits them. Fools all.

"We are marching towards chaos."]]>
3.91 1830 The Red and the Black
author: Stendhal
name: Hux
average rating: 3.91
book published: 1830
rating: 4
read at: 2024/12/07
date added: 2024/12/07
shelves:
review:
Liberalism offers hope for the future, but only by being the same lie which is told in a different way.

Like so many 19th century tomes, this book possesses those two qualities which define the era's literature. 1 - Exquisite prose. 2 - But way too long. The book is split into two but I would say that it actually has three distinct parts. The first third focuses on our hero, the intelligent, working class, 20-year-old Julian Sorel, and the affair he begins with a 30-year-old, aristocratic married woman with two kids. Sorel is hired by the husband, Monsieur Renal, to teach their children Latin and what follows is a long, very drawn-out romance which Stendhal painstakingly explores to the extent that it is hard not to get utterly invested in it. This has a downside later when the book changes direction entirely; but I would definitely argue that this first section is the most engaging in terms of plot and character. The strength of feeling between them is tangible, the sexual chemistry and psychological torment (due to their sinning ways) very deftly explored. I was almost as excited by their affair as they were.

Once their relationship is discovered, however, (at least hinted at without concrete evidence), Sorel is encouraged to move away and, in this second section, intends to become a vicar and train at a seminary outside Paris. This part of the book was less interesting to me, aided by the fact that I had just spent all my time investing in their relationship only to see it suddenly taken away from me. Julian unsurprisingly excels in his studies (to the irritation of many others) and finds himself recommended to the Marquis De la Mole as a secretary. This is another chance to climb the ladder among the fraudulent nobles and powerful men which he both adores and despises. It's during this period where we get the most blatant expressions of hatred for the hypocrisy of the wealthy and, more so, the liberals who, as a tradition of the age, say one thing whilst meaning another. Julian is himself encouraged to play this game and mocked for not intuitively grasping the obvious etiquette of feigning his opinions and behaviour. He begins a romantic relationship with the Marquis' daughter,Mathilde, but this relationship never feels entirely genuine, lacking in the passion of his relationship with Mademoiselle Renal (on both sides), to the extent that Julian is advised by a Russian friend to show disinterest in her as a form of enticement (which works), further reiterating that performance is more important in this society that sincerity. This romance is given equal weight by Stendhal (it takes up many pages) but it never shares the same intensity (which Julian confesses to himself) and which only exposes its false nature. These people are playing roles which Julian is also learning to play but always with an obvious resentment in his heart.

At the end of the book, Mademoiselle Renal (under duress) writes a letter warning the Marquis that Julian is a cad intent on climbing the social ladder which results in Julian trying to shoot her. The books ends with him in prison awaiting the guillotine knowing that he only truly loved her and had become the very thing he most despised. He can see that these people and their rules of conduct for society are disgusting and yet equally, he willingly participated.

The book is sublime, a great look at the stifling hypocrisy of the age, the notion of progress endlessly stagnated by the realities of the necessary trade-offs, by the realpolitik which hinders social change. Sorel wants to rise through the ranks and become a powerful man, something which is removed from him outside of a military career (or perhaps going to the seminary) or, if we're being honest, banging the wives and daughters of powerful aristocrats. And so that's what he does. And as much as he hates it, the power of the aristocracy, the hypocrisy of liberalism, the endless performance, he ultimately succumbs and plays the game as well as any of them. Because what choice did he have?

The book is way ahead of its time in regards to psychological internal monologues, not to mention the lack of speech tags (which people still seem to be impressed by today), and you can see why it has been so influential on many other writers (ignoring Dostoevski and the psychological aspects, I couldn't help but think of a young man called Holden who suddenly realises that adults are all phonies). Sorel is a fascinating character, weighed down by his social class, destined to sink in the quicksand of societal expectation and tradition. Even when change comes, or is promised, it is instantly compromised and diluted.Ultimately, my interpretation of the book was that Stendhal was predominantly criticising the hypocrisy of liberalism, it's capacity for self-congratulatory smugness in the face of no real change, its proclivity for corruption as each participant is seduced by wealth and power, and fundamentally its Utopian sway on the minds of the young who cannot see, despite the ceaseless repetition of failure, the hypocrisy that awaits them. Fools all.

"We are marching towards chaos."
]]>
The Sisters Brothers 9850443
With The Sisters Brothers, Patrick deWitt pays homage to the classic Western, transforming it into an unforgettable comic tour de force. Filled with a remarkable cast of characters - losers, cheaters, and ne'er-do-wells from all stripes of life - and told by a complex and compelling narrator, it is a violent, lustful odyssey through the underworld of the 1850s frontier that beautifully captures the humor, melancholy, and grit of the Old West, and two brothers bound by blood, violence, and love.]]>
328 Patrick deWitt 0062041266 Hux 4
I think the best aspect of the book is the brothers themselves, their relationship and dynamic, Charlie being more blunt and decisive and Eli more thoughtful; but they are both highly intelligent and intuitively understand one another. There's very little in the way of description regarding the environment or the people they meet, the narrative restricted to the brothers, the Odyssey-like plot, and the conversations they have (lots of dialogue heavy chapters but entertainingly done).

I don't think you can describe the prose as anything spectacular, it's all very basic and formulaic, but well-written and easy to read. It's just not something I would describe as great literature. Ultimately, this book is about the plot, the environment, and the two brothers. And it's a lot of fun. One of those books you can sink into and enjoy at a profoundly basic level, a good yarn, an entertaining romp. It's a great world to disappear into on a wet Sunday afternoon.

Apparently, there is a film version of this so I'll give that a watch at some point, but I doubt it will conjure the same sense of warmth that the book did. This was highly enjoyable, escapist stuff. ]]>
3.84 2011 The Sisters Brothers
author: Patrick deWitt
name: Hux
average rating: 3.84
book published: 2011
rating: 4
read at: 2024/12/02
date added: 2024/12/02
shelves:
review:
An immensely fun story about two cowboys (brothers Charlie and Eli Sisters) who traipse from Oregon City to San Francisco in 1851 on the hunt for a man named Warm. The first half of the book is exclusively concerned with their road journey and the various characters they meet along the way, Eli (the more sensitive brother) being the narrator of these adventures. It's also the most enjoyable part of the book, allowing for new and diverse environments and experiences; they stop at various small towns, for example, drink in the saloons, meet whores and bandits, camp under the stars, and kill a variety of men (and boys). The second half of the book (once they arrive in San Francisco and find the man they're looking for), changes pace somewhat but remains very entertaining to read and deals with a potential invention that makes finding gold an easier task.

I think the best aspect of the book is the brothers themselves, their relationship and dynamic, Charlie being more blunt and decisive and Eli more thoughtful; but they are both highly intelligent and intuitively understand one another. There's very little in the way of description regarding the environment or the people they meet, the narrative restricted to the brothers, the Odyssey-like plot, and the conversations they have (lots of dialogue heavy chapters but entertainingly done).

I don't think you can describe the prose as anything spectacular, it's all very basic and formulaic, but well-written and easy to read. It's just not something I would describe as great literature. Ultimately, this book is about the plot, the environment, and the two brothers. And it's a lot of fun. One of those books you can sink into and enjoy at a profoundly basic level, a good yarn, an entertaining romp. It's a great world to disappear into on a wet Sunday afternoon.

Apparently, there is a film version of this so I'll give that a watch at some point, but I doubt it will conjure the same sense of warmth that the book did. This was highly enjoyable, escapist stuff.
]]>
Panenka 55410610
But at night, Panenka suffers crippling headaches that he calls his Iron Mask. Faced with losing everything, he meets Esther, a woman who has come to live in the town to escape her own disappointments. Together, they find resonance in each other’s experiences and learn new ways to let love into their broken lives.]]>
164 Ronan Hession 1910422673 Hux 3
A game of two halves funnily enough. I was very much enjoying the first half of the book and found Panenka's stoicism in the face of impending death to be interesting. Plus, the local blokes he hung about with at the pub (BABA in particular) were fun to watch but they always felt like background characters of little consequence. I also loved his backstory, playing for the town's local football club Seneca when he was young and, in a game of vital importance, choosing to delicately chip a penalty down the middle only to see it saved (hence the nickname Panenka). This humiliation comes to define him and his life. I would have liked more of this period, the ups and downs of the battle to avoid relegation, the importance of football to a small community, and I enjoyed Hession's obvious love of the game. But once we know the backstory, the origin of his name, we get little more, and instead return to his current predicament. All very readable stuff to be honest.

Sadly, however, the second half of the book felt a little melodramatic, full of soap opera-like relationship struggles that didn't really interest me. I also never really felt that the characters were properly realised or turned into real people with lives beyond Panenka's own story; they felt very much like surface level creations. Esther, in particular, who never really came across to me as a real person but rather a plot device.

Ultimately, the book was mostly charming and easy to read, but I was losing interest towards the end. I would still recommend it but I don't think it was especially groundbreaking or entertaining. It was okay.]]>
3.98 2021 Panenka
author: Ronan Hession
name: Hux
average rating: 3.98
book published: 2021
rating: 3
read at: 2024/11/27
date added: 2024/11/27
shelves:
review:
The story of a 50-year-old ex footballer nicknamed Panenka (for good reason) who, early in the book, discovers that he has a brain tumour and keeps this information to himself. The story follows his relationships with his daughter, Marie-Therese, his grandson, Arthur, as well as the burgeoning relationship he develops with a hairdresser called Esther.

A game of two halves funnily enough. I was very much enjoying the first half of the book and found Panenka's stoicism in the face of impending death to be interesting. Plus, the local blokes he hung about with at the pub (BABA in particular) were fun to watch but they always felt like background characters of little consequence. I also loved his backstory, playing for the town's local football club Seneca when he was young and, in a game of vital importance, choosing to delicately chip a penalty down the middle only to see it saved (hence the nickname Panenka). This humiliation comes to define him and his life. I would have liked more of this period, the ups and downs of the battle to avoid relegation, the importance of football to a small community, and I enjoyed Hession's obvious love of the game. But once we know the backstory, the origin of his name, we get little more, and instead return to his current predicament. All very readable stuff to be honest.

Sadly, however, the second half of the book felt a little melodramatic, full of soap opera-like relationship struggles that didn't really interest me. I also never really felt that the characters were properly realised or turned into real people with lives beyond Panenka's own story; they felt very much like surface level creations. Esther, in particular, who never really came across to me as a real person but rather a plot device.

Ultimately, the book was mostly charming and easy to read, but I was losing interest towards the end. I would still recommend it but I don't think it was especially groundbreaking or entertaining. It was okay.
]]>
The Woman in the Dunes 49160741 The Woman in the Dunes is one of the premier Japanese novels in the twentieth century, and this Penguin Classics edition contains a new introduction by David Mitchell, author of Cloud Atlas.

Niki Jumpei, an amateur entomologist, searches the scorching desert for beetles. As night falls he is forced to seek shelter in an eerie village, half-buried by huge sand dunes. He awakes to the terrifying realisation that the villagers have imprisoned him with a young woman at the bottom of a vast sand pit. Tricked into slavery and threatened with starvation if he does not work, Jumpei's only chance is to shovel the ever-encroaching sand - or face an agonising death. Among the greatest Japanese novels of the twentieth century, The Woman in the Dunes combines the essence of myth, suspense, and the existential novel.

Kobo Abe (1924-93) was born in Tokyo, grew up in Manchuria, and returned to Japan in his early twenties. During his life Abe was considered his country's foremost living novelist. His novels have earned many literary awards and prizes, and have all been bestsellers in Japan. They include The Woman in the Dunes, The Ark Sakura, The Face of Another, The Box Man, and The Ruined Map.

If you liked The Woman in the Dunes, you might enjoy Albert Camus' The Plague, also available in Penguin Classics.

'A haunting Kafkaesque nightmare'
Time]]>
240 Kōbō Abe 0141188529 Hux 4
A schoolteacher named Niki Jumpei interested in insects goes to the dunes to seek out beetles. Having spent longer there than he intended he needs a place to stay. One of the older villagers recommends a house owned by a woman but it's beneath a vast pit of sand, surrounded on all sides. What follows is a claustrophobic horror story of a man being unable to escape this house, the sand impenetrable, the villagers (and the woman) seemingly unmoved, having trapped him there deliberately for reasons unknown. He tries to climb up the sand but cannot, he threatens the woman but she seems either ignorant of what is happening or resigned to their circumstances; he screams at the villagers who laugh at him from above. Mostly, he plans his escape because there must be an escape. Surely, there has to be a way to escape.

Having read a few pages of Abe's Box Man a long time ago and found them painfully dull, I was a little worried about reading this. But the first half of the book absolutely had me gripped. I was turning pages rapidly, fascinated by the man's dilemma, trying to work out if he was indeed being held against his will, or if there was just some huge misunderstanding that had not yet been revealed. I'm tempted to describe the book asKafkaesque but that probably isn't accurate since Kafka dealt with the oppressive weight of bureaucracy (even in Metamorphosis, his change into an insect is not as important as how he will explain it to his employers, support the family, etc). I also don't think it's an accident that the main character here is interested in insects. But this book is more allegorical in nature, the themes focusing on the relentless struggle of existence, the inability of ever escaping the daily drudge of work and sexual instinct, the constant search for a literal way out. The book is saturated in oppressive heat, constant sand, and lack of water. I could almost taste it at times, the gritty texture in my mouth, until I had to swallow some saliva and clear my throat. The book is just relentless.

And that's where my main criticism comes in; after the halfway point, I was slightly losing interest. It just goes around in circles and overwhelms you with more sand, more woman, more sand. Even when he momentarily escapes, the book had somewhat drained me by that point. I just wanted the nightmare to end. I knew what was happening. I knew where it was going and, worst of all, I knew how it would be resolved. Because there is always something to keep us attached to life, always some pointless thing which we imbue with meaning so that we can justify persevering with a delusional sense of hope. Work and sex. They both make life seem like it's worthwhile (though Abe's descriptions of sex were intensely abstract and vague, perhaps very Japanese, and I did need to reread a few sections just to confirm... yep, they're having sex).

So not without its flaws but a fantastic entry into the existential nightmare genre. This one was as dense as the claggy sand itself and after a while, I wanted out. I wanted out of this book as much as he wanted out of that sandpit.]]>
3.81 1962 The Woman in the Dunes
author: Kōbō Abe
name: Hux
average rating: 3.81
book published: 1962
rating: 4
read at: 2024/11/23
date added: 2024/11/23
shelves:
review:
Nightmare fuel for those who think there's a way out.

A schoolteacher named Niki Jumpei interested in insects goes to the dunes to seek out beetles. Having spent longer there than he intended he needs a place to stay. One of the older villagers recommends a house owned by a woman but it's beneath a vast pit of sand, surrounded on all sides. What follows is a claustrophobic horror story of a man being unable to escape this house, the sand impenetrable, the villagers (and the woman) seemingly unmoved, having trapped him there deliberately for reasons unknown. He tries to climb up the sand but cannot, he threatens the woman but she seems either ignorant of what is happening or resigned to their circumstances; he screams at the villagers who laugh at him from above. Mostly, he plans his escape because there must be an escape. Surely, there has to be a way to escape.

Having read a few pages of Abe's Box Man a long time ago and found them painfully dull, I was a little worried about reading this. But the first half of the book absolutely had me gripped. I was turning pages rapidly, fascinated by the man's dilemma, trying to work out if he was indeed being held against his will, or if there was just some huge misunderstanding that had not yet been revealed. I'm tempted to describe the book asKafkaesque but that probably isn't accurate since Kafka dealt with the oppressive weight of bureaucracy (even in Metamorphosis, his change into an insect is not as important as how he will explain it to his employers, support the family, etc). I also don't think it's an accident that the main character here is interested in insects. But this book is more allegorical in nature, the themes focusing on the relentless struggle of existence, the inability of ever escaping the daily drudge of work and sexual instinct, the constant search for a literal way out. The book is saturated in oppressive heat, constant sand, and lack of water. I could almost taste it at times, the gritty texture in my mouth, until I had to swallow some saliva and clear my throat. The book is just relentless.

And that's where my main criticism comes in; after the halfway point, I was slightly losing interest. It just goes around in circles and overwhelms you with more sand, more woman, more sand. Even when he momentarily escapes, the book had somewhat drained me by that point. I just wanted the nightmare to end. I knew what was happening. I knew where it was going and, worst of all, I knew how it would be resolved. Because there is always something to keep us attached to life, always some pointless thing which we imbue with meaning so that we can justify persevering with a delusional sense of hope. Work and sex. They both make life seem like it's worthwhile (though Abe's descriptions of sex were intensely abstract and vague, perhaps very Japanese, and I did need to reread a few sections just to confirm... yep, they're having sex).

So not without its flaws but a fantastic entry into the existential nightmare genre. This one was as dense as the claggy sand itself and after a while, I wanted out. I wanted out of this book as much as he wanted out of that sandpit.
]]>
A Feast of Snakes 24847 192 Harry Crews 0684842483 Hux 3
The story focuses on Joe Lon Mackey, an ex football star now married to a woman he apparently despises and treats awfully. While she takes care of their two young children, he fantasises about his ex love, Berenice, who has returned from university with her new boyfriend. Meanwhile, the sheriff, is a one-legged, Vietnam veteran (because amazingly this is set in the 70s even though it feels like the 30s) and he rapes a black woman he's obsessed with called Lottie Mae. But don't worry, she later cuts his dick off whilst the narration continues with its snake theme, describing the offending appendage in such terms, even giving it fangs. It's all very Dukes of Hazzard.

Like I said, there were parts I really liked (part one especially) and parts that I found a little dry and uninteresting. But the story is certainly compelling, albeit full of disgusting people, dog cruelty, rape, mental illness, and casual racism. I just struggle to find these grotesque people relatable, the pervasive Americana somewhat hard to fathom. It's full of sleaze and oppressive misery, all tinged with an underlying hatred. The writing was mostly good, and the story and characters kept me engaged, but I was always left wondering... is this really what America is like? And then we get the ending which, maintaining the general manufacture of excrement, is entirely unpleasant yet strangely appropriate. While it never grabbed me completely, I would say this is definitely a book worth reading, especially if you like that southern gothic stuff. The content and atmosphere of the story can be best summed up with the following quote:

"Daddy would say to wish in one hand and shit in the other, see which one fills up first."
]]>
4.03 1976 A Feast of Snakes
author: Harry Crews
name: Hux
average rating: 4.03
book published: 1976
rating: 3
read at: 2024/11/21
date added: 2024/11/21
shelves:
review:
There were parts of this I loved, but equally there were parts I found a little dull. This is yet another book set somewhere in the south of America where people are inexplicably weird, pursuing interests that seem entirely alien to me, and engaging in a culture that feels thoroughly foreign. I'm not sure if it qualifies as southern gothic but it definitely has a lot of the required elements. In this case, we have rampant racism and plenty use of the N-word, not to mention black characters who say 'yessuh, Mr Joe' quite a lot and, to wrap the whole narrative around, a bizarre tradition of having a snake hunting roundup. It was all very grimy and strange and American.

The story focuses on Joe Lon Mackey, an ex football star now married to a woman he apparently despises and treats awfully. While she takes care of their two young children, he fantasises about his ex love, Berenice, who has returned from university with her new boyfriend. Meanwhile, the sheriff, is a one-legged, Vietnam veteran (because amazingly this is set in the 70s even though it feels like the 30s) and he rapes a black woman he's obsessed with called Lottie Mae. But don't worry, she later cuts his dick off whilst the narration continues with its snake theme, describing the offending appendage in such terms, even giving it fangs. It's all very Dukes of Hazzard.

Like I said, there were parts I really liked (part one especially) and parts that I found a little dry and uninteresting. But the story is certainly compelling, albeit full of disgusting people, dog cruelty, rape, mental illness, and casual racism. I just struggle to find these grotesque people relatable, the pervasive Americana somewhat hard to fathom. It's full of sleaze and oppressive misery, all tinged with an underlying hatred. The writing was mostly good, and the story and characters kept me engaged, but I was always left wondering... is this really what America is like? And then we get the ending which, maintaining the general manufacture of excrement, is entirely unpleasant yet strangely appropriate. While it never grabbed me completely, I would say this is definitely a book worth reading, especially if you like that southern gothic stuff. The content and atmosphere of the story can be best summed up with the following quote:

"Daddy would say to wish in one hand and shit in the other, see which one fills up first."

]]>
The Plains 13614619
Twenty years later, he begins to tell his haunting story of life on the plains. As his story unfolds, the novel becomes, in the words of Murray Bail, 'a mirage of landscape, memory, love and literature itself'.]]>
174 Gerald Murnane 1921922273 Hux 2
The book is narrated by a young man who intends to make a film about the plains (vast, seemingly never ending space fascinating to artists and townsfolk alike). He eventually gets a patron, one of the many landowners, moving into his house and fixating on the apparent inability of art to capture a meaningful description of the plains. To accomplish this, Murnane writes a lot of VERY obscure, almost ethereal nonsense that goes nowhere, floating pixie dust upon an oily rainbow, writing for writing's sake, mesmerised by the debilitating unknown weight of existence itself, a slew of word salad, fluffy-bunny madness and obtuse, ragingly indistinct blurs, that demands to be something you invest in (if you're so inclined) until you can become fully intoxicated. In theory, this ought to have appealed to me but as I said, it just never became something I enjoyed reading. By the time we get to the landowners conversation I was fast losing interest. Then the library at the house dealing with time. That felt painfully on the nose for a book that had, up to that point, maintained a more subtle approach (in fact, I would have preferred it if he'd never mentioned Australia and allowed the plains to be even more obscure). But anyway.

There are sections where the writing is almost comical in its endeavour to sustain the established swirl of warm water that pours over you. You can barely catch the meaning of any sentence such is the style, the blurred meandering attempt to sound profound, even simply coherent, enough to encourage a sense of reward for your continued reading. Take this for example:

"Even in the inmost rooms of the library, on the third storey of the north-east wing, I sometimes heard, across courtyards shaded from the late afternoon sunlight or swept by the flight of bats at dusk, the first, and then, after an interval almost exactly predictable, the second of the immoderate roars that marked the dual climax of some revelation by a client whose final achievement had been to suggest, through the difficult medium of his particular craft, some detail of a plain paradoxically apart from, and yet defining further, the land revealed moments afterwards between the ponderously parting curtains."

Putting the use of ten words where three will do to one side, this kind of writing is hard to engage with when there's very little to invest in regarding characters or the development of a specific idea. It's all just... interpretation. The plains represent this, the filmmaker that, the landowner this, the Bustards that. Fine, but again... I repeat... when do I get to be entertained by any of this? It's a shame because I generally love vague (life is a pointless horizon of never-ending plains) stories, but this one never came close to reaching me.

I liked the idea, I understood what he was trying to do. But I just didn't like it. There was even one moment where I wondered if Murnane was actually playing a game with his readers. It seemed far too telling to be a coincidence, too immensely on the nose. And I laughed out loud...

"I too have admired the tortuous arguments and detailed elaborations, the pointing-up of tenuous links and faint reverberations, and the final triumphant demonstrations that something of a motif has persisted through an immense body of digressive and even imprecise prose."
]]>
3.85 1982 The Plains
author: Gerald Murnane
name: Hux
average rating: 3.85
book published: 1982
rating: 2
read at: 2024/11/17
date added: 2024/11/17
shelves:
review:
There's nothing I like more than a nebulous story of vague philosophical investigations regarding the often pointless nature of the human condition. Actually, there's one thing I do like more -- anebulous story of vague philosophical investigations regarding the often pointless nature of the human condition... that's fun to read. And this is where the book fell down quite badly for me. Otherwise, it's a mildly interesting piece.

The book is narrated by a young man who intends to make a film about the plains (vast, seemingly never ending space fascinating to artists and townsfolk alike). He eventually gets a patron, one of the many landowners, moving into his house and fixating on the apparent inability of art to capture a meaningful description of the plains. To accomplish this, Murnane writes a lot of VERY obscure, almost ethereal nonsense that goes nowhere, floating pixie dust upon an oily rainbow, writing for writing's sake, mesmerised by the debilitating unknown weight of existence itself, a slew of word salad, fluffy-bunny madness and obtuse, ragingly indistinct blurs, that demands to be something you invest in (if you're so inclined) until you can become fully intoxicated. In theory, this ought to have appealed to me but as I said, it just never became something I enjoyed reading. By the time we get to the landowners conversation I was fast losing interest. Then the library at the house dealing with time. That felt painfully on the nose for a book that had, up to that point, maintained a more subtle approach (in fact, I would have preferred it if he'd never mentioned Australia and allowed the plains to be even more obscure). But anyway.

There are sections where the writing is almost comical in its endeavour to sustain the established swirl of warm water that pours over you. You can barely catch the meaning of any sentence such is the style, the blurred meandering attempt to sound profound, even simply coherent, enough to encourage a sense of reward for your continued reading. Take this for example:

"Even in the inmost rooms of the library, on the third storey of the north-east wing, I sometimes heard, across courtyards shaded from the late afternoon sunlight or swept by the flight of bats at dusk, the first, and then, after an interval almost exactly predictable, the second of the immoderate roars that marked the dual climax of some revelation by a client whose final achievement had been to suggest, through the difficult medium of his particular craft, some detail of a plain paradoxically apart from, and yet defining further, the land revealed moments afterwards between the ponderously parting curtains."

Putting the use of ten words where three will do to one side, this kind of writing is hard to engage with when there's very little to invest in regarding characters or the development of a specific idea. It's all just... interpretation. The plains represent this, the filmmaker that, the landowner this, the Bustards that. Fine, but again... I repeat... when do I get to be entertained by any of this? It's a shame because I generally love vague (life is a pointless horizon of never-ending plains) stories, but this one never came close to reaching me.

I liked the idea, I understood what he was trying to do. But I just didn't like it. There was even one moment where I wondered if Murnane was actually playing a game with his readers. It seemed far too telling to be a coincidence, too immensely on the nose. And I laughed out loud...

"I too have admired the tortuous arguments and detailed elaborations, the pointing-up of tenuous links and faint reverberations, and the final triumphant demonstrations that something of a motif has persisted through an immense body of digressive and even imprecise prose."

]]>
The Bad Girl 6535521 403 Mario Vargas Llosa 0571234119 Hux 4
The story is that of a Peruvian man named Ricardo who, in childhood, meets a girl called Lily and becomes enamoured with her. Later, as an adult, he moves to Paris and meets her again, now using a new name, and they briefly connect. What follows is decades of the same pattern. She comes into his life at times when she is experiencing hardship then, once recovered, she moves on, leaving him for a succession of other men. She marries a french diplomat. Then later moves to London (where they meet again) and is married to a British businessman with an interest in horse racing. She disappears from his life again only to show up in Japan as the mistress of a Yakuza. This last relationship traumatises her and leaves her with psychological and physical scars. But he takes her back and spends his life savings looking after her. Only to see her eventually leave him for another man once more. No matter how much he tries to move on he never can. The romance of his feelings were very compelling and convincingly conveyed (the heart wants what the heart wants).

There's a huge section of 'Of Human Bondage' where Philip keeps taking Mildred back even though she treats him horribly and this book is essentially that... but for the entire thing. Llosa's writing elevates it so it never becomes boring but there comes a point, for everyone, where you start wanting to scream at the book... 'stop taking that bitch back'!! Fortunately, for me, this only really occurred towards the very end so Llosa ultimately sold the story to me reasonably well. Despite the rinse and repeat format, the book is always engaging and entertaining, the high quality prose a major factor in that. It was only at the very end where my interest in these characters was beginning to wane slightly.

I'm not sure this one will live long in the memory, the plot was very basic and the elements and coincidences of the story were occasionally a little melodramatic, but like I said, the writing is so good that it raises the piece up to a level of immense quality. It was wonderful to read.]]>
3.84 2006 The Bad Girl
author: Mario Vargas Llosa
name: Hux
average rating: 3.84
book published: 2006
rating: 4
read at: 2024/11/15
date added: 2024/11/15
shelves:
review:
This was a joy to read. Llosa has a style that means the pages just melt away as you read them, fluid and effortless, yet producing prose of an immensely high standard. It's a kind of writing which doesn't even feel like it needs to be read, you just let it wash over you like warm evening surf. Extremely good. As you might expect (or hope) from a Noel Prize winner.

The story is that of a Peruvian man named Ricardo who, in childhood, meets a girl called Lily and becomes enamoured with her. Later, as an adult, he moves to Paris and meets her again, now using a new name, and they briefly connect. What follows is decades of the same pattern. She comes into his life at times when she is experiencing hardship then, once recovered, she moves on, leaving him for a succession of other men. She marries a french diplomat. Then later moves to London (where they meet again) and is married to a British businessman with an interest in horse racing. She disappears from his life again only to show up in Japan as the mistress of a Yakuza. This last relationship traumatises her and leaves her with psychological and physical scars. But he takes her back and spends his life savings looking after her. Only to see her eventually leave him for another man once more. No matter how much he tries to move on he never can. The romance of his feelings were very compelling and convincingly conveyed (the heart wants what the heart wants).

There's a huge section of 'Of Human Bondage' where Philip keeps taking Mildred back even though she treats him horribly and this book is essentially that... but for the entire thing. Llosa's writing elevates it so it never becomes boring but there comes a point, for everyone, where you start wanting to scream at the book... 'stop taking that bitch back'!! Fortunately, for me, this only really occurred towards the very end so Llosa ultimately sold the story to me reasonably well. Despite the rinse and repeat format, the book is always engaging and entertaining, the high quality prose a major factor in that. It was only at the very end where my interest in these characters was beginning to wane slightly.

I'm not sure this one will live long in the memory, the plot was very basic and the elements and coincidences of the story were occasionally a little melodramatic, but like I said, the writing is so good that it raises the piece up to a level of immense quality. It was wonderful to read.
]]>
The Opposing Shore 2033025 292 Julien Gracq 0002712245 Hux 3
The book is hard to review because there are moments of great literary quality otherwise lost in a swamp of turgid language that drowns these moments out. It is written in a baroque style of dense verbosity which becomes (for me at least) an altogether unpleasant experience to read. When it's good, it's superb but when it's bad (which it is the majority of the time) it's a gloopy treacle of meandering nonsense lost in a quagmire of simile and metaphor (the word 'like' is massively overused). There are times (few and far between) when it reaches glorious heights of exquisite prose:

"just as a landscape painted against the background of a black room loses its vital iridescence but thereby acquires a mineral stability and seems to filter out things what best translates their dim reverie of inertia, it was as if the sounds here were decanted, filtered through a cloak of snow, whereby they lost their ordinary meaning in order to swell to a deep and indistinct murmur which became the very sound of returning life"


But these moments are ultimately lost within the general swell of ornate and elaborate molasses which is Gracq's style. I would read a paragraph of viscous word salad several times before even grasping what he was saying only to discover (after my headache had abated) that it was something banal about the shape of the trees in a valley. Where seven words would suffice, Gracq gives us seven hundred and spirals them around an esoteric dream of intoxicated obscurantism until you're either enchanted or (in my case) losing the will to live.

Despite my misgivings, I would definitely recommend the book as the writing is good (and the pointlessness of waiting for life to happen theme is intriguing) but ultimately it's a style of writing that doesn't speak to me. Others might be seduced by this kind of technique but I was left (much like Aldo) craving an ending.]]>
4.02 1951 The Opposing Shore
author: Julien Gracq
name: Hux
average rating: 4.02
book published: 1951
rating: 3
read at: 2023/08/25
date added: 2024/11/14
shelves:
review:
Two fictional European states have been at war for 300 years though, in recent decades, there have been no military engagements, only the constant, ongoing threat that such engagements might, at any moment, be reignited. The protagonist, Aldo, is sent from the comfort of his home in Orsenna to a fort on the coast in Syrtes where he is increasingly intrigued by the idea of sailing towards the enemy coastline of Farghestan. The book slowly (very slowly) builds to a feverish, almost dream-like desire for the war to return, for the waiting to have a purpose. If this reminds you of 'The Tartar Steppe' then that makes sense because they are both inspired by the trope of 'Waiting for the Barbarians.'

The book is hard to review because there are moments of great literary quality otherwise lost in a swamp of turgid language that drowns these moments out. It is written in a baroque style of dense verbosity which becomes (for me at least) an altogether unpleasant experience to read. When it's good, it's superb but when it's bad (which it is the majority of the time) it's a gloopy treacle of meandering nonsense lost in a quagmire of simile and metaphor (the word 'like' is massively overused). There are times (few and far between) when it reaches glorious heights of exquisite prose:

"just as a landscape painted against the background of a black room loses its vital iridescence but thereby acquires a mineral stability and seems to filter out things what best translates their dim reverie of inertia, it was as if the sounds here were decanted, filtered through a cloak of snow, whereby they lost their ordinary meaning in order to swell to a deep and indistinct murmur which became the very sound of returning life"


But these moments are ultimately lost within the general swell of ornate and elaborate molasses which is Gracq's style. I would read a paragraph of viscous word salad several times before even grasping what he was saying only to discover (after my headache had abated) that it was something banal about the shape of the trees in a valley. Where seven words would suffice, Gracq gives us seven hundred and spirals them around an esoteric dream of intoxicated obscurantism until you're either enchanted or (in my case) losing the will to live.

Despite my misgivings, I would definitely recommend the book as the writing is good (and the pointlessness of waiting for life to happen theme is intriguing) but ultimately it's a style of writing that doesn't speak to me. Others might be seduced by this kind of technique but I was left (much like Aldo) craving an ending.
]]>
The Slaves of Solitude 34030702 'All his novels are terrific, but this one is my favourite' Sarah WatersPatrick Hamilton's novels were the inspiration for Matthew Bourne's new dance theatre production, The Midnight Bell.Measuring out the wartime days in a small town on the Thames, Miss Roach is not unattractive but no longer quite young. The Rosamund Tea Rooms boarding house, where she lives with half a dozen others, is as grey and lonely as its residents. For Miss Roach, 'slave of her task-master, solitude', a shaft of not altogether welcome light is suddenly beamed upon her, with the appearance of a charismatic and emotional American Lieutenant. With him comes change - tipping the precariously balanced society of the house and presenting Miss Roach herself with a dilemma.]]> 238 Patrick Hamilton 034914155X Hux 5
This was one of the best things I have ever read. There is so much art to Hamilton's simplicity. And he is so good at dealing with the psychological (especially the British method of churning one's resentments over and over in our minds). He taps into the slights and off-hand comments which bug us for the rest of the day, which burrow into our thoughts until we ruminate upon them relentlessly. He reveals the petty resentments we have and the uncertainties of what others might be thinking or feeling about us (what did they mean by that? Am I overreacting? Was that a subtle dig?). None of this should be surprising when you remind yourself that Hamilton is the man who wrote 'Gaslight' a term which now pervades modern culture. But he's just so good at taking the smallest thing and making you squirm and fixate and worry.

Miss Roach appears both overly sensitive yet utterly correct in her assessments of what others might be thinking of her. Never has a female character (especially written by a man) felt so real to me. And as I've already mentioned, I love the Britishness of it all. How apt that it should take place (like a lot of his work) during the 2nd World War. He understands the psychological nature of this island and its people, especially the English.

Often, when I read a novel, my interest wanes towards the last third but here the total opposite occurred. Everything builds and builds despite, in reality, nothing very significant ever really happening. Even the chapters seemed to be getting shorter as the book went along. He takes the most mundane subject matter and turns it into a psychological nightmare. It is an exquisite gift to take the banal and mediocre lives of tea room boarders and make me grip tightly to the pages. Glorious!]]>
4.06 1947 The Slaves of Solitude
author: Patrick Hamilton
name: Hux
average rating: 4.06
book published: 1947
rating: 5
read at: 2023/02/04
date added: 2024/11/12
shelves:
review:
The story of a 39-year-old woman name Enid Roach who, during the blitz, moves away from London to the safety of a tea room boarding house on the outskirts of the city. Here she deals with several spinsters and an elderly gentleman named Mr Thwaites who endlessly nitpicks at her during their shared mealtimes. An American G.I (lieutenant Pike) enters her life and a mild romance of sorts begins with regular trips to the local pub for drinks. But then Miss Roach's half-German friend Vicki Kugelmann moves into the boarding house and becomes a rival for the affections of lieutenant Pike.

This was one of the best things I have ever read. There is so much art to Hamilton's simplicity. And he is so good at dealing with the psychological (especially the British method of churning one's resentments over and over in our minds). He taps into the slights and off-hand comments which bug us for the rest of the day, which burrow into our thoughts until we ruminate upon them relentlessly. He reveals the petty resentments we have and the uncertainties of what others might be thinking or feeling about us (what did they mean by that? Am I overreacting? Was that a subtle dig?). None of this should be surprising when you remind yourself that Hamilton is the man who wrote 'Gaslight' a term which now pervades modern culture. But he's just so good at taking the smallest thing and making you squirm and fixate and worry.

Miss Roach appears both overly sensitive yet utterly correct in her assessments of what others might be thinking of her. Never has a female character (especially written by a man) felt so real to me. And as I've already mentioned, I love the Britishness of it all. How apt that it should take place (like a lot of his work) during the 2nd World War. He understands the psychological nature of this island and its people, especially the English.

Often, when I read a novel, my interest wanes towards the last third but here the total opposite occurred. Everything builds and builds despite, in reality, nothing very significant ever really happening. Even the chapters seemed to be getting shorter as the book went along. He takes the most mundane subject matter and turns it into a psychological nightmare. It is an exquisite gift to take the banal and mediocre lives of tea room boarders and make me grip tightly to the pages. Glorious!
]]>
<![CDATA[The Troop: Tiktok's favourite horror novel!]]> 24486065 Winner of the inaugural James Herbert Award, THE TROOP is a novel that will not fail to get under your skin...

He felt something touch his hand. Which is when he looked down.

For the scouts of Troop 52, three days of camping, hiking and survival lessons on Falstaff Island is as close as they'll get to a proper holiday.

Which was when he saw it.

But when an emaciated figure stumbles into their camp asking for food, the trip takes a horrifying turn. The man is not just hungry, he's sick. Sick in a way they have never seen before.

Which was when he screamed.

Cut off from the mainland, the troop face a terror far worse than anything they could have made up around a campfire. To survive they will have to fight their fears, the elements ... and eventually each other.

'THE TROOP scared the hell out of me, and I couldn't put it down. Not for the faint-hearted' Stephen King]]>
410 Nick Cutter 147220624X Hux 3
The story is about a scout master (Tim) who takes five teenage boys (Kent, Ephraim, Max, Shelley, and Newton) to Falstaff Island just off the main coast. Already the premise is pretty dumb. Teenage boys alone with just one scoutmaster? Modern boys in their teens who care about scouting? Really? But hey, the book needs to happen so let's just go with it. So they're staying at a cabin on the island when out of nowhere a man arrives on a boat, a man who is patently very ill and apparently needs to keep consuming food. He eventually dies and a strange worm-like creature comes out of him. Then, one by one they all appear to be infected by these worms. And well... that's about it. Not much more happens (except one of the boys suddenly being a psychopath out of nowhere). That's about as scary as it gets. The authorities surround the island and don't let anyone come or go.

To make matters worse, the book is written with lots of pointless exposition which undermines all the tension. There are question and answer interviews with scientists and military personnel between several chapters where the worms and their existence are explained. Frankly, I would rather the book kept the cause of their existence vague but the book literally spells everything out -- who created them, why, where, the tests they did on animals, etc. Everything is given away. Then there are articles from newspapers and magazines reporting on what happened in the past tense. You could have removed all of these and you would have lost nothing.

The only part of the book that I found entertaining was the conversations between the boys, their juvenile humour and funny jibes. It had a mild Stand By Me quality which sadly wasn't present for very long. Otherwise, it was a little dull and plodding. Hardly anything happens. The worms are certainly creepy but it never gets gross or terrifying. It's all a bit... whatever. And the fact that one of the boys is revealed to be a raging lunatic in the final third was a tad moronic, suggesting that Cutter himself had lost faith in how scary his own story was. He clearly felt the need to beef things up by doing this.

Ultimately, a bit of a damp squib.]]>
3.84 2014 The Troop: Tiktok's favourite horror novel!
author: Nick Cutter
name: Hux
average rating: 3.84
book published: 2014
rating: 3
read at: 2024/11/10
date added: 2024/11/10
shelves:
review:
I read this hoping for a nice cosy horror story that would be of little literary significance but full of entertaining plot and characters. I had high expectations. Sadly, it was surprisingly dull and more uneventful than I would have anticipated.

The story is about a scout master (Tim) who takes five teenage boys (Kent, Ephraim, Max, Shelley, and Newton) to Falstaff Island just off the main coast. Already the premise is pretty dumb. Teenage boys alone with just one scoutmaster? Modern boys in their teens who care about scouting? Really? But hey, the book needs to happen so let's just go with it. So they're staying at a cabin on the island when out of nowhere a man arrives on a boat, a man who is patently very ill and apparently needs to keep consuming food. He eventually dies and a strange worm-like creature comes out of him. Then, one by one they all appear to be infected by these worms. And well... that's about it. Not much more happens (except one of the boys suddenly being a psychopath out of nowhere). That's about as scary as it gets. The authorities surround the island and don't let anyone come or go.

To make matters worse, the book is written with lots of pointless exposition which undermines all the tension. There are question and answer interviews with scientists and military personnel between several chapters where the worms and their existence are explained. Frankly, I would rather the book kept the cause of their existence vague but the book literally spells everything out -- who created them, why, where, the tests they did on animals, etc. Everything is given away. Then there are articles from newspapers and magazines reporting on what happened in the past tense. You could have removed all of these and you would have lost nothing.

The only part of the book that I found entertaining was the conversations between the boys, their juvenile humour and funny jibes. It had a mild Stand By Me quality which sadly wasn't present for very long. Otherwise, it was a little dull and plodding. Hardly anything happens. The worms are certainly creepy but it never gets gross or terrifying. It's all a bit... whatever. And the fact that one of the boys is revealed to be a raging lunatic in the final third was a tad moronic, suggesting that Cutter himself had lost faith in how scary his own story was. He clearly felt the need to beef things up by doing this.

Ultimately, a bit of a damp squib.
]]>
Factotum 6660149
Charles Bukowski's posthumous legend continues to grow. Factotum is a masterfully vivid evocation of slow-paced, low-life urbanity and alcoholism, and an excellent introduction to the fictional world of Charles Bukowski.]]>
175 Charles Bukowski 0753518155 Hux 3
But like I said, you've read one, you've read them all. Had I read this one first, I might have liked it a lot more but because I read Post Office, Ham on Rye, and half of Women (before getting bored halfway through), this one really did start to feel like more of the same. It's always easy to read, occasionally funny, always disgusting, and soaked in endless body fluids and wasted living. Bukowski's alter ego, Henry Chinaski, goes from city to city, from dead-end job to dead-end job, from skanky whore to skanky whore. There are times when it's almost too absurd (such as the unrealistic boat sex with two women) and times when it's just a series of wasted experiences and relentless bleakness. The only part that has any romance or hope is his desire to be a writer, the section where he gets a short story accepted being a genuine moment of uplifting promise. Later to be followed by more drinking and downtrodden despair.

It's fun to read but ultimately nothing spectacular. My only major gripe is that he always says 'awakened' and never woke up. "I awakened this, I awakened that." Got on my nerves after a while but anyway... At the end of the day, all of Bukowski's books are essentially one long life story told in increments. This part was less interesting to me than the others. But as always, it's a life that feels lived, full of bland normal nothingness and disappointment, escapist binge-drinking, whores, and horse racing. It's hard not to like him. It's hard not to feel for sorry for him.

The phone rang. It rang several times before I could struggle out of bed and answer it.
"Mr Chinaski?"
"Yes."
"This is the Times Building."
"Yes?"
"We've reviewed your application and would like to employ you."
"Reporter?"
"No, maintenance man and janitor."
]]>
3.74 1975 Factotum
author: Charles Bukowski
name: Hux
average rating: 3.74
book published: 1975
rating: 3
read at: 2024/11/07
date added: 2024/11/07
shelves:
review:
Bukowski is a one-trick pony. But as tricks go, it's pretty good. The bottom line is: if you've read one book by Bukowski, you've pretty much read them all. It's essentially the same story of a dirty old man, a bastard drunk misogynist, who hates work and likes booze and women with fat arses (even though he's supposed to be in his twenties). And that's one of the main problems with his books, they're all written from a later perspective, when he actually was a dirty old perv, and so they struggle to evoke any real sense of him being a younger man (with the possible exception of Ham on Rye where he manages to elevate the quality of the writing). So you're basically saturated in middle-aged cynicism, bloatedness, and whiskey from the word go. And it's actually very entertaining.

But like I said, you've read one, you've read them all. Had I read this one first, I might have liked it a lot more but because I read Post Office, Ham on Rye, and half of Women (before getting bored halfway through), this one really did start to feel like more of the same. It's always easy to read, occasionally funny, always disgusting, and soaked in endless body fluids and wasted living. Bukowski's alter ego, Henry Chinaski, goes from city to city, from dead-end job to dead-end job, from skanky whore to skanky whore. There are times when it's almost too absurd (such as the unrealistic boat sex with two women) and times when it's just a series of wasted experiences and relentless bleakness. The only part that has any romance or hope is his desire to be a writer, the section where he gets a short story accepted being a genuine moment of uplifting promise. Later to be followed by more drinking and downtrodden despair.

It's fun to read but ultimately nothing spectacular. My only major gripe is that he always says 'awakened' and never woke up. "I awakened this, I awakened that." Got on my nerves after a while but anyway... At the end of the day, all of Bukowski's books are essentially one long life story told in increments. This part was less interesting to me than the others. But as always, it's a life that feels lived, full of bland normal nothingness and disappointment, escapist binge-drinking, whores, and horse racing. It's hard not to like him. It's hard not to feel for sorry for him.

The phone rang. It rang several times before I could struggle out of bed and answer it.
"Mr Chinaski?"
"Yes."
"This is the Times Building."
"Yes?"
"We've reviewed your application and would like to employ you."
"Reporter?"
"No, maintenance man and janitor."

]]>
Wise Blood 3128907 Wise Blood, Flannery O'Connor's first novel, is the story of Hazel Motes who, released from the armed services, returns to the evangelical Deep South. There he begins a private battle against the religiosity of the community and in particular against Asa Hawkes, the 'blind' preacher, and his degenerate fifteen-year-old daughter. In desperation Hazel founds his own religion, 'The Church without Christ', and this extraordinary narrative moves towards its savage and macabre resolution.
'A literary talent that has about it the uniqueness of greatness.' Sunday Telegraph

'No other major American writer of our century has constructed a fictional world so energetically and forthrightly charged by religious investigation.' The New Yorker

'A genius.' New York Times]]>
160 Flannery O'Connor 0571241301 Hux 3
There are some interesting things going on in this book but ultimately, I really did not enjoy reading much of it. If this is a good example of Southern Gothic then I guess we can add that to the list of genres I dislike. There's something profoundly alien about these people and this world, something which reveals the real America as a rather separated and obscure culture. There's only so much 'Gee, shucks, y'all' Americana I can take before I find it tiresome or just downright repugnant. It brought to mind A Confederacy of Dunces (another book I disliked) in the way that every character seemed to be a bloated exaggeration of what to expect from reality. Sure enough characters all have names that could only ever exist in American Literature such as Hazel Motes, Sabbath Hawkes, Hoover Shoats... yeehaw!! If anything it only served to remind me of how distant American culture really is from my own. I once read somewhere that Europeans make the mistake of thinking that America is a European country in North America when in truth, it's a South American Country but with money. Books like this feel eerily unfamiliar to me and I can barely grasp the intense religiosity that seems to overwhelm that country. It's becoming clear that the pilgrims didn't go to America to escape religious persecution, they went there to engage in it.

And then there's O'Conner's writing. To me it came across as clunky and poorly expressed, as though (as it actually is) the book was her first. Where three sentences would be sufficient to push the plot along, she will opt for fifteen. It felt a little cluttered and jarring, lacked the flow I prefer, and seemed to be in desperate need of having a great deal of the fat removed. I certainly can't imagine how anyone could view this as lyrical in the slightest. This fact and the bizarre setting and subject matter combined for an unpleasant reading experience. There's some weird and interesting things going on in this book but none of it spoke to me or impressed. I found it a slog.

That being said, it's got enough weirdness to justify being recommended.]]>
3.70 1952 Wise Blood
author: Flannery O'Connor
name: Hux
average rating: 3.70
book published: 1952
rating: 3
read at: 2024/11/05
date added: 2024/11/05
shelves:
review:
The story of a traumatised soldier called Hazel Motes who arrives in a small town (Taulkinham) and becomes obsessed with a blind preacher and his 15-year-old daughter. More specifically he is obsessed with the false religiosity of the community and he endeavours to preach his own anti-religion by creating what he calls the church without Christ. Meanwhile there'sa weird zoo worker called Enoch Emery who is fixated on a mummified dwarf (which he steals) as a symbol of something meaningful to Motes and who gloms on to him as someone in possession of Wise Blood (an apparent instinct for innate spiritual guidance and knowledge).

There are some interesting things going on in this book but ultimately, I really did not enjoy reading much of it. If this is a good example of Southern Gothic then I guess we can add that to the list of genres I dislike. There's something profoundly alien about these people and this world, something which reveals the real America as a rather separated and obscure culture. There's only so much 'Gee, shucks, y'all' Americana I can take before I find it tiresome or just downright repugnant. It brought to mind A Confederacy of Dunces (another book I disliked) in the way that every character seemed to be a bloated exaggeration of what to expect from reality. Sure enough characters all have names that could only ever exist in American Literature such as Hazel Motes, Sabbath Hawkes, Hoover Shoats... yeehaw!! If anything it only served to remind me of how distant American culture really is from my own. I once read somewhere that Europeans make the mistake of thinking that America is a European country in North America when in truth, it's a South American Country but with money. Books like this feel eerily unfamiliar to me and I can barely grasp the intense religiosity that seems to overwhelm that country. It's becoming clear that the pilgrims didn't go to America to escape religious persecution, they went there to engage in it.

And then there's O'Conner's writing. To me it came across as clunky and poorly expressed, as though (as it actually is) the book was her first. Where three sentences would be sufficient to push the plot along, she will opt for fifteen. It felt a little cluttered and jarring, lacked the flow I prefer, and seemed to be in desperate need of having a great deal of the fat removed. I certainly can't imagine how anyone could view this as lyrical in the slightest. This fact and the bizarre setting and subject matter combined for an unpleasant reading experience. There's some weird and interesting things going on in this book but none of it spoke to me or impressed. I found it a slog.

That being said, it's got enough weirdness to justify being recommended.
]]>
Three Trapped Tigers 2588066 487 Guillermo Cabrera Infante 0330261339 Hux 2
I so wanted the book to be something glorious but, alas, it was nothing more than another febrile mess of Joycean mimicry not even attempting to masquerade as anything else. Infante can write but (like so many of his contemporaries) he made a choice of style over substance, to squander his talent by dismissing the opportunity to create a great work that would appeal to the world in perpetuity, instead focusing on ensuring that he would appeal to seven esoteric hipsters with names like Zac and Blane in a Seattle coffee shop who, on reflection, would eventually grow tired of their own performative claims of loving him anyway. The book is vague, incoherent, meandering, and unforgivably dull.

I am reliably informed that the book is about three young people in Havana. But honestly, if you told me it was about ten people or just one, I wouldn't be able to categorically confirm or deny the assertion. I had no idea what was happening, who was speaking, what people looked like, where things were taking place, or how any of it connected. Some parts were easy to read but I still had no context for what was going on or why it should matter to me. I couldn't even tell you the name of one of the narrators (I think one of them might have been a photographer called Codac) but I lost interest by then because amid the skittish chopping and changing, we also have some stream-of-consciousness prose (because obviously) that adds very little and only further muddies the waters. I think there was one solitary page where I found a beautiful sentence (describing the nightclub singer) and Cabrera does a decent job of generating a sense of heat and tropical sweat on various sunburned bodies, but that aside, I simply found the writing to be immensely dull and repetitive. That damn James Joyce has a lot to answer for.

There may be others out there who will like this so I would still recommend it but I found it extremely difficult to engage with. What makes it so frustrating (again) is the fact that Cabrera can clearly write but chose to do this instead. It's all just so tiresome. For all the inventive stuff thrown in (a mirrored page of backward writing, an upside down pyramid of writing, a few lists (because these kinds of books must always have lists) and several disjointed chapters that break things up for brevity), Cabrera never really considers the possibility that entertaining me me might also be an inventive thing to do.

Sigh.]]>
2.80 2008 Three Trapped Tigers
author: Guillermo Cabrera Infante
name: Hux
average rating: 2.80
book published: 2008
rating: 2
read at: 2024/04/19
date added: 2024/11/04
shelves:
review:
I searched for this book for a long time and could never find a copy eventually having no choice but to accept a second hand copy that had crisp, yellow pages (perhaps after decades of being in a bedsit where a man (let's call him Leroy) smoked forty roll-ups a day). In a strange way, the sickly mustard hue almost suited the book and made me think of sun drenched beaches and cigarette filled bars.

I so wanted the book to be something glorious but, alas, it was nothing more than another febrile mess of Joycean mimicry not even attempting to masquerade as anything else. Infante can write but (like so many of his contemporaries) he made a choice of style over substance, to squander his talent by dismissing the opportunity to create a great work that would appeal to the world in perpetuity, instead focusing on ensuring that he would appeal to seven esoteric hipsters with names like Zac and Blane in a Seattle coffee shop who, on reflection, would eventually grow tired of their own performative claims of loving him anyway. The book is vague, incoherent, meandering, and unforgivably dull.

I am reliably informed that the book is about three young people in Havana. But honestly, if you told me it was about ten people or just one, I wouldn't be able to categorically confirm or deny the assertion. I had no idea what was happening, who was speaking, what people looked like, where things were taking place, or how any of it connected. Some parts were easy to read but I still had no context for what was going on or why it should matter to me. I couldn't even tell you the name of one of the narrators (I think one of them might have been a photographer called Codac) but I lost interest by then because amid the skittish chopping and changing, we also have some stream-of-consciousness prose (because obviously) that adds very little and only further muddies the waters. I think there was one solitary page where I found a beautiful sentence (describing the nightclub singer) and Cabrera does a decent job of generating a sense of heat and tropical sweat on various sunburned bodies, but that aside, I simply found the writing to be immensely dull and repetitive. That damn James Joyce has a lot to answer for.

There may be others out there who will like this so I would still recommend it but I found it extremely difficult to engage with. What makes it so frustrating (again) is the fact that Cabrera can clearly write but chose to do this instead. It's all just so tiresome. For all the inventive stuff thrown in (a mirrored page of backward writing, an upside down pyramid of writing, a few lists (because these kinds of books must always have lists) and several disjointed chapters that break things up for brevity), Cabrera never really considers the possibility that entertaining me me might also be an inventive thing to do.

Sigh.
]]>
I Who Have Never Known Men 43208407 ‘For a very long time, the days went by, each just like the day before, then I began to think, and everything changed�

Deep underground, thirty-nine women live imprisoned in a cage. Watched over by guards, the women have no memory of how they got there, no notion of time, and only vague recollection of their lives before.

As the burn of electric light merges day into night and numberless years pass, a young girl - the fortieth prisoner - sits alone and outcast in the corner. Soon she will show herself to be the key to the others' escape and survival in the strange world that awaits them above ground.]]>
188 Jacqueline Harpman 152911179X Hux 5 favorites
This was right up my street. Ambiguous, vague, curious, and best of all... determined to leave you without answers. As all good books should.

An unnamed woman (a teenage girl in fact) is locked in an underground cell with 39 other women of varying ages and has been for many years. They have no memory (beyond a smattering of vague recollections) of their previous lives and no grasp of why they have been imprisoned. They are guarded by three men. Food is provided but they are not allowed to touch or engage in behaviours that are prohibited (a whip will be cracked to remind them). The narrator is the youngest and she begins to want answers but the other women can only tell her so much. Then one day, as one of the guards is putting the key in the cell door, an alarm begins to sound and the guards run away and vanish. The women, led by the narrator, also take this opportunity to escape. They go up some stairs to discover they are in a small cabin and outside there is only a wasteland of flatlands, a dry, lifeless plain. Where did the men go? Why were they imprisoned? Will the guards come back? As the days go by, they begin to explore further afield only to discover another identical cabin. But the women prisoners here were not so lucky and could not escape and starved to death. Then they find another cabin, this time with men, and the same outcome. And on and on it goes, cabin after cabin as they travel for miles, for years, seeking out an explanation. Eventually, the women build homes by the river, the years go by, and one by one they die off. No answers arrive. No saviours. No rescue. Only more mystery. Perhaps this isn't even Earth. Maybe it's an alien world. Gradually, as the decades go by, the women are whittled down to the narrator. She is finally alone.

I really enjoyed this. The writing is fairly straight-forward, never anything challenging, but it's immensely fun to read. I've seen some people offer feminist interpretations regarding the story but I find identitarian politics are always immensely dull and reductive. For me, the book is far more interesting, exploring bigger human themes that are more in line with something like The Tartar steppe in the sense that they are focused on the existential limits of being alive (an entirely universal experience). Harpman is showing us that even when we escape prison, we are still in prison. Existence is a prison, a ludicrous waste of time and energy that rewards us with nothing. Life is confined by repetitive experiences and with or without walls, we are destined to be restricted by our natures. Death is your only true means of escape. And even that is a pathetic damp squib of having to excrete discharge from your orifices or sliding a knife between your ribs to bring the farce to an end. The fact that men are also imprisoned and suffer the same fate would certainly suggest as much even when taking the narrator's unique female experiences into account.

Best of all, there are no answers. Not even attempts at answers. When you think you've found something that might add context, might clarify, you discover that it only added further darkness and uncertainty. There are no answers, only more questions. And while asking questions, as the narrator often does, might offer solace or satisfaction, it ultimately results in nothing. Nothing is all we get. A giant pointless mystery that only ends with death. I love books like this, personal, philosophical, meditative, and I was relieved that Harpman didn't waste any time titillating the reader with the prospect of providing any answers.

There are none. There never will be any. Welcome to a pointless existence.

Excellent!]]>
4.24 1995 I Who Have Never Known Men
author: Jacqueline Harpman
name: Hux
average rating: 4.24
book published: 1995
rating: 5
read at: 2024/10/17
date added: 2024/11/03
shelves: favorites
review:
Life is a prison. And death is the only way out.

This was right up my street. Ambiguous, vague, curious, and best of all... determined to leave you without answers. As all good books should.

An unnamed woman (a teenage girl in fact) is locked in an underground cell with 39 other women of varying ages and has been for many years. They have no memory (beyond a smattering of vague recollections) of their previous lives and no grasp of why they have been imprisoned. They are guarded by three men. Food is provided but they are not allowed to touch or engage in behaviours that are prohibited (a whip will be cracked to remind them). The narrator is the youngest and she begins to want answers but the other women can only tell her so much. Then one day, as one of the guards is putting the key in the cell door, an alarm begins to sound and the guards run away and vanish. The women, led by the narrator, also take this opportunity to escape. They go up some stairs to discover they are in a small cabin and outside there is only a wasteland of flatlands, a dry, lifeless plain. Where did the men go? Why were they imprisoned? Will the guards come back? As the days go by, they begin to explore further afield only to discover another identical cabin. But the women prisoners here were not so lucky and could not escape and starved to death. Then they find another cabin, this time with men, and the same outcome. And on and on it goes, cabin after cabin as they travel for miles, for years, seeking out an explanation. Eventually, the women build homes by the river, the years go by, and one by one they die off. No answers arrive. No saviours. No rescue. Only more mystery. Perhaps this isn't even Earth. Maybe it's an alien world. Gradually, as the decades go by, the women are whittled down to the narrator. She is finally alone.

I really enjoyed this. The writing is fairly straight-forward, never anything challenging, but it's immensely fun to read. I've seen some people offer feminist interpretations regarding the story but I find identitarian politics are always immensely dull and reductive. For me, the book is far more interesting, exploring bigger human themes that are more in line with something like The Tartar steppe in the sense that they are focused on the existential limits of being alive (an entirely universal experience). Harpman is showing us that even when we escape prison, we are still in prison. Existence is a prison, a ludicrous waste of time and energy that rewards us with nothing. Life is confined by repetitive experiences and with or without walls, we are destined to be restricted by our natures. Death is your only true means of escape. And even that is a pathetic damp squib of having to excrete discharge from your orifices or sliding a knife between your ribs to bring the farce to an end. The fact that men are also imprisoned and suffer the same fate would certainly suggest as much even when taking the narrator's unique female experiences into account.

Best of all, there are no answers. Not even attempts at answers. When you think you've found something that might add context, might clarify, you discover that it only added further darkness and uncertainty. There are no answers, only more questions. And while asking questions, as the narrator often does, might offer solace or satisfaction, it ultimately results in nothing. Nothing is all we get. A giant pointless mystery that only ends with death. I love books like this, personal, philosophical, meditative, and I was relieved that Harpman didn't waste any time titillating the reader with the prospect of providing any answers.

There are none. There never will be any. Welcome to a pointless existence.

Excellent!
]]>
Concrete 41577402 'Probably nothing exists that would prepare one for Bernhard's machined vehemence, though once you've read one, you perhaps start to crave the bitter taste and the savage not-quite-humour ... Genius.' - Michael Hofmann

Instead of the book he is meant to write, Rudolph, a Viennese musicologist, produces this dark and grotesquely funny account of small woes writ large, of profound horrors detailed and rehearsed to the point of distraction. We learn of Rudolph's sister, whose help he invites then reviles; his 'really marvellous' house which he hates; the suspicious illness he carefully nurses; his ten-year-long attempt to write the perfect opening sentence; and his escape to the island of Majorca, which turns out to be the site of someone else's very real horror story, and ultimately brings him no release from himself.

Concrete is Thomas Bernhard at his very finest: a bleakly hilarious insight into procrastination and failure that scratches the murky depths of our souls.]]>
176 Thomas Bernhard 0571349951 Hux 2
After having read The Loser and being less than impressed, I chose to wait before going back into the world of Thomas Berhard. Unfortunately, I essentially had the same experience again, his bland prose presented as a wall of text representing the mundane rambling thoughts of a man ranting about the mediocre trivialities of life. The interesting thing about Bernhard is that he has a style which suggests stream-of-consciousness but never actually is. His prose is very prosaic, possessing no meaningful flourishes, no Proustian beauty, not even the staggered scattergun stream of thoughts I tend to dislike and which one associates with this kind of writing; but instead he produces a very standard, almost perfunctory, level of writing and grammar. It's somewhat bewildering that he has such an impressive reputation when the writing is, for all intents and purposes, no more creative than what you'd expect from an accountant who works at Dixons. It isn't challenging, it isn't difficult, it's just very basic.

PAGE 29 - "I believed fervently that I needed my sister in order to be able to start my work on Mendelssohn Bartholdy. And then, when she was there, I knew that I didn't need her, that I could start work only if she wasn't there. But now she's gone and I'm really unable to start. At first it was because she was there, and now it's because she isn't."

PAGE 50 - "We must commit ourselves one hundred per cent to everything we do, my father always said. He said it to everybody - to my mother, to my sisters, to me. If we don't commit ourselves one hundred per cent we fail even before we've begun. But what is one hundred per cent in this case? Haven't I prepared for this work one hundred per cent?

PAGE 60 - "How long it is since I last took these cases out of the chest! I said to myself. Far too long. In fact the cases were dusty, even though they had been in the chest ever since my last trip, that is my last trip to Palma."

PAGE 124 "At two o' clock in the afternoon, when the car came to collect me, it was still eleven degrees below zero in Peiskam, but on my arrival in Palma, where I am writing these notes, the thermometer showed eighteen degrees above."

Does any of the above strike you as difficult? Not really. And yet Bernhard has this reputation as a writer above the commonplace herd, a writer of difficult prose and challenging works. But why? It doesn't make sense. Well, I've come to the conclusion that it's for the same reason that Jon Fosse also gets endlessly praised. Because they both engage in what I like to call "Manic Monologue." It essentially involves being endlessly repetitive until you feel dizzy with swirling madness. While Fosse will literally just repeat sentences OVER AND OVER again to manufacture this dire sense of being inside a man's anxious mind, Berhard uses a slightly different yet equally irksome approach. Bernhard will write standard, uninteresting (non-repetitive) prose, but will return to the same handful of themes again and again. So in this book, for example, the narrator, Rudolf, talks about his sister, then a few pages later talks about the book he's working on about Bartholdy, then a few pages later talks about going to Palma, then a few pages later talks about his sister again, then a few pages later talks about Bartholdy again, and so on, and so forth. It's slightly less deranging than Fosse but it's ultimately the same technique -- just cover the same ground relentlessly ad nauseam until you're so befuddled and mesmerised that you completely forget that what you're reading is actually... not very interesting.

Apparently, this is great literature to many of you. To me, it's time wasted. Aside from the fact that I don't believe this is actually how people think (even when manic) -- the lack of personal context or abstract thinking, the lack of visuals or incoherent notions incapable of being turned into expressions of thought -- there is also the fact that it's just not very fun to read. Where is my reward for enduring this false, slightly self-congratulatory style?

I once heard someone say that Berhard doesn't have chapters because life doesn't have chapters. To which I would respond, it's a book, dear, not life.

So yeah, this isn't for me.]]>
4.09 1982 Concrete
author: Thomas Bernhard
name: Hux
average rating: 4.09
book published: 1982
rating: 2
read at: 2024/11/03
date added: 2024/11/03
shelves:
review:
Well, I tried.

After having read The Loser and being less than impressed, I chose to wait before going back into the world of Thomas Berhard. Unfortunately, I essentially had the same experience again, his bland prose presented as a wall of text representing the mundane rambling thoughts of a man ranting about the mediocre trivialities of life. The interesting thing about Bernhard is that he has a style which suggests stream-of-consciousness but never actually is. His prose is very prosaic, possessing no meaningful flourishes, no Proustian beauty, not even the staggered scattergun stream of thoughts I tend to dislike and which one associates with this kind of writing; but instead he produces a very standard, almost perfunctory, level of writing and grammar. It's somewhat bewildering that he has such an impressive reputation when the writing is, for all intents and purposes, no more creative than what you'd expect from an accountant who works at Dixons. It isn't challenging, it isn't difficult, it's just very basic.

PAGE 29 - "I believed fervently that I needed my sister in order to be able to start my work on Mendelssohn Bartholdy. And then, when she was there, I knew that I didn't need her, that I could start work only if she wasn't there. But now she's gone and I'm really unable to start. At first it was because she was there, and now it's because she isn't."

PAGE 50 - "We must commit ourselves one hundred per cent to everything we do, my father always said. He said it to everybody - to my mother, to my sisters, to me. If we don't commit ourselves one hundred per cent we fail even before we've begun. But what is one hundred per cent in this case? Haven't I prepared for this work one hundred per cent?

PAGE 60 - "How long it is since I last took these cases out of the chest! I said to myself. Far too long. In fact the cases were dusty, even though they had been in the chest ever since my last trip, that is my last trip to Palma."

PAGE 124 "At two o' clock in the afternoon, when the car came to collect me, it was still eleven degrees below zero in Peiskam, but on my arrival in Palma, where I am writing these notes, the thermometer showed eighteen degrees above."

Does any of the above strike you as difficult? Not really. And yet Bernhard has this reputation as a writer above the commonplace herd, a writer of difficult prose and challenging works. But why? It doesn't make sense. Well, I've come to the conclusion that it's for the same reason that Jon Fosse also gets endlessly praised. Because they both engage in what I like to call "Manic Monologue." It essentially involves being endlessly repetitive until you feel dizzy with swirling madness. While Fosse will literally just repeat sentences OVER AND OVER again to manufacture this dire sense of being inside a man's anxious mind, Berhard uses a slightly different yet equally irksome approach. Bernhard will write standard, uninteresting (non-repetitive) prose, but will return to the same handful of themes again and again. So in this book, for example, the narrator, Rudolf, talks about his sister, then a few pages later talks about the book he's working on about Bartholdy, then a few pages later talks about going to Palma, then a few pages later talks about his sister again, then a few pages later talks about Bartholdy again, and so on, and so forth. It's slightly less deranging than Fosse but it's ultimately the same technique -- just cover the same ground relentlessly ad nauseam until you're so befuddled and mesmerised that you completely forget that what you're reading is actually... not very interesting.

Apparently, this is great literature to many of you. To me, it's time wasted. Aside from the fact that I don't believe this is actually how people think (even when manic) -- the lack of personal context or abstract thinking, the lack of visuals or incoherent notions incapable of being turned into expressions of thought -- there is also the fact that it's just not very fun to read. Where is my reward for enduring this false, slightly self-congratulatory style?

I once heard someone say that Berhard doesn't have chapters because life doesn't have chapters. To which I would respond, it's a book, dear, not life.

So yeah, this isn't for me.
]]>
The Skin 15799199 The Skin. The book begins in 1943, with Allied forces cementing their grip on the devastated city of Naples. The sometime Fascist and ever-resourceful Curzio Malaparte is working with the Americans as a liaison officer. He looks after Colonel Jack Hamilton, “a Christian gentleman . . . an American in the noblest sense of the word,� who speaks French and cites the classics and holds his nose as the two men tour the squalid streets of a city in ruins where liberation is only another word for desperation. Veterans of the disbanded Italian army beg for work. A rare specimen from the city’s famous aquarium is served up at a ceremonial dinner for high Allied officers. Prostitution is rampant. The smell of death is everywhere.

Subtle, cynical, evasive, manipulative, unnerving, always astonishing, Malaparte is a supreme artist of the unreliable, both the product and the prophet of a world gone rotten to the core.]]>
343 Curzio Malaparte 1590176227 Hux 3
Whereas Kaput focused on the eastern front, this one is all about Italy. Naples especially. Malaparte is now marching with the Americans into the city and onwards north (though he does reminisce about the eastern front some more at one point). But generally this whole book is a love letter to Naples. He spends most of his time there liaising with an American colonel called Jack Hamilton, and Malaparte (more so Naples) becomes the embodiment of Europe, its prostitutes and dwarves, its dead and its lost, all representing something which is rotten yet steadfastly proud. He delves deep into the dirt as much as ever and makes bold proclamations about the homosexuals, the negro soldiers, and the nature of Europeans and Americans in general. In fact, it slightly irritated me that he kept referring to ALL Europe as though it was one thing (it really isn't), perhaps in an attempt to further the narrative that Italy was some kind of victim among the rest of Europe.

It's well-written and always compelling but as I said, Malaparte covers ground he's already covered, adding only a slightly more incredulous quality to the work which I struggled with; namely his inability to speak the truth and his penchant for waiting to see which way the wind is blowing before committing to a position. This was also a feature I disliked in Kaput, his smug certainty that he was always on the right side of things, capable of justifying his banquet feasts with Nazis as though he were a mere observer with no skin in the game. One can only assume this criticism was levelled at Malaparte when the book was first published because there is a little moment where he and his American friends even mock his dishonest nature in Kaput and his habit of exaggerating events (either with a view to spicing up his stories or, more likely, to make himself look better in the eyes of his readers).

"... 'Judging from Kaput,' answered Pierre Lyautey, 'one would say that Malaparte eats nothing but nightingales' hearts, served on plates of old Meissen and Nymphenburg pocelain at the tables of Royal Highnesses, Duchesses and Ambassadors.'

'Malaparte undoubtedly has a very vivid imagination,' laughed General Guillaume, 'and in his next book you will find our humble camp meal transformed into a regal banquet, while I shall become a kind of Sultan of Morocco.'... "

That Malaparte includes these little moments of his entirely fictionalised characters talking of the exaggerations of an entirely fictionalised version of himself is telling (at least to me). He's confessing to something minor whilst simultaneously deflecting attention from something more unpleasant elsewhere. And that's the problem I have with him here which was only a background issue in Kaput. He's full of it!! But worse than that he is a fascist who is never to be punished for his fascism, a villain, allowed to embrace the clownish facade of a harmless oaf. So yeah... he's Italy.

In the end, it's not as good or as original as Kaput (essentially just more of the same) but nonetheless entertaining, well-written and fascinating all the same. While I was charmed by him in Kaput, here my cynical awareness that I was being lied to by a scoundrel became harder to ignore. Fool me once and all that. I dunno. I just feel a bit dirty, like I've been sold something I didn't need by a snake oil salesman who smirks a little too often.]]>
3.98 1949 The Skin
author: Curzio Malaparte
name: Hux
average rating: 3.98
book published: 1949
rating: 3
read at: 2024/11/01
date added: 2024/11/01
shelves:
review:
If you've read Kaput, you've essentially read this. As such it feels less powerful despite being as beautifully written. But it did feel like ground we had already tread, in fact, less so, because it doesn't quite have the mad flourish of Kaput and its highly dubious stories. Nonetheless, it's a fascinating piece worth reading if not for the sheer quality of the prose alone.

Whereas Kaput focused on the eastern front, this one is all about Italy. Naples especially. Malaparte is now marching with the Americans into the city and onwards north (though he does reminisce about the eastern front some more at one point). But generally this whole book is a love letter to Naples. He spends most of his time there liaising with an American colonel called Jack Hamilton, and Malaparte (more so Naples) becomes the embodiment of Europe, its prostitutes and dwarves, its dead and its lost, all representing something which is rotten yet steadfastly proud. He delves deep into the dirt as much as ever and makes bold proclamations about the homosexuals, the negro soldiers, and the nature of Europeans and Americans in general. In fact, it slightly irritated me that he kept referring to ALL Europe as though it was one thing (it really isn't), perhaps in an attempt to further the narrative that Italy was some kind of victim among the rest of Europe.

It's well-written and always compelling but as I said, Malaparte covers ground he's already covered, adding only a slightly more incredulous quality to the work which I struggled with; namely his inability to speak the truth and his penchant for waiting to see which way the wind is blowing before committing to a position. This was also a feature I disliked in Kaput, his smug certainty that he was always on the right side of things, capable of justifying his banquet feasts with Nazis as though he were a mere observer with no skin in the game. One can only assume this criticism was levelled at Malaparte when the book was first published because there is a little moment where he and his American friends even mock his dishonest nature in Kaput and his habit of exaggerating events (either with a view to spicing up his stories or, more likely, to make himself look better in the eyes of his readers).

"... 'Judging from Kaput,' answered Pierre Lyautey, 'one would say that Malaparte eats nothing but nightingales' hearts, served on plates of old Meissen and Nymphenburg pocelain at the tables of Royal Highnesses, Duchesses and Ambassadors.'

'Malaparte undoubtedly has a very vivid imagination,' laughed General Guillaume, 'and in his next book you will find our humble camp meal transformed into a regal banquet, while I shall become a kind of Sultan of Morocco.'... "

That Malaparte includes these little moments of his entirely fictionalised characters talking of the exaggerations of an entirely fictionalised version of himself is telling (at least to me). He's confessing to something minor whilst simultaneously deflecting attention from something more unpleasant elsewhere. And that's the problem I have with him here which was only a background issue in Kaput. He's full of it!! But worse than that he is a fascist who is never to be punished for his fascism, a villain, allowed to embrace the clownish facade of a harmless oaf. So yeah... he's Italy.

In the end, it's not as good or as original as Kaput (essentially just more of the same) but nonetheless entertaining, well-written and fascinating all the same. While I was charmed by him in Kaput, here my cynical awareness that I was being lied to by a scoundrel became harder to ignore. Fool me once and all that. I dunno. I just feel a bit dirty, like I've been sold something I didn't need by a snake oil salesman who smirks a little too often.
]]>
Omensetter's Luck 156188 Omensetter's Luck is the quirky, impressionistic, and breathtakingly original story of an ordinary community galvanized by the presence of an extraordinary man. Set in a small Ohio town in the 1890s, it chronicles - through the voices of various participants and observers - the confrontation between Brackett Omensetter, a man of preternatural goodness, and the Reverend Jethro Furber, a preacher crazed with a propensity for violent thoughts. Omensetter's Luck meticulously brings to life a specific time and place as it illuminates timeless questions about life, love, good and evil.]]> 315 William H. Gass 0141180102 Hux 1
Good luck to the rest of you on your arduous journey pretending to like it. The rewards will be immense, I'm sure.

Nope! Nopety Nopety Nope!!]]>
4.00 1966 Omensetter's Luck
author: William H. Gass
name: Hux
average rating: 4.00
book published: 1966
rating: 1
read at: 2024/10/30
date added: 2024/10/30
shelves:
review:
I read two chapters of this and decided that I'd rather kill myself. Whatever the substance might be, the style overwhelms it.

Good luck to the rest of you on your arduous journey pretending to like it. The rewards will be immense, I'm sure.

Nope! Nopety Nopety Nope!!
]]>
The Necrophiliac 10332402 92 Gabrielle Wittkop 1550229435 Hux 4
It should be noted from the outset that Wittkop is not squeamish about giving us details so if you're not comfortable with the subject matter or the visuals they will undoubtedly stimulate (he has a dead baby on his naked lap at one point) then you should probably just skip it. That being said, however, I thought Wittkop's writing was rather wonderful, occasionally even quite beautiful. She took the premise and really went for it, sparing little, exploring everything, and almost justifying the sexual acts as their own unique form of human relations. At one point Lucien even points out that while the young will happily stand in solidarity for all manner of grotesque or outlier sexualities, this one might be a step too far for them (despite the inanimate, non-sentient nature of the abused). The diary format works well as there's no real story, only individual encounters with a variety of victims, poetic insights on the nature of his desires and compulsions (and the word bombyx at regular intervals). He is aroused by all dead bodies, men women, and yes, children. But the content of the book, no matter how depraved, is always elevated by the wonderful prose (plus it's gloriously short).

"My excitation had put me into a sort of delirium, and I'd hardly started passionately licking the point of encounter where these beautiful dead creatures united my desire, when I thought I would die myself and inundated myself, moaning."

It's difficult to surmise what Wittkop is exploring as a theme here, perhaps loneliness, the outsider, or just those with a perversion so dark that it cannot be discussed openly. I must admit, the fact that she is a woman also gives the book a unique feel. Maybe it shouldn't but it did. There's always an added salaciousness when such sexual deviancy is in the hands of a woman and, for all I know, that may have been the point she was ultimately making. Hard to say. But the book was very readable and occasionally even reached heights of sincere beauty. An odd little novella.

Very good but approach with (some) caution.

EDIT: also the amount of people giving bad reviews. What did you think a book called The Necrophiliac was gonna be about? Cheese enthusiasts? ]]>
3.81 1972 The Necrophiliac
author: Gabrielle Wittkop
name: Hux
average rating: 3.81
book published: 1972
rating: 4
read at: 2024/10/30
date added: 2024/10/30
shelves:
review:
Hmm, where to start with this one. I suppose with the basics. The book is the diary of a man named Lucien who owns an antique shop and, in his spare time, digs up dead bodies and takes them home so he can have sex with them. Good. All clear? Then we shall continue...

It should be noted from the outset that Wittkop is not squeamish about giving us details so if you're not comfortable with the subject matter or the visuals they will undoubtedly stimulate (he has a dead baby on his naked lap at one point) then you should probably just skip it. That being said, however, I thought Wittkop's writing was rather wonderful, occasionally even quite beautiful. She took the premise and really went for it, sparing little, exploring everything, and almost justifying the sexual acts as their own unique form of human relations. At one point Lucien even points out that while the young will happily stand in solidarity for all manner of grotesque or outlier sexualities, this one might be a step too far for them (despite the inanimate, non-sentient nature of the abused). The diary format works well as there's no real story, only individual encounters with a variety of victims, poetic insights on the nature of his desires and compulsions (and the word bombyx at regular intervals). He is aroused by all dead bodies, men women, and yes, children. But the content of the book, no matter how depraved, is always elevated by the wonderful prose (plus it's gloriously short).

"My excitation had put me into a sort of delirium, and I'd hardly started passionately licking the point of encounter where these beautiful dead creatures united my desire, when I thought I would die myself and inundated myself, moaning."

It's difficult to surmise what Wittkop is exploring as a theme here, perhaps loneliness, the outsider, or just those with a perversion so dark that it cannot be discussed openly. I must admit, the fact that she is a woman also gives the book a unique feel. Maybe it shouldn't but it did. There's always an added salaciousness when such sexual deviancy is in the hands of a woman and, for all I know, that may have been the point she was ultimately making. Hard to say. But the book was very readable and occasionally even reached heights of sincere beauty. An odd little novella.

Very good but approach with (some) caution.

EDIT: also the amount of people giving bad reviews. What did you think a book called The Necrophiliac was gonna be about? Cheese enthusiasts?
]]>
Victoria 137235 112 Knut Hamsun 0285647598 Hux 4
The story is, appropriately for such subject matter, extremely simple. A young boy named Johannes is madly in love with a girl called Victoria. They grow up together and instantly seem to have a connection that goes beyond the formalities of friendship. As he gets older, he moves away to study, becomes a poet (a successful and published author). Meanwhile she is engaged to Otto, a smarmy lieutenant from a prosperous family. And yet she confesses to Johannes that she loves him, a confession that ought to have led to him doing everything he could to win her. But these are different times and everyone is expected to play their role as social etiquette demands. And so they go on, living their lives, apart from one another, failing to find a way to be together despite the endless declarations of love and proximity. What fools!

As ever, Hamsun's writing is great, just so easy to read, vibrant and sharp, crisp with meaning. There aren't many books from the 19th century that feel as modern as this, so much so that you often forget you're reading something from 1898. And as I said earlier, his ability to switch from matter-of-fact prose to heartbreaking expressions of lyrical poetry is wonderful. It feels like you're reading a dark fairy tale, one full of bitterness and loss, yet always with a veneer of romantic optimism for the transformative power of love.

"Asked what love is, some reply: It is only a wind whispering among the roses and dying away."

Hamsun has the unique ability to straddle the styles and themes of two different centuries with a comfort that is impressive. I suspect he will face the next century with similar ease and continue, despite his Nazi failings, to feature prominently in the hearts and minds of many people (including those not yet born). He is a one-off.]]>
3.80 1898 Victoria
author: Knut Hamsun
name: Hux
average rating: 3.80
book published: 1898
rating: 4
read at: 2024/10/29
date added: 2024/10/29
shelves:
review:
Ah, my second favourite writer with Nazi sympathies (Celine remains undefeated). There's something about Hamsun's writing that always reaches me, cuts deep into the romance of life. And here, it's all about romance. He has the ability to write in a manner that's concise and blunt, often when looking at the limits of the human condition, and yet, in equal measure, he has the ability to suddenly start talking about the course of the stars and how they shatter into dust as tears of unrequited love fall upon them. This whole book is filled with heartache and yearning, poetry and sadness. Hamsun is relentless in his exploration of lost love.

The story is, appropriately for such subject matter, extremely simple. A young boy named Johannes is madly in love with a girl called Victoria. They grow up together and instantly seem to have a connection that goes beyond the formalities of friendship. As he gets older, he moves away to study, becomes a poet (a successful and published author). Meanwhile she is engaged to Otto, a smarmy lieutenant from a prosperous family. And yet she confesses to Johannes that she loves him, a confession that ought to have led to him doing everything he could to win her. But these are different times and everyone is expected to play their role as social etiquette demands. And so they go on, living their lives, apart from one another, failing to find a way to be together despite the endless declarations of love and proximity. What fools!

As ever, Hamsun's writing is great, just so easy to read, vibrant and sharp, crisp with meaning. There aren't many books from the 19th century that feel as modern as this, so much so that you often forget you're reading something from 1898. And as I said earlier, his ability to switch from matter-of-fact prose to heartbreaking expressions of lyrical poetry is wonderful. It feels like you're reading a dark fairy tale, one full of bitterness and loss, yet always with a veneer of romantic optimism for the transformative power of love.

"Asked what love is, some reply: It is only a wind whispering among the roses and dying away."

Hamsun has the unique ability to straddle the styles and themes of two different centuries with a comfort that is impressive. I suspect he will face the next century with similar ease and continue, despite his Nazi failings, to feature prominently in the hearts and minds of many people (including those not yet born). He is a one-off.
]]>
A Month in Siena 52969578
A Month in Siena is the encounter, twenty-five years later, between the writer and the city he had worshipped from afar. It is a dazzling evocation of an extraordinary place and its effect on the writer's life. It is an immersion in painting, a consideration of grief and a profoundly moving contemplation of the relationship between art and the human condition.]]>
128 Hisham Matar 0241987059 Hux 3
If you're a fan of Sebald, or any other kind of writer who presents fiction as a kind of reflective non-fiction, where the writer goes on flights of fancy throughout history and philosophy, discusses art and literature, and reminisces about his or her own personal loves and losses, then you'll very probably find this very compelling. The writer, Matar, a Libyan who loves art, goes to Siena for a month where he visits the galleries and museums and discusses the art in question. The book contains pictures of the pieces he is contemplating and his opinions are always thoughtful and engaging. Meanwhile, he will also go off on a variety of tangents which, among others, take in the lives of medieval Moroccan travellers, musicians, the Black Death, and ancient traditions. Then there are his personal issues, his kidnapped father, his wife, his encounters with people in Siena such as the Nigerian lady and the fellow Muslim who invites him for coffee. There is an obvious charm to the piece and, like I said, it owes a lot to the Sebald style of spinning a narrative out of personal experiences and historical events, all while offering opinion on several pieces of art.

I enjoyed it and found it very easy to read. But as I said at the beginning, these kinds of books are always hard to review as they seem more profound and meaningful as you read them than they do several weeks later when the dust has settled. It was a lovely book to read and I would definitely recommend it. Charming and reflective but ultimately a light read that probably won't go much deeper into my soul than any other entertaining piece of popular culture. ]]>
4.06 2019 A Month in Siena
author: Hisham Matar
name: Hux
average rating: 4.06
book published: 2019
rating: 3
read at: 2024/10/27
date added: 2024/10/27
shelves:
review:
It's always difficult to review books like this (auto-fiction, fictional memoir) because at first glance it's all very moving and profound, full of philosophical and human insight, the temptation to be overwhelmed by such warm and pensive meditations very powerful. But ultimately, this feeling tends to fade as you get further away from the piece.

If you're a fan of Sebald, or any other kind of writer who presents fiction as a kind of reflective non-fiction, where the writer goes on flights of fancy throughout history and philosophy, discusses art and literature, and reminisces about his or her own personal loves and losses, then you'll very probably find this very compelling. The writer, Matar, a Libyan who loves art, goes to Siena for a month where he visits the galleries and museums and discusses the art in question. The book contains pictures of the pieces he is contemplating and his opinions are always thoughtful and engaging. Meanwhile, he will also go off on a variety of tangents which, among others, take in the lives of medieval Moroccan travellers, musicians, the Black Death, and ancient traditions. Then there are his personal issues, his kidnapped father, his wife, his encounters with people in Siena such as the Nigerian lady and the fellow Muslim who invites him for coffee. There is an obvious charm to the piece and, like I said, it owes a lot to the Sebald style of spinning a narrative out of personal experiences and historical events, all while offering opinion on several pieces of art.

I enjoyed it and found it very easy to read. But as I said at the beginning, these kinds of books are always hard to review as they seem more profound and meaningful as you read them than they do several weeks later when the dust has settled. It was a lovely book to read and I would definitely recommend it. Charming and reflective but ultimately a light read that probably won't go much deeper into my soul than any other entertaining piece of popular culture.
]]>
<![CDATA[Pereira Maintains: A Testimony (Penguin Modern Classics)]]> 55772348 160 Antonio Tabucchi 0241519306 Hux 3
This was a nice, easy read. It never entirely took off, only ever maintaining (sic) a mild charm. It, of course, immediately brought to mind Pessoa (who is mentioned in the book among countless other writers) and, to a greater extent, Night Train to Lisbon. Both books are concerned with love of literature but this one has a more focused story and a clear opinion regarding the fascism of the day. It was certainly charming and Pereira was as thoughtful and jovial as a character can be. The style of the book, a third person narration which yet strangely gives Pereira control (he maintains this and that throughout the book), is unique and did a good job of keeping me engaged. I also enjoyed his flights of fancy and the way he regularly spoke to the photograph of his wife. And again, the strange narrative device where he and Tabucchi seem to be in collusion.

That afternoon, Pereira maintains, he had a dream. It was a beautiful dream about his youth, but he prefers not to relate it, because dreams ought not to be told, he maintains. He will go no farther than to say he was happy, that it was winter and he was on a beach to the north of Coimbra, perhaps at Granja, and that he had with him a person whose identity he does not wish to disclose.

It's nicely done and allows the story to unfold gently, the chapters all short and sweet to further emphasise the pace. Ultimately, however, I'm not sure this will live long in the memory. I mostly enjoyed it, it was perfectly nice to read, and had some nice flourishes, but never went much beyond that. If you like Pessoa, that part of the world, young, heroic left-wing men standing up to the fash, it's a book worth reading.]]>
4.24 1994 Pereira Maintains: A Testimony (Penguin Modern Classics)
author: Antonio Tabucchi
name: Hux
average rating: 4.24
book published: 1994
rating: 3
read at: 2024/10/26
date added: 2024/10/26
shelves:
review:
In 1938, in Salazar's Portugal, an overweight, middle-aged journalist named Pereira writes obituaries for an afternoon newspaper called Lisboa. He wanders the city eating omelette after omelette and forever drinking lemonade. He enlists the help of a young man named Monteiro Rossi who gives him advanced obituaries of recently deceased writers. Rossi appears to be involved in some kind of underground left-wing movement and, perhaps due to a misplaced sense of fatherly connection, Pereira often helps him and his girlfriend Marta. Ultimately this leads to an ending which changes Pereira's life.

This was a nice, easy read. It never entirely took off, only ever maintaining (sic) a mild charm. It, of course, immediately brought to mind Pessoa (who is mentioned in the book among countless other writers) and, to a greater extent, Night Train to Lisbon. Both books are concerned with love of literature but this one has a more focused story and a clear opinion regarding the fascism of the day. It was certainly charming and Pereira was as thoughtful and jovial as a character can be. The style of the book, a third person narration which yet strangely gives Pereira control (he maintains this and that throughout the book), is unique and did a good job of keeping me engaged. I also enjoyed his flights of fancy and the way he regularly spoke to the photograph of his wife. And again, the strange narrative device where he and Tabucchi seem to be in collusion.

That afternoon, Pereira maintains, he had a dream. It was a beautiful dream about his youth, but he prefers not to relate it, because dreams ought not to be told, he maintains. He will go no farther than to say he was happy, that it was winter and he was on a beach to the north of Coimbra, perhaps at Granja, and that he had with him a person whose identity he does not wish to disclose.

It's nicely done and allows the story to unfold gently, the chapters all short and sweet to further emphasise the pace. Ultimately, however, I'm not sure this will live long in the memory. I mostly enjoyed it, it was perfectly nice to read, and had some nice flourishes, but never went much beyond that. If you like Pessoa, that part of the world, young, heroic left-wing men standing up to the fash, it's a book worth reading.
]]>
The Vegetarian 25489025
Celebrated by critics around the world, The Vegetarian is a darkly allegorical, Kafka-esque tale of power, obsession, and one woman’s struggle to break free from the violence both without and within her.]]>
188 Han Kang 0553448188 Hux 3
I enjoyed reading it but am inclined to give most of the credit for that to the translator. And when I say I enjoyed reading it, I mean part one (The Vegetarian) and part two (Mongolian Mark). Part one is (strangely) the only part that is a first person narration, and it's not even her narration, it's her husband's. He's a slightly emotionless man, matter-of-fact, detached, who craves simplicity and the mundane, his expectations of his wife being nothing more than for her not to irritate him. Why he gets to narrate I'm not entirely sure; perhaps Kang is saying something about men having a voice and women not, etc (but then why is the second part third person when it's mostly coming from the brother-in-law's perspective?) Who knows. But there's plenty of banal feminist interpretation to be had here so feel free to add them to the list. So yeah, part two is probably the most fun to read, the artistic brother-in-law who obsesses over her body (grrr, those darn men keep forcing her to be things... bloody patriarchy innit!!). Part three, meanwhile, (Flaming Trees) revolves around her sister's perspective and is slow and tedious and throws all the mental health cliches it can at you (mentally ill people are like special goblins who live in the woods and see things differently from everyone else). As someone who used to work in mental health, I can assure you, the mentally ill are usually just fat people with bad hygiene who throw plates at your head.

I was very engaged for the first two parts (despite the predictable bad men who take advantage of her in some form or another or, in the case of her father, just beat her). Part two has some nice erotic touches which, as far as I'm concerned, do nothing more than reveal Han Kang's own sexual fantasies quite clearly. And the soulless husband was fun to hate (would have preferred a book about him really). But all the while, I kept thinking that the book was too obvious, too lazy. Wanna win a Nobel Prize? Then make sure to write about mental illness as though it's a strange ethereal dappling of light on the soul of the most beautiful among us (and not a bloke shitting in his hand and showing it to you). All the way through, I just kept getting that feeling that this was all a little bit by-the-numbers. Those east Asians (why can't we call them orientals anymore) sure do love stories with suicide and generic crazy people.

I mostly enjoyed it but let's just say I'm glad it was short. Oh and by the way, she doesn't just reject meat, she rejects all animal products so the book really ought to have been called the Vegan. Just saying. But what does it matter. You so much as fart in the general direction of Sweden these days, and they'll give you a Nobel Prize. Good but not great. Hope she has better stuff than this and will look forward to reading it.]]>
3.61 2007 The Vegetarian
author: Han Kang
name: Hux
average rating: 3.61
book published: 2007
rating: 3
read at: 2024/10/23
date added: 2024/10/23
shelves:
review:
There's a joke that if an actor wants to win an Oscar and be taken seriously, he should play a mentally handicapped person. Anyway, here's another novel that revolves around a mentally ill character whose mental illness is vague and faintly magical (she had a dream).

I enjoyed reading it but am inclined to give most of the credit for that to the translator. And when I say I enjoyed reading it, I mean part one (The Vegetarian) and part two (Mongolian Mark). Part one is (strangely) the only part that is a first person narration, and it's not even her narration, it's her husband's. He's a slightly emotionless man, matter-of-fact, detached, who craves simplicity and the mundane, his expectations of his wife being nothing more than for her not to irritate him. Why he gets to narrate I'm not entirely sure; perhaps Kang is saying something about men having a voice and women not, etc (but then why is the second part third person when it's mostly coming from the brother-in-law's perspective?) Who knows. But there's plenty of banal feminist interpretation to be had here so feel free to add them to the list. So yeah, part two is probably the most fun to read, the artistic brother-in-law who obsesses over her body (grrr, those darn men keep forcing her to be things... bloody patriarchy innit!!). Part three, meanwhile, (Flaming Trees) revolves around her sister's perspective and is slow and tedious and throws all the mental health cliches it can at you (mentally ill people are like special goblins who live in the woods and see things differently from everyone else). As someone who used to work in mental health, I can assure you, the mentally ill are usually just fat people with bad hygiene who throw plates at your head.

I was very engaged for the first two parts (despite the predictable bad men who take advantage of her in some form or another or, in the case of her father, just beat her). Part two has some nice erotic touches which, as far as I'm concerned, do nothing more than reveal Han Kang's own sexual fantasies quite clearly. And the soulless husband was fun to hate (would have preferred a book about him really). But all the while, I kept thinking that the book was too obvious, too lazy. Wanna win a Nobel Prize? Then make sure to write about mental illness as though it's a strange ethereal dappling of light on the soul of the most beautiful among us (and not a bloke shitting in his hand and showing it to you). All the way through, I just kept getting that feeling that this was all a little bit by-the-numbers. Those east Asians (why can't we call them orientals anymore) sure do love stories with suicide and generic crazy people.

I mostly enjoyed it but let's just say I'm glad it was short. Oh and by the way, she doesn't just reject meat, she rejects all animal products so the book really ought to have been called the Vegan. Just saying. But what does it matter. You so much as fart in the general direction of Sweden these days, and they'll give you a Nobel Prize. Good but not great. Hope she has better stuff than this and will look forward to reading it.
]]>
<![CDATA[Barney's Version (Vintage International)]]> 7669528 417 Mordecai Richler 030747688X Hux 3
It was... interesting. There's something of value here and yet despite enjoying a great deal of it, I did have a lot of issues. First of all, Barney just seems like an entirely unrealistic creation, overly melodramatic and relentlessly self-satisfied. The book is just endlessly goofy and rapidfire in its approach, making a joke of everything, and weighed down by various pop culture references, and a general sense of cartoonish smugness. None of it felt remotely set in the real world. I didn't really like Barney and found him to be someone privileged by a shockingly large amount of good fortune and convenience (developing the puffed-up personality to match such a comfortable existence). For a moment, the book reminded me of the protagonist from Donleavy's The Ginger Man, a charismatic oaf who always lands on his feet but is essentially a malignant force, but then, as the smugness and over confidence continued, something else occurred to me. I suddenly felt like I was reading a sequel to... Ferris Bueller's Day Off. As someone who has always hated that self-satisfied prick, I almost felt as though this was the continuation of his story (despite it obviously being predominantly set in the 50s). The same smugness, the same ease with which life seems to fall into his lap, the same sense that no matter what he does, right or wrong, he will always get away with it. Anyway, imagine a 68 year-old version of Ferris Bueller telling his life story that always seems to end with him... winning. That's what I felt like I was reading.

I can't say that it grabbed me entirely. But equally, I can't deny that it had a lot of interesting elements that made the book very appealing. Ultimately, I found the ceaseless high-energy narration a little too nauseating. And I hated the endless inclusion of footnotes where Barney would say something like: 'that famous Dickens novel Crime and Punishment.' And then in the footnotes his son Michael would correct this and point out that it was Dostoevski. The first six or seven times, it was funny, but by the time you're onto the 30th example, it's simply irritating. Sure, it's there to remind us that Barney's memory of events is flawed but it always felt more like a cheap attempt at some lazy humour. And that's the bottom line with this book; you're either gonna find it immensely funny and charming or you're not. I'm significantly more inclined to be seated with the latter group. I dunno, I just find it hard to care about characters who feel this fictional. To me, the story would work better as a movie, one of those indie films with quirky music that plays every 30 seconds.

But I would definitely recommend it. As I said, there's something quite fun and original here, a book that will definitely turn into a favourite for many but which, for me, never quite got there. While I recognised its qualities, I was ultimately never close to falling in love with it. At the end of the day, I just really fucking hate Ferris Bueller.]]>
3.85 1997 Barney's Version (Vintage International)
author: Mordecai Richler
name: Hux
average rating: 3.85
book published: 1997
rating: 3
read at: 2024/10/21
date added: 2024/10/21
shelves:
review:
In response to a book written about him by his enemy Terry McIver, Barney Panofsky writes his autobiography to give his version of events. The book is separated into three sections, each named after one of his three wives (Clara 1950 - 1952/ The Second Mrs. Panofsky 1958 - 1960/ Miriam 1960 -). Aside from giving us a life story that begins in his youth in the 1950s, the book primarily addresses the accusation that he murdered his friend Bernard Moscovitch (Boogie) after his disappearance in early 60s. The autobiography is written in the 1990s when Barney is (we later discover) suffering from Alzheimer's and is finally edited by Barney's son, Michael, meaning that the book can be seen as highly unreliable.

It was... interesting. There's something of value here and yet despite enjoying a great deal of it, I did have a lot of issues. First of all, Barney just seems like an entirely unrealistic creation, overly melodramatic and relentlessly self-satisfied. The book is just endlessly goofy and rapidfire in its approach, making a joke of everything, and weighed down by various pop culture references, and a general sense of cartoonish smugness. None of it felt remotely set in the real world. I didn't really like Barney and found him to be someone privileged by a shockingly large amount of good fortune and convenience (developing the puffed-up personality to match such a comfortable existence). For a moment, the book reminded me of the protagonist from Donleavy's The Ginger Man, a charismatic oaf who always lands on his feet but is essentially a malignant force, but then, as the smugness and over confidence continued, something else occurred to me. I suddenly felt like I was reading a sequel to... Ferris Bueller's Day Off. As someone who has always hated that self-satisfied prick, I almost felt as though this was the continuation of his story (despite it obviously being predominantly set in the 50s). The same smugness, the same ease with which life seems to fall into his lap, the same sense that no matter what he does, right or wrong, he will always get away with it. Anyway, imagine a 68 year-old version of Ferris Bueller telling his life story that always seems to end with him... winning. That's what I felt like I was reading.

I can't say that it grabbed me entirely. But equally, I can't deny that it had a lot of interesting elements that made the book very appealing. Ultimately, I found the ceaseless high-energy narration a little too nauseating. And I hated the endless inclusion of footnotes where Barney would say something like: 'that famous Dickens novel Crime and Punishment.' And then in the footnotes his son Michael would correct this and point out that it was Dostoevski. The first six or seven times, it was funny, but by the time you're onto the 30th example, it's simply irritating. Sure, it's there to remind us that Barney's memory of events is flawed but it always felt more like a cheap attempt at some lazy humour. And that's the bottom line with this book; you're either gonna find it immensely funny and charming or you're not. I'm significantly more inclined to be seated with the latter group. I dunno, I just find it hard to care about characters who feel this fictional. To me, the story would work better as a movie, one of those indie films with quirky music that plays every 30 seconds.

But I would definitely recommend it. As I said, there's something quite fun and original here, a book that will definitely turn into a favourite for many but which, for me, never quite got there. While I recognised its qualities, I was ultimately never close to falling in love with it. At the end of the day, I just really fucking hate Ferris Bueller.
]]>
Waiting 12780 320 Ha Jin 0099287595 Hux 3
As a young man Lin was pushed by his family into a marriage without love to a woman named Shuyu. They had a daughter named Hua but stopped sleeping together and lived separate lives. Lin worked as a doctor in the city while Shuyu stayed at their country home looking after his elderly parents until they eventually died and raising their daughter. Meanwhile, Lin meets a woman at the hospital called Manna and they develop a platonic relationship but want it to become something more. They agree not to sleep together until he can get divorced otherwise, in communist China, there might be serious consequences. Eventually Lin finds the courage to ask Shuyu for a divorce and she agrees but at the last minute, in the courthouse, she changes her mind. This happens again the following year. Then again the following year.

This pattern continues for 18 years (the amount of time that must pass before a man can get a divorce without his wife's agreement). The whole book is about waiting, about placing all your hopes and dreams on an outcome that, should it ever arrive, will finally give your life meaning and purpose. And so they wait. Year after year. Their lives passing them by as they age and lose all their vigour, attractiveness, and youth. And even when Lin finally gets his divorce and marries Manna, he discovers that he's still not happy because the book isn't actually about waiting, it's about love. Specifically, it's about the fact that so many of us (more than we ever want to admit) don't ever experience the kind of passionate sensual, romantic love that we see in movies. Some people never get that far. They develop feelings, attachments, and care about people... but they never experience that epic weight of falling desperately in love. And Lin is one of those people. He loved neither woman. The circumstances of his life simply forced him into these relationships. And after all that waiting, all those years, he realises at the very end that contentment was the only thing he truly wanted.

The waiting was (just like in the Tartar Steppe) all for nothing.

I enjoyed the book overall but it was only a very basic story with very basic writing. For me the book only became interesting as it played with the theme of life passing us by (in more ways than one) and the notion of pointlessly waiting for life to give you a meaning, some happiness, a purpose. The prose was straight-forward and never challenging, and the book essentially gives you all the information you need in the prologue (filling in the blanks as it goes along). It got the job done. And, despite being ultimately rather prosaic, it did successfully get me thinking about my favourite subject again (that we're all wasting our lives). The only part that perplexed me was the rape which frankly didn't seem to add much. I'm not sure what Ha Jin was implying by having that in the story (get married otherwise you're asking for it??) Not sure. Maybe it was simply to force the reader to sympathise with Manna just at a point where we're mostly sympathising with Shuyu. Hard to say.

So yeah, a pretty average and easy to read book. But one that got me thinking all those lovely existential thoughts again.]]>
3.39 1999 Waiting
author: Ha Jin
name: Hux
average rating: 3.39
book published: 1999
rating: 3
read at: 2024/10/15
date added: 2024/10/15
shelves:
review:
The Tartar Steppe but for relationships.

As a young man Lin was pushed by his family into a marriage without love to a woman named Shuyu. They had a daughter named Hua but stopped sleeping together and lived separate lives. Lin worked as a doctor in the city while Shuyu stayed at their country home looking after his elderly parents until they eventually died and raising their daughter. Meanwhile, Lin meets a woman at the hospital called Manna and they develop a platonic relationship but want it to become something more. They agree not to sleep together until he can get divorced otherwise, in communist China, there might be serious consequences. Eventually Lin finds the courage to ask Shuyu for a divorce and she agrees but at the last minute, in the courthouse, she changes her mind. This happens again the following year. Then again the following year.

This pattern continues for 18 years (the amount of time that must pass before a man can get a divorce without his wife's agreement). The whole book is about waiting, about placing all your hopes and dreams on an outcome that, should it ever arrive, will finally give your life meaning and purpose. And so they wait. Year after year. Their lives passing them by as they age and lose all their vigour, attractiveness, and youth. And even when Lin finally gets his divorce and marries Manna, he discovers that he's still not happy because the book isn't actually about waiting, it's about love. Specifically, it's about the fact that so many of us (more than we ever want to admit) don't ever experience the kind of passionate sensual, romantic love that we see in movies. Some people never get that far. They develop feelings, attachments, and care about people... but they never experience that epic weight of falling desperately in love. And Lin is one of those people. He loved neither woman. The circumstances of his life simply forced him into these relationships. And after all that waiting, all those years, he realises at the very end that contentment was the only thing he truly wanted.

The waiting was (just like in the Tartar Steppe) all for nothing.

I enjoyed the book overall but it was only a very basic story with very basic writing. For me the book only became interesting as it played with the theme of life passing us by (in more ways than one) and the notion of pointlessly waiting for life to give you a meaning, some happiness, a purpose. The prose was straight-forward and never challenging, and the book essentially gives you all the information you need in the prologue (filling in the blanks as it goes along). It got the job done. And, despite being ultimately rather prosaic, it did successfully get me thinking about my favourite subject again (that we're all wasting our lives). The only part that perplexed me was the rape which frankly didn't seem to add much. I'm not sure what Ha Jin was implying by having that in the story (get married otherwise you're asking for it??) Not sure. Maybe it was simply to force the reader to sympathise with Manna just at a point where we're mostly sympathising with Shuyu. Hard to say.

So yeah, a pretty average and easy to read book. But one that got me thinking all those lovely existential thoughts again.
]]>
Franny and Zooey 57692367 ‘Everything everybody does is so—I don’t know—not wrong, or even mean, or even stupid necessarily. But just so tiny and meaningless and—sad-making. And the worst part is, if you go bohemian or something crazy like that, you’re conforming just as much only in a different way.�

First published in The New Yorker as two sequential stories, ‘Franny� and ‘Zooey� offer a dual portrait of the two youngest members of J. D. Salinger’s fictional Glass family.

Franny Glass is a pretty, effervescent college student on a date with her intellectually confident boyfriend, Lane. They appear to be the perfect couple, but as they struggle to communicate with each other about the things they really care about, slowly their true feelings come to the surface. The second story in this book, ‘Zooey�, plunges us into the world of her ethereal, sophisticated family. When Franny’s emotional and spiritual doubts reach new heights, her older brother Zooey, a misanthropic former child genius, offers her consolation and brotherly advice.

Written in Salinger’s typically irreverent style, these two stories offer a touching snapshot of the distraught mindset of early adulthood and are full of the insightful emotional observations and witty turns of phrase that have helped make Salinger’s reputation what it is today.]]>
150 J.D. Salinger 0241950449 Hux 2
The story begins with Franny going out to a meal with her boyfriend Lance and she tries to explain to him that she's been reading a book about a Russian peasant who finds a way to always be praying. Then she falls ill and faints. Then we have the Zooey part (the main part) which takes place a few days later and begins with Zooey, Franny's older brother, in the bath having a very staged, histrionic, Noel Coward-esque conversation with his mother Bessie (who he always irritatingly refers to as Bessie). He's basically a richer, more smug version of Holden Caulfield and understands that his sister, like him, is struggling with their older brother's suicide and the inauthenticity of the world. Like I said, we've already covered this ground but in Catcher in the Rye it was fun, exciting, animated, profound. But here, it's dull and contrived, stilted and unnatural. The book endeavours to explore interesting themes but in a confined space where it's all a little too trivial and forgettable.

I really struggled when reading the prose, finding it so bland and without excitement. Meanwhile the conversations are forced and artificial, the kind of thing you'll see in a stage play where bad actors get laughs where they didn't expect to get them. At one point, as Zooey was on the phone with Franny in the other room, I thought Zooey was gonna start talking about how he wished he could catch all the young people before they fell off the rye cliff. Honestly, I disliked this book so much that it actually soiled the memory of Catcher in the Rye and made me wonder if I was duped by that book. This thing was so lacking in anything of substance and became nothing more than treading the same water. Just rich new Yorkers acting like they're the only people who ever experience death or boredom. Every time I read characters like this I simply want to scream: 'send 'em down the fucking mines.' And why does Salinger keep making his characters mock the psychoanalysis of the time, the cod-philosophy of looking at the self, and talking through issues? Those silly psychiatrists and their pseudoscience. Yet, at the very same time, he's endlessly presenting these tedious traumas and globules of New York ennui as though they're monumental failings of a society that doesn't take mental health seriously. It's all rather banal and pathetic.

But ultimately, my biggest problem with the book was simply that it was unutterably boring to read.]]>
3.82 1957 Franny and Zooey
author: J.D. Salinger
name: Hux
average rating: 3.82
book published: 1957
rating: 2
read at: 2024/10/11
date added: 2024/10/11
shelves:
review:
Having loved the vibrancy and humour of Catcher in the Rye, I was amazed by how dull this was. The writing never grabbed me at all, just dry narration followed by long, unrealistic conversations between New York old sports who call their mother by her given name instead of the non-psychotic 'mom' that normal people use. But you see, that's because they're not normal, they're different, they're not like other people, they're outsiders, freaks, non-conformist blah blah blah. Didn't Salinger already do this? Didn't he already write a novel about a young person experiencing trauma at the death of a relative who, in his vibrant, youthful cynicism, realises that (unlike him) everyone else in the world is a phoney. A big fat PHONEY!

The story begins with Franny going out to a meal with her boyfriend Lance and she tries to explain to him that she's been reading a book about a Russian peasant who finds a way to always be praying. Then she falls ill and faints. Then we have the Zooey part (the main part) which takes place a few days later and begins with Zooey, Franny's older brother, in the bath having a very staged, histrionic, Noel Coward-esque conversation with his mother Bessie (who he always irritatingly refers to as Bessie). He's basically a richer, more smug version of Holden Caulfield and understands that his sister, like him, is struggling with their older brother's suicide and the inauthenticity of the world. Like I said, we've already covered this ground but in Catcher in the Rye it was fun, exciting, animated, profound. But here, it's dull and contrived, stilted and unnatural. The book endeavours to explore interesting themes but in a confined space where it's all a little too trivial and forgettable.

I really struggled when reading the prose, finding it so bland and without excitement. Meanwhile the conversations are forced and artificial, the kind of thing you'll see in a stage play where bad actors get laughs where they didn't expect to get them. At one point, as Zooey was on the phone with Franny in the other room, I thought Zooey was gonna start talking about how he wished he could catch all the young people before they fell off the rye cliff. Honestly, I disliked this book so much that it actually soiled the memory of Catcher in the Rye and made me wonder if I was duped by that book. This thing was so lacking in anything of substance and became nothing more than treading the same water. Just rich new Yorkers acting like they're the only people who ever experience death or boredom. Every time I read characters like this I simply want to scream: 'send 'em down the fucking mines.' And why does Salinger keep making his characters mock the psychoanalysis of the time, the cod-philosophy of looking at the self, and talking through issues? Those silly psychiatrists and their pseudoscience. Yet, at the very same time, he's endlessly presenting these tedious traumas and globules of New York ennui as though they're monumental failings of a society that doesn't take mental health seriously. It's all rather banal and pathetic.

But ultimately, my biggest problem with the book was simply that it was unutterably boring to read.
]]>
The Wall 59532092
A woman takes a holiday in the Austrian mountains, spending a few days with her cousin and his wife in their hunting lodge. When the couple fails to return from a walk, the woman sets off to look for them. But her journey reaches a sinister and inexplicable dead end. She discovers only a transparent wall behind which there seems to be no life. Trapped alone behind the mysterious wall she begins the arduous work of survival.

This is at once a simple account of potatoes and beans, of hoping for a calf, of counting matches, of forgetting the taste of sugar and the use of one's name, and simultaneously a disturbing dissection of the place of human beings in the natural world.

**PERFECT FOR FANS OF THE YELLOW WALLPAPER, STATION ELEVEN AND THE MARTIAN

VINTAGE EARTH is a collection of novels to transform our relationship with the natural world. Each one is a work of creative activism, a blast of fresh air, a seed from which change can grow. The books in this series reconnect us to the planet we inhabit - and must protect. Discover great writing on the most urgent story of our times.]]>
246 Marlen Haushofer 1784878030 Hux 3
I was enjoying this for the first third but then it just starts going around in circles. She milks the cow, she walks with the dog, she strokes the cat, she checks the potatoes, she picks the berries. Jump ahead several pages and yup, she's still milking the cow, still walking the dog, still picking the berries, and still stroking the cat. And on and on it goes. Now while this might be one of the themes of the book (repetitive existence) the fact remains (as I have said many times before for countless other books) if the only way you can explore the theme of boredom is by making your book boring, you're a poor writer, and if the only way you can convey repetition is to make your book repetitive, you're a poor writer. The simple fact is, you can unquestionably skip massive portions of this book and you will miss absolutely NOTHING, It's just milking the cow, stroking the cat, picking the berries etc. Had Haushofer given her protagonist a greater amount of philosophical contemplation, an exploration of what it means to be alive, her opinions regarding the nature of existence, it might have appealed to me a lot more. But we get very little of that in truth. Just milking the cow, stroking the cat, harvesting the potatoes etc.

As for the sci-fi premise, that also gets a wide berth. She investigates the phenomenon for five minutes then just chooses to live the life of Walden (which is really what this book is about). She briefly mentions seeing people on the other side of the wall but they seem motionless, paused. And that's about all you get. I read somewhere that Doris Lessing said that only a woman could write this book. I agree... but not in a good way. On day one, a man would have grabbed a backpack and wandered as far in the opposite direction of the wall as possible to see what its parameters might be (is it a dome, a single wall, a circle?). Maybe that's the point Haushofer is making and even explains the appearance of the man at the very end --he was THAT very character (and presumably, given his actions, that is somehow seen as a bad thing by her). I don't know. Perhaps he has indeed spent two years making his way towards them, losing his marbles in the process. But as a novel playing with science fiction tropes, it doesn't really satisfy. And as a novel exploring the human condition it fails just as badly. There's only so much communing with nature that I can take before I want to scream... I GET IT! I also profoundly disliked the constant references to the death of her dog, Lynx, every five minutes. She keeps bringing it up then going back to the story (where Lynx is very much alive). Hate that shit. Stop doing it. You're writing from a future point, I also get that... no need to rub it in my face with constant references to the dead dog. Yes, life and death, the circle of life, nature's true meaning etc. I am very much on board with you Marlen... but it needs to be more interesting than this (a short story that has essentially been dragged out into a novel).

Anyway, I'm starting to sound like I actually hated the book. I didn't. It was well written and definitely worth a read. But the constant milking of the cow and the constant stoking of the cat was too much for me in the end. It was good, interesting, unique, and certainly intriguing. But be prepared to read a lot about the miking of that damn cow.]]>
3.94 1963 The Wall
author: Marlen Haushofer
name: Hux
average rating: 3.94
book published: 1963
rating: 3
read at: 2024/10/08
date added: 2024/10/08
shelves:
review:
A woman in the Austrian mountains discovers that her holiday companions have not returned. In the morning, she investigates only to discover that there is an invisible wall now blocking her path back to civilisation. She then spends the next two and a half years living in the huts and houses of the local area with her dog Lynx, her cats, her cows, and her potato fields. She details her experiences in a journal.

I was enjoying this for the first third but then it just starts going around in circles. She milks the cow, she walks with the dog, she strokes the cat, she checks the potatoes, she picks the berries. Jump ahead several pages and yup, she's still milking the cow, still walking the dog, still picking the berries, and still stroking the cat. And on and on it goes. Now while this might be one of the themes of the book (repetitive existence) the fact remains (as I have said many times before for countless other books) if the only way you can explore the theme of boredom is by making your book boring, you're a poor writer, and if the only way you can convey repetition is to make your book repetitive, you're a poor writer. The simple fact is, you can unquestionably skip massive portions of this book and you will miss absolutely NOTHING, It's just milking the cow, stroking the cat, picking the berries etc. Had Haushofer given her protagonist a greater amount of philosophical contemplation, an exploration of what it means to be alive, her opinions regarding the nature of existence, it might have appealed to me a lot more. But we get very little of that in truth. Just milking the cow, stroking the cat, harvesting the potatoes etc.

As for the sci-fi premise, that also gets a wide berth. She investigates the phenomenon for five minutes then just chooses to live the life of Walden (which is really what this book is about). She briefly mentions seeing people on the other side of the wall but they seem motionless, paused. And that's about all you get. I read somewhere that Doris Lessing said that only a woman could write this book. I agree... but not in a good way. On day one, a man would have grabbed a backpack and wandered as far in the opposite direction of the wall as possible to see what its parameters might be (is it a dome, a single wall, a circle?). Maybe that's the point Haushofer is making and even explains the appearance of the man at the very end --he was THAT very character (and presumably, given his actions, that is somehow seen as a bad thing by her). I don't know. Perhaps he has indeed spent two years making his way towards them, losing his marbles in the process. But as a novel playing with science fiction tropes, it doesn't really satisfy. And as a novel exploring the human condition it fails just as badly. There's only so much communing with nature that I can take before I want to scream... I GET IT! I also profoundly disliked the constant references to the death of her dog, Lynx, every five minutes. She keeps bringing it up then going back to the story (where Lynx is very much alive). Hate that shit. Stop doing it. You're writing from a future point, I also get that... no need to rub it in my face with constant references to the dead dog. Yes, life and death, the circle of life, nature's true meaning etc. I am very much on board with you Marlen... but it needs to be more interesting than this (a short story that has essentially been dragged out into a novel).

Anyway, I'm starting to sound like I actually hated the book. I didn't. It was well written and definitely worth a read. But the constant milking of the cow and the constant stoking of the cat was too much for me in the end. It was good, interesting, unique, and certainly intriguing. But be prepared to read a lot about the miking of that damn cow.
]]>
Elmet 35711376 Fresh and distinctive writing from an exciting new voice in fiction, Elmet is an unforgettable novel about family, as well as a beautiful meditation on landscape.

Daniel is heading north. He is looking for someone. The simplicity of his early life with Daddy and Cathy has turned sour and fearful. They lived apart in the house that Daddy built for them with his bare hands. They foraged and hunted. When they were younger, Daniel and Cathy had gone to school. But they were not like the other children then, and they were even less like them now. Sometimes Daddy disappeared, and would return with a rage in his eyes. But when he was at home he was at peace. He told them that the little copse in Elmet was theirs alone. But that wasn't true. Local men, greedy and watchful, began to circle like vultures. All the while, the terrible violence in Daddy grew.

Atmospheric and unsettling, Elmet is a lyrical commentary on contemporary society and one family's precarious place in it, as well as an exploration of how deep the bond between father and child can go.

]]>
311 Fiona Mozley 1473660548 Hux 2
Yes, it's perfectly readable but that's the least I expect from a woman who has a degree in English from Cambridge. Beyond that, it all felt a little too convenient and unrealistic. As someone who grew up on council estates in the West Riding, the world she's describing looked nothing like the world I knew. Which brings me to my own personal irritation regarding the book. It seemed clear to me that the writer knew nothing of working class northern life at all and wrote about an almost mythical land that didn't really exist except in the mind of an educated southern middle class girl. What bothered me about this was the fact that had she written about being a small black boy growing up in Detroit, I suspect the people praising her novel would have had a lot of negative things to say about that. But writing about working class white people apparently means you can happily know nothing of the subject matter and no-one will give a crap. The middle-class establishment seem keen to fetishise books about working class people that sees them in the role of noble gypsy (like this) or people who have heroin addicted mothers. My mum never touched heroin. She worked for a living, raised two boys, and enjoyed watching Blind Date on Saturday. The bare knuckle fist fights were few and far between.

I found a lot of the writing here overly flowery and unnatural, especially given that we're supposed to believe this is coming from the perspective of a small boy -- though it's later revealed he's actually 15 which took me by surprise. Why the fuck does he keep calling his father 'daddy'? I know the flash forwards suggests an older Daniel narrating about his younger life but that just makes the constant references to daddy even more bizarre. And the fact that Daniel grows up to be a homosexual felt utterly pointless and purely done to keep the Guardian reviewers happy.

As for her use of words like wandt etc to express the Yorkshire dialect, this made no sense to me either. The 'd' isn't pronounced so what's it doing there? It should be pronounced 'want (wasn't), dint (doesn't), wunt (wouldn't) etc etc so again, I'm not sure why the author is being praised for that.

Overall, the book was readable but ultimately uneven and forgettable.

I fear the Booker prize nomination may have done her no favours either.]]>
3.77 2017 Elmet
author: Fiona Mozley
name: Hux
average rating: 3.77
book published: 2017
rating: 2
read at:
date added: 2024/10/06
shelves:
review:
Poor

Yes, it's perfectly readable but that's the least I expect from a woman who has a degree in English from Cambridge. Beyond that, it all felt a little too convenient and unrealistic. As someone who grew up on council estates in the West Riding, the world she's describing looked nothing like the world I knew. Which brings me to my own personal irritation regarding the book. It seemed clear to me that the writer knew nothing of working class northern life at all and wrote about an almost mythical land that didn't really exist except in the mind of an educated southern middle class girl. What bothered me about this was the fact that had she written about being a small black boy growing up in Detroit, I suspect the people praising her novel would have had a lot of negative things to say about that. But writing about working class white people apparently means you can happily know nothing of the subject matter and no-one will give a crap. The middle-class establishment seem keen to fetishise books about working class people that sees them in the role of noble gypsy (like this) or people who have heroin addicted mothers. My mum never touched heroin. She worked for a living, raised two boys, and enjoyed watching Blind Date on Saturday. The bare knuckle fist fights were few and far between.

I found a lot of the writing here overly flowery and unnatural, especially given that we're supposed to believe this is coming from the perspective of a small boy -- though it's later revealed he's actually 15 which took me by surprise. Why the fuck does he keep calling his father 'daddy'? I know the flash forwards suggests an older Daniel narrating about his younger life but that just makes the constant references to daddy even more bizarre. And the fact that Daniel grows up to be a homosexual felt utterly pointless and purely done to keep the Guardian reviewers happy.

As for her use of words like wandt etc to express the Yorkshire dialect, this made no sense to me either. The 'd' isn't pronounced so what's it doing there? It should be pronounced 'want (wasn't), dint (doesn't), wunt (wouldn't) etc etc so again, I'm not sure why the author is being praised for that.

Overall, the book was readable but ultimately uneven and forgettable.

I fear the Booker prize nomination may have done her no favours either.
]]>
84, Charing Cross Road 35113087 230 Helene Hanff Hux 3
I've seen lots of people describe the book as charming but honestly there were parts where I thought Hanff was frankly a little entitled and rude (some may dismiss that as her sense of humour) when demanding books; and occasionally she was even a little patronising as she sent them powdered egg and meat during the 50s period of rationing. I dunno. None of it seemed especially charming to me. It was certainly quaint and interesting and the books she wanted access to were unique and worthy of further discussion. But ultimately, it's still just people writing letters back and forth and maybe that's what's so appealing, the nostalgia of a time when people (even strangers) could do such things in a manner that suggested significance, hope, even romance. Oh, to write to a book shop across an ocean and ask them to find me a rare, leather bound copy of a childhood classic and develop a connection with them. Maybe we'll meet up some Christmas and share stories over mulled wine. Who knows.

I found the sequel (which I also read) slightly more interesting. The Duchess of Bloomsbury Street sees Hanff finally get to England in 1971 (sadly too late to meet Frank, her primary correspondence at the book shop, who died in 1968). She takes in the sights and meets many of the people she had been communicating with and even hangs about with Joyce Grenfell for some reason. This was a little more readable but still nothing that really blew me away.

I would still recommend this book to people, however, as they, like so many others it seems, might be one of those individuals who finds it to be heart-wrenchingly romantic and sweet. Sadly, it didn't really have that effect on me.]]>
4.00 1970 84, Charing Cross Road
author: Helene Hanff
name: Hux
average rating: 4.00
book published: 1970
rating: 3
read at: 2024/10/06
date added: 2024/10/06
shelves:
review:
I wish I could give this the same glowing reviews everyone else seems to have given but I found it to be a mostly inoffensive and ordinary piece. It should be noted that I HATE reading letters in books (not necessarily epistolary novels but specifically books where each page is a letter). I just don't enjoy reading them and find myself instinctively skimming them with my eyes. And that's what this novel (memoir) is: a New York woman writing to a book shop in London over two decades and developing relationships with the staff at the book shop via these correspondences.

I've seen lots of people describe the book as charming but honestly there were parts where I thought Hanff was frankly a little entitled and rude (some may dismiss that as her sense of humour) when demanding books; and occasionally she was even a little patronising as she sent them powdered egg and meat during the 50s period of rationing. I dunno. None of it seemed especially charming to me. It was certainly quaint and interesting and the books she wanted access to were unique and worthy of further discussion. But ultimately, it's still just people writing letters back and forth and maybe that's what's so appealing, the nostalgia of a time when people (even strangers) could do such things in a manner that suggested significance, hope, even romance. Oh, to write to a book shop across an ocean and ask them to find me a rare, leather bound copy of a childhood classic and develop a connection with them. Maybe we'll meet up some Christmas and share stories over mulled wine. Who knows.

I found the sequel (which I also read) slightly more interesting. The Duchess of Bloomsbury Street sees Hanff finally get to England in 1971 (sadly too late to meet Frank, her primary correspondence at the book shop, who died in 1968). She takes in the sights and meets many of the people she had been communicating with and even hangs about with Joyce Grenfell for some reason. This was a little more readable but still nothing that really blew me away.

I would still recommend this book to people, however, as they, like so many others it seems, might be one of those individuals who finds it to be heart-wrenchingly romantic and sweet. Sadly, it didn't really have that effect on me.
]]>
<![CDATA[Lolly Willowes (Penguin Modern Classics)]]> 52692594
But it’s in the countryside, among nature, where Lolly has her first taste of freedom. Duty-bound to no one except herself, she revels in the solitary life. When her nephew moves there, and Lolly feels once again thrust into her old familial role, she reaches out to the otherworldly, to the darkness, to the unheeded power within the hearts of women to feel at peace once more...]]>
161 Sylvia Townsend Warner 0241454883 Hux 3
But then... then there's a sudden and bizarre change of direction. It's actually quite mad. A kitten arrives at her house and its arrival forces Lolly to confess to herself that she is a witch, that she came to Great Mop to follow her master Satan, as well as the other Warlocks and Witches (of which there are apparently many in this community). The whole book becomes a weird revelation of her desire to be a witch and while it's tempting to view this as occurring only in her head, it isn't presented that way (not entirely at least). She sits with a random man at the end of the book, a gardener, who is the embodiment of the devil and he converses with her. Is this conversation purely in her head? It doesn't seem that way. It feels as though this woman is indeed a witch who wants to serve her master.

Apparently, this a feminist classic. I'm not sure why. Lolly grows up with servants and never does a day's work in her life yet the implication is that, because she is a woman, she is trapped in an oppressive role and is seeking an escape. I'm sure the men working down the mines and dying in the trenches have nothing but sympathy for her. To me, the book is more curious than such a lazy interpretation.

I wouldn't say I enjoyed it that much. But it was certainly very unique.]]>
3.71 1926 Lolly Willowes (Penguin Modern Classics)
author: Sylvia Townsend Warner
name: Hux
average rating: 3.71
book published: 1926
rating: 3
read at: 2024/10/04
date added: 2024/10/04
shelves:
review:
Well, this was an oddity. At first it appeared to be a bildungsroman about a woman named Laura (Lolly) who, after her father's death, moves in with her brother and his wife and kids. She spends the vast majority of her adulthood here, growing to be a middle-aged spinster, and the book follows a fairly common place trajectory. Her childhood, her youth, her suitors, and so on. At first I was enjoying the writing, a grown up style of prose, intelligent and often beautiful, but as the book went on I was starting to lose a little of my interest. Ultimately, it was too dry and dense, and the story seemed to offer very little in the way of entertainment. Out of nowhere, Lolly decides that she wants to go live in the countryside (Great Mop) alone and at the ripe old age of 47. Again, this part of the book wasn't all that interesting to me and I was struggling.

But then... then there's a sudden and bizarre change of direction. It's actually quite mad. A kitten arrives at her house and its arrival forces Lolly to confess to herself that she is a witch, that she came to Great Mop to follow her master Satan, as well as the other Warlocks and Witches (of which there are apparently many in this community). The whole book becomes a weird revelation of her desire to be a witch and while it's tempting to view this as occurring only in her head, it isn't presented that way (not entirely at least). She sits with a random man at the end of the book, a gardener, who is the embodiment of the devil and he converses with her. Is this conversation purely in her head? It doesn't seem that way. It feels as though this woman is indeed a witch who wants to serve her master.

Apparently, this a feminist classic. I'm not sure why. Lolly grows up with servants and never does a day's work in her life yet the implication is that, because she is a woman, she is trapped in an oppressive role and is seeking an escape. I'm sure the men working down the mines and dying in the trenches have nothing but sympathy for her. To me, the book is more curious than such a lazy interpretation.

I wouldn't say I enjoyed it that much. But it was certainly very unique.
]]>
Annihilation 218756156
As the country plunges into a closely-fought presidential campaign, the French state falls victim to a series of mysterious and unsettling cyberattacks. The sophisticated nature of the attacks leaves the best computer scientists at the DGSI � the French counter-terrorism agency � scrambling for answers.

An advisor to the country’s Finance Minister, Paul Raison is close to the heart of government. His wife Prudence is a Treasury official, while his father Édouard, now retired, has spent his career working for the DGSI. When Édouard has a stroke, his children have an opportunity to repair their strained relationships, as they determine to free their father from the medical centre where he is wasting away.]]>
544 Michel Houellebecq 1035026392 Hux 4
The story of Paul Raison, a 50-year-old government employee who (in 2027) is involved in trying to discern the identities of a group of terrorists whose motivations are unclear. In his personal life he barely speaks to his wife anymore and has little interaction with his family. That is until his father has a stroke and once more they are brought back into his life. This includes his father's partner Madeleine, his religious sister Cecile and her husband Herve, his unhappily married younger brother Aurelien and his (cartoonishly) awful wife Indy. As the book goes along Paul reconnects with his family, his past, his wife, and his own mortality. The cyber terrorism plotline is essentially dropped (without resolution) and we focus primarily on Paul's personal life, which, towards the end of the novel, brings along a cancer diagnosis which only further demands deeper contemplation.

First of all the book is WAY too long and really didn't need to be. You get the distinct impression that Houellebecq is endeavouring to produce a more significant and mature piece of work. For the most part he succeeds but that isn't necessarily a good thing. There is a little too much sentimentality for my liking and his ultimate conclusion is: 'love is the answer.' Yet this clearly isn't the case and one gets the feeling that Houellebecq is kidding himself, perhaps intentionally, aware (as he apparently is) that this is his last book (or so he implies). Even when he's trying to sell this to the reader, he overtly acknowledges (both in Paul's and his father's medical care) that while everyone is considered equal in death, this is nothing but another deception. The wealthy (in the west especially) receive the comfort and care of qualified nurses, better quality procedures, greater respect and dignity, as well as the reassurance of morphine (and even euthanasia). Even death is dependent upon social norms and traditions. Yet Houellebecq does convey Paul and Prudence's relationship very effectively. Rather than falling in love, they rediscover their love after years of staleness, isolation, and detachment. Madeleine is a devout carer for Paul's father. Herve and Cecile are in each other's corner. Only poor Aurelien is lumbered with a disastrous woman (perhaps a metaphor for the bleeding heart liberal whose self-hate is contagious); she, after all, would rather be impregnated by artificial means with the child of a black man than her own husband's. No matter how bad life is for the others, at least they have love, something Aurelien almost accomplishes at the end (ultimately too late).

I've seen reviews where people say this book will appeal to his fans. I would say the complete opposite is true. This book might actually be something those who dislike his writing finally enjoy. The nihilism and black humour I expected just isn't there (getting an accidental blow job from his niece aside), and the book definitely feels different, has a different tone, and a less cynical outlook. His swipes at the decay of western civilisation felt more like they had been informed by age and conservatism than by any meaningful philosophy. Happens to the best of us.

Devaluing the past and the present in favour of times to come, devaluing the real and preferring the virtual reality located in a vague future, are symptoms of European nihilism more decisive than anything that Nietzsche could have come up with.

The liberal doxa persisted in ignoring the problem, in the naive belief that the lure of material gain could be substituted for any other human motivation, and could on its own supply the mental energy necessary for the maintenance of a complex social organisation. This was quite plainly false, and it seemed to Paul that the whole system was going to come crashing down, even if one could not at present predict the date or the manner in which it might occur -- but the date could be close, and the manner violent

While Houellebecq maintains his pessimism on a societal level, he has clearly embraced love in the personal as a means by which to prosper and advance. Perhaps his recent marriage to a much young woman was a catalyst for this outcome, perhaps if they divorce, he will return one day with a book full of hatred and bile. Who knows? As far as this book is concerned, I enjoyed it but thought it was lacking something. I was losing interest at the halfway point and only regained it when Paul received his diagnosis in the final section. And as I said earlier, it was too long. Plus, I was surprised that the book wasn't a first person narration (probably should have been) and became slightly irritated with all the 'he said to himself, he thought to himself.' I also didn't like the references to the Matrix and pop culture, those felt like they trivialised the story somewhat (maybe that was the point, I don't know). Oh and after a while, I started to skip read the many dream sequences in the first half of the book (the first three were enough). I would skim the paragraphs until I saw the words 'Paul woke up' then start reading again. And for someone who doesn't like us Anglos (making us wait two years for a translation for goodness sake), he sure seems to love English culture.

Flawed as it is, overall, I would say this was a great addition to his canon. Possibly even a perfect ending. Love is the answer. Who knew?]]>
3.64 2022 Annihilation
author: Michel Houellebecq
name: Hux
average rating: 3.64
book published: 2022
rating: 4
read at: 2024/09/27
date added: 2024/10/01
shelves:
review:
Houellebecq the romantic. Who would have thought.

The story of Paul Raison, a 50-year-old government employee who (in 2027) is involved in trying to discern the identities of a group of terrorists whose motivations are unclear. In his personal life he barely speaks to his wife anymore and has little interaction with his family. That is until his father has a stroke and once more they are brought back into his life. This includes his father's partner Madeleine, his religious sister Cecile and her husband Herve, his unhappily married younger brother Aurelien and his (cartoonishly) awful wife Indy. As the book goes along Paul reconnects with his family, his past, his wife, and his own mortality. The cyber terrorism plotline is essentially dropped (without resolution) and we focus primarily on Paul's personal life, which, towards the end of the novel, brings along a cancer diagnosis which only further demands deeper contemplation.

First of all the book is WAY too long and really didn't need to be. You get the distinct impression that Houellebecq is endeavouring to produce a more significant and mature piece of work. For the most part he succeeds but that isn't necessarily a good thing. There is a little too much sentimentality for my liking and his ultimate conclusion is: 'love is the answer.' Yet this clearly isn't the case and one gets the feeling that Houellebecq is kidding himself, perhaps intentionally, aware (as he apparently is) that this is his last book (or so he implies). Even when he's trying to sell this to the reader, he overtly acknowledges (both in Paul's and his father's medical care) that while everyone is considered equal in death, this is nothing but another deception. The wealthy (in the west especially) receive the comfort and care of qualified nurses, better quality procedures, greater respect and dignity, as well as the reassurance of morphine (and even euthanasia). Even death is dependent upon social norms and traditions. Yet Houellebecq does convey Paul and Prudence's relationship very effectively. Rather than falling in love, they rediscover their love after years of staleness, isolation, and detachment. Madeleine is a devout carer for Paul's father. Herve and Cecile are in each other's corner. Only poor Aurelien is lumbered with a disastrous woman (perhaps a metaphor for the bleeding heart liberal whose self-hate is contagious); she, after all, would rather be impregnated by artificial means with the child of a black man than her own husband's. No matter how bad life is for the others, at least they have love, something Aurelien almost accomplishes at the end (ultimately too late).

I've seen reviews where people say this book will appeal to his fans. I would say the complete opposite is true. This book might actually be something those who dislike his writing finally enjoy. The nihilism and black humour I expected just isn't there (getting an accidental blow job from his niece aside), and the book definitely feels different, has a different tone, and a less cynical outlook. His swipes at the decay of western civilisation felt more like they had been informed by age and conservatism than by any meaningful philosophy. Happens to the best of us.

Devaluing the past and the present in favour of times to come, devaluing the real and preferring the virtual reality located in a vague future, are symptoms of European nihilism more decisive than anything that Nietzsche could have come up with.

The liberal doxa persisted in ignoring the problem, in the naive belief that the lure of material gain could be substituted for any other human motivation, and could on its own supply the mental energy necessary for the maintenance of a complex social organisation. This was quite plainly false, and it seemed to Paul that the whole system was going to come crashing down, even if one could not at present predict the date or the manner in which it might occur -- but the date could be close, and the manner violent

While Houellebecq maintains his pessimism on a societal level, he has clearly embraced love in the personal as a means by which to prosper and advance. Perhaps his recent marriage to a much young woman was a catalyst for this outcome, perhaps if they divorce, he will return one day with a book full of hatred and bile. Who knows? As far as this book is concerned, I enjoyed it but thought it was lacking something. I was losing interest at the halfway point and only regained it when Paul received his diagnosis in the final section. And as I said earlier, it was too long. Plus, I was surprised that the book wasn't a first person narration (probably should have been) and became slightly irritated with all the 'he said to himself, he thought to himself.' I also didn't like the references to the Matrix and pop culture, those felt like they trivialised the story somewhat (maybe that was the point, I don't know). Oh and after a while, I started to skip read the many dream sequences in the first half of the book (the first three were enough). I would skim the paragraphs until I saw the words 'Paul woke up' then start reading again. And for someone who doesn't like us Anglos (making us wait two years for a translation for goodness sake), he sure seems to love English culture.

Flawed as it is, overall, I would say this was a great addition to his canon. Possibly even a perfect ending. Love is the answer. Who knew?
]]>
Immobility 12139894 256 Brian Evenson 0765330962 Hux 3
So this book was mostly fun to read. Evenson does a good job describing the barren post-apocalyptic landscape and creates a curious mystery which keeps you guessing to the end (or close to the end). The characters are very perfunctory and straight-forward. The setting is the real selling point. I enjoyed the first half with Qanik and Qatik taking turns carrying him through the wasteland, chatting about their experiences, answering and asking questions along the way. Their protective suits and masks reiterate that this is a nightmare world for them, where very little can survive, where death is guaranteed. But not for Horkai, he does not need a protective suit and can heal at an astonishing rate (this being the real mystery of the book).

The writing is fairly basic, nothing too creative, but it sufficiently pushes the story along. This is another example of the genre being the thing that will keep your interest. Either you like post-apocalyptic stories or you don't. I would say this had an original concept but it slightly lost its way towards the end and signposted what was happening. But I was already invested by that point. And I enjoyed visiting this world for a while and especially the early parts where Horkai is carried by his two hulking (albeit innocent) companions.

A fun but bleak story of the nuclear hellscape.]]>
3.75 2012 Immobility
author: Brian Evenson
name: Hux
average rating: 3.75
book published: 2012
rating: 3
read at: 2024/09/30
date added: 2024/09/30
shelves:
review:
A man is woken, brought out of storage after many years, perhaps decades, and tries to remember who he is. He cannot use his legs and cannot remember anything. It's the future, there has been a terrible nuclear war, and there are very few survivors. He is told that his name is Josef Horkai and they (the community) have woken him for an important mission. Two men (Qanik and Qatik) must carry him outside into the radioactive wasteland to a place many miles away where he must find a cylinder and bring it back. Qanik and Qatik will surely die after such prolonged exposure but Horkai is special and will survive and that is why he was awoken from storage for this mission.

So this book was mostly fun to read. Evenson does a good job describing the barren post-apocalyptic landscape and creates a curious mystery which keeps you guessing to the end (or close to the end). The characters are very perfunctory and straight-forward. The setting is the real selling point. I enjoyed the first half with Qanik and Qatik taking turns carrying him through the wasteland, chatting about their experiences, answering and asking questions along the way. Their protective suits and masks reiterate that this is a nightmare world for them, where very little can survive, where death is guaranteed. But not for Horkai, he does not need a protective suit and can heal at an astonishing rate (this being the real mystery of the book).

The writing is fairly basic, nothing too creative, but it sufficiently pushes the story along. This is another example of the genre being the thing that will keep your interest. Either you like post-apocalyptic stories or you don't. I would say this had an original concept but it slightly lost its way towards the end and signposted what was happening. But I was already invested by that point. And I enjoyed visiting this world for a while and especially the early parts where Horkai is carried by his two hulking (albeit innocent) companions.

A fun but bleak story of the nuclear hellscape.
]]>
The Ginger Man 127020
Set in Ireland just after World War II, The Ginger Man is J. P. Donleavy's wildly funny, picaresque classic novel of the misadventures of Sebastian Dangerfield, a young American ne'er-do-well studying at Trinity College in Dublin. Dangerfield's appetite for women, liquor, and general roguishness is insatiable--and he satisfies it with endless charm.]]>
347 J.P. Donleavy 0802137954 Hux 4
I really enjoyed this book and, despite how unpleasant he could be (casual violence towards his wife and Mary), it was difficult not to be (like everyone else that encounters him) charmed by Sebastian Dangerfield. He has the gift of the gab and always appears to land, relatively speaking, on his feet. A charming rogue with a twinkle in his eye who lives very much in the now.

That all being said, the writing style was often frustrating. It switches from third person to first person on practically every page. But worse, it also jumps into Sebastian's head giving us a stream-of-consciousness perspective which only further confuses the matter. The third person narrator will set up a scene, then Sebastian will take over. Then it will be a slew of out-of-context ramblings which you'll either enjoy or you won't (this is yet another book where I instinctively recoiled at the idea of stream-of-consciousness but ended up actually enjoying it). Overall, it kinda works and gives you a Joycean sense of swirling drunkeness.

Sebastian is the stand-out character but I did enjoy Mary and her veracious appetite for sex. Her descriptions and wordings are immensely entertaining. You can understand why it was banned on publication in the mid '50s (though fairly tame by modern standards).]]>
3.65 1955 The Ginger Man
author: J.P. Donleavy
name: Hux
average rating: 3.65
book published: 1955
rating: 4
read at: 2022/06/26
date added: 2024/09/21
shelves:
review:
The tale of a charismatic Irish-American (with an English accent) ne'er-do-well named Sebastian Dangerfield who spends his days crawling around Dublin. He is an alcoholic womaniser doing his best to avoid his wife, any kind of work, and his landlord. He's married to Marion with a young daughter but she leaves him (only to have him charm his way back before she leaves him a second time). Sebastian has a number of other women on the go too, namely Christine who he makes grandiose promises to, and a young girl he seduces at a party (also receiving the same promises), then finally his wife's very own lodger, Mary, an older religious woman with a vigorous appetite for sex (she firmly believes putting it up the bum is less of a sin). Sebastian has a series of equally disreputable friends including O'Keefe, who, failing to get laid, leaves for France and decides to have sex with young boys instead (openly detailing his exploits in letters to Sebastian). The plot follows Sebastian as he flounders from one situation to the next, one drink to the next, one pound note to the next.

I really enjoyed this book and, despite how unpleasant he could be (casual violence towards his wife and Mary), it was difficult not to be (like everyone else that encounters him) charmed by Sebastian Dangerfield. He has the gift of the gab and always appears to land, relatively speaking, on his feet. A charming rogue with a twinkle in his eye who lives very much in the now.

That all being said, the writing style was often frustrating. It switches from third person to first person on practically every page. But worse, it also jumps into Sebastian's head giving us a stream-of-consciousness perspective which only further confuses the matter. The third person narrator will set up a scene, then Sebastian will take over. Then it will be a slew of out-of-context ramblings which you'll either enjoy or you won't (this is yet another book where I instinctively recoiled at the idea of stream-of-consciousness but ended up actually enjoying it). Overall, it kinda works and gives you a Joycean sense of swirling drunkeness.

Sebastian is the stand-out character but I did enjoy Mary and her veracious appetite for sex. Her descriptions and wordings are immensely entertaining. You can understand why it was banned on publication in the mid '50s (though fairly tame by modern standards).
]]>
The Pilgrim Hawk 458275
A work of classical elegance and concision, The Pilgrim Hawk stands with Faulkner’s The Bear as one of the finest American short novels: a beautifully crafted story that is also a poignant evocation of the implacable power of love.]]>
136 Glenway Wescott 0940322560 Hux 2
It concerns some posh people in a big house with servants in France and one day a couple, the annoying Cullens, arrive and -- get ready for the marriage analogy -- they bring a hawk with them. More specifically, the wife brings a hawk (as you do), and the narrator (a very blank individual) provides the details of this somewhat banal encounter. They have dinner for a start, then go for a walk on the grounds (owned by a loony politician), and get into arguments, and the husband resents the bird and sets it free (but it comes back ) and... oh, I couldn't tell you anymore, I was so bored.

It would appear that this bird is to be seen as a metaphor for marriage, the stifled need for freedom and individuality within the confines of a constraining environment which is inevitably taken away by domesticity and routine. I think that's the moral of the story here. I don't know. I don't care. Because I was so unutterably bored. Did I mention how bored I was? There's an introduction where Michael Cunningham compares this book favourably to the Great Gatsby and I totally agree with him. Because that book is awful too, perhaps the most overrated piece of dry blah in history. But anyway...

The writing's fine, clear and concise, but goodness it's so very dull. If you've read one book about rich Americans swanning about Europe in the '20s, having dinner parties, and saying 'old sport' every now and then... you've read them all. You've read this. Did you enjoy it? No, of course not. Because it's as dry as a fat woman's thighs rubbing against each other on an unfeasibly arid autumn day.]]>
3.67 1940 The Pilgrim Hawk
author: Glenway Wescott
name: Hux
average rating: 3.67
book published: 1940
rating: 2
read at: 2024/09/21
date added: 2024/09/21
shelves:
review:
Goodness, this was dull.

It concerns some posh people in a big house with servants in France and one day a couple, the annoying Cullens, arrive and -- get ready for the marriage analogy -- they bring a hawk with them. More specifically, the wife brings a hawk (as you do), and the narrator (a very blank individual) provides the details of this somewhat banal encounter. They have dinner for a start, then go for a walk on the grounds (owned by a loony politician), and get into arguments, and the husband resents the bird and sets it free (but it comes back ) and... oh, I couldn't tell you anymore, I was so bored.

It would appear that this bird is to be seen as a metaphor for marriage, the stifled need for freedom and individuality within the confines of a constraining environment which is inevitably taken away by domesticity and routine. I think that's the moral of the story here. I don't know. I don't care. Because I was so unutterably bored. Did I mention how bored I was? There's an introduction where Michael Cunningham compares this book favourably to the Great Gatsby and I totally agree with him. Because that book is awful too, perhaps the most overrated piece of dry blah in history. But anyway...

The writing's fine, clear and concise, but goodness it's so very dull. If you've read one book about rich Americans swanning about Europe in the '20s, having dinner parties, and saying 'old sport' every now and then... you've read them all. You've read this. Did you enjoy it? No, of course not. Because it's as dry as a fat woman's thighs rubbing against each other on an unfeasibly arid autumn day.
]]>
Berg 44296812
So begins Ann Quin's first novel, which has been compared to the fiction of Samuel Beckett and Nathalie Sarraute. Against the backdrop of this gritty seaside town, an absurd and brutal plot develops involving three characters - Alistair Berg, his father, and their mutual mistress. In his attempt to kill his father, Berg mutilates a ventriloquist's dummy, almost falls victim to his father's mistaken sexual advances, and is relentlessly taunted by a group of tramps. Disturbing and at times startlingly comic, Berg chronicles the interrelations among these three characters as they circle one another in an escalating spiral of violence.]]>
168 Ann Quin 1911508547 Hux 2
There are times when I read stream-of-consciousness novels and utterly despise them. Then there are times when I read stream-of-consciousness novels and find myself getting sucked in, lost in the narrative. Which of these two sensations I will experience seems to be arbitrary, random, and ultimately inexplicable. I slowly got into Land of Green Plums by Herta Muller and even found myself highly entertained by Christine Angot's Incest (a book many others seemed to hate). I don't know why I sometimes can be seduced and other times cannot, but the fact remains that when I dislike a stream-of-consciousness novel, I tend to absolutely loathe it with a passion!

Sadly, this comes under the latter category. Actually, that's not true, I didn't hate it, I simply didn't care enough for that. Instead I took this oddball story of a man tracking down his long lost father with the intention of killing him, and struggled to connect with its humour, its format, or its Freudian insights. Like I said, Carry on Camping but with an Oedipal complex and some cracking Blighty seaside smut (phwoar!!). But the writing appalled me. I simply hated it. The story is curious enough, with Berg finding his father shacked up with a younger woman whom he also fancies, his desire to kill him, the replacement of a clownish ventriloquist's doll, and all of this silliness saturated in quaint Britishisms and the endless presence of Brighton's piscatorial spoondrift. It's all rather interesting stuff but again... I come back to the writing. It simply infuriated me. Truth be told, even when I do like stream-of-consciousness, I only ever like it... never love it. Which is presumably why when I hate it... I truly, utterly, wholeheartedly, down to the marrow of my bones... despise it!

Fingers scratching the partition. Two beasts emerging, somewhere between head and belly; substantial food for only one, the third lingering, then leaps and devours everything, the remaining two face each other, which will die, the one above, or the one below? There I've lost interest in being the ring master, but shall I remain the impassive observer? Berg pressed himself against the partition, until it shuddered, and he thought someone coughed the other side, a rasping sound that - why yes unmistakable - and yet?


The above style either fills you with profound enjoyment or it sounds like the contrived mediocre nothing language of someone trying too hard. It can never be beautiful to me, too prosaic and obvious, too dependent upon the style above substance, the format, the delivery system, always taking precedent over the actual content. Sometimes this kind of writing might bring something to the table, but mostly it always seems (to me at least) to act as a method for masking what is, ultimately, a rather forgettable prose. And for some reason this kind of writing always feels strangely dated to me, as though the ideas of the experimental writers were, ironically, an expression of a specific time and place, weighed down by a psychology that is already redundant and archaic. The endless moments in the novel, for example, where his mother (a kind of floating consciousness in itself) witters on about wearing a warm coat or encourages him to mix with people. It was like Norman Bates hearing his mother telling him he's a dirty boy.

You either take an enormous amount of pleasure from this style of writing (independently of the story) or you don't. If you like stream-of-consciousness writing then there's a good chance you'll like this (think Ice by Kavan or The Limit by Rosalind Belben - two books I also did not care for). If, like me, however, your enjoyment of stream-of-consciousness is very hit and miss. Well, it's impossible to say if you'll like it or not. Go read it for yourself, I'm not your mother.

All I know is... I very muchly (MUCHLY) did not care for it.]]>
3.87 1964 Berg
author: Ann Quin
name: Hux
average rating: 3.87
book published: 1964
rating: 2
read at: 2024/09/19
date added: 2024/09/19
shelves:
review:
If a Carry On film was turned into a stream-of-consciousness novel.

There are times when I read stream-of-consciousness novels and utterly despise them. Then there are times when I read stream-of-consciousness novels and find myself getting sucked in, lost in the narrative. Which of these two sensations I will experience seems to be arbitrary, random, and ultimately inexplicable. I slowly got into Land of Green Plums by Herta Muller and even found myself highly entertained by Christine Angot's Incest (a book many others seemed to hate). I don't know why I sometimes can be seduced and other times cannot, but the fact remains that when I dislike a stream-of-consciousness novel, I tend to absolutely loathe it with a passion!

Sadly, this comes under the latter category. Actually, that's not true, I didn't hate it, I simply didn't care enough for that. Instead I took this oddball story of a man tracking down his long lost father with the intention of killing him, and struggled to connect with its humour, its format, or its Freudian insights. Like I said, Carry on Camping but with an Oedipal complex and some cracking Blighty seaside smut (phwoar!!). But the writing appalled me. I simply hated it. The story is curious enough, with Berg finding his father shacked up with a younger woman whom he also fancies, his desire to kill him, the replacement of a clownish ventriloquist's doll, and all of this silliness saturated in quaint Britishisms and the endless presence of Brighton's piscatorial spoondrift. It's all rather interesting stuff but again... I come back to the writing. It simply infuriated me. Truth be told, even when I do like stream-of-consciousness, I only ever like it... never love it. Which is presumably why when I hate it... I truly, utterly, wholeheartedly, down to the marrow of my bones... despise it!

Fingers scratching the partition. Two beasts emerging, somewhere between head and belly; substantial food for only one, the third lingering, then leaps and devours everything, the remaining two face each other, which will die, the one above, or the one below? There I've lost interest in being the ring master, but shall I remain the impassive observer? Berg pressed himself against the partition, until it shuddered, and he thought someone coughed the other side, a rasping sound that - why yes unmistakable - and yet?


The above style either fills you with profound enjoyment or it sounds like the contrived mediocre nothing language of someone trying too hard. It can never be beautiful to me, too prosaic and obvious, too dependent upon the style above substance, the format, the delivery system, always taking precedent over the actual content. Sometimes this kind of writing might bring something to the table, but mostly it always seems (to me at least) to act as a method for masking what is, ultimately, a rather forgettable prose. And for some reason this kind of writing always feels strangely dated to me, as though the ideas of the experimental writers were, ironically, an expression of a specific time and place, weighed down by a psychology that is already redundant and archaic. The endless moments in the novel, for example, where his mother (a kind of floating consciousness in itself) witters on about wearing a warm coat or encourages him to mix with people. It was like Norman Bates hearing his mother telling him he's a dirty boy.

You either take an enormous amount of pleasure from this style of writing (independently of the story) or you don't. If you like stream-of-consciousness writing then there's a good chance you'll like this (think Ice by Kavan or The Limit by Rosalind Belben - two books I also did not care for). If, like me, however, your enjoyment of stream-of-consciousness is very hit and miss. Well, it's impossible to say if you'll like it or not. Go read it for yourself, I'm not your mother.

All I know is... I very muchly (MUCHLY) did not care for it.
]]>
Dom Casmurro 34391370 262 Machado de Assis 1907970509 Hux 4
And yet despite being unlike other writers of the time, I never entirely enjoy his writing as much as I probably ought to. It can often seem a little dry or belaboured. I didn't like The Posthumous Memoirs of Bras Cubas that much, found it ultimately quite prosaic and plodding (despite the unique qualities). But I liked this a lot more. I think because it deals with a more straight-forward story which doesn't add any bells or whistles. It keeps things very simple.

The story concerns Bentinho, a young 15-year-old boy living in Rio de Janeiro, and his love affair with Capitu. The book is narrated by a much older version of Bentinho and he begins by telling us how he received the nickname of Dom Casmurro. Then he tells us of his growing affection for the 14-year-old Capitu. Unfortunately, his mother is adamant that Bentinho should become a padre (a promise she made to God) and the bulk of the first part of the book is about trying to avoid letting this happen so that he can be with Capitu. His life is richly detailed during this period, and eventually he goes on to study at the seminar, making a friend called Escobar. As the book goes along he succeeds in changing his mother's mind and marries Capitu. At this point, the book suddenly changes gear quite dramatically, and we are given a revelation (at least in the eyes of Bentinho) which throws everything into question. Nothing is conclusive or proven, but a very pronounced idea comes into Bentinho's head and changes everything. Given that he is the narrator, it's unclear how much of it we should believe (even he has some doubts). But it was a twist ending that was slightly devastating. Is it the Lord's punishment for that broken promise, or is it simply Bentinho's guilt seeking a punishment for the same crime? Either way, the book ends on a very bleak note. And in many ways it was the ending that made the book.

I'm still not a convert of de Assis or his writing but this one was definitely a step up. Excellent (and extra points for a wonderful cover).]]>
3.98 1899 Dom Casmurro
author: Machado de Assis
name: Hux
average rating: 3.98
book published: 1899
rating: 4
read at: 2024/09/17
date added: 2024/09/17
shelves:
review:
Machado De Assis was very much ahead of his time when it came to writing. There is a very modern feel to his work, it being more self-aware and wry, more conscious of the reader, certainly more so than most of the contemporary pieces of the time, his books lacking that detached 19th century style which can often seem unrealistic and contrived. He is very much a modernist. Which is a bizarre thing to say when you take into account that his books regularly make casual mention of slaves.

And yet despite being unlike other writers of the time, I never entirely enjoy his writing as much as I probably ought to. It can often seem a little dry or belaboured. I didn't like The Posthumous Memoirs of Bras Cubas that much, found it ultimately quite prosaic and plodding (despite the unique qualities). But I liked this a lot more. I think because it deals with a more straight-forward story which doesn't add any bells or whistles. It keeps things very simple.

The story concerns Bentinho, a young 15-year-old boy living in Rio de Janeiro, and his love affair with Capitu. The book is narrated by a much older version of Bentinho and he begins by telling us how he received the nickname of Dom Casmurro. Then he tells us of his growing affection for the 14-year-old Capitu. Unfortunately, his mother is adamant that Bentinho should become a padre (a promise she made to God) and the bulk of the first part of the book is about trying to avoid letting this happen so that he can be with Capitu. His life is richly detailed during this period, and eventually he goes on to study at the seminar, making a friend called Escobar. As the book goes along he succeeds in changing his mother's mind and marries Capitu. At this point, the book suddenly changes gear quite dramatically, and we are given a revelation (at least in the eyes of Bentinho) which throws everything into question. Nothing is conclusive or proven, but a very pronounced idea comes into Bentinho's head and changes everything. Given that he is the narrator, it's unclear how much of it we should believe (even he has some doubts). But it was a twist ending that was slightly devastating. Is it the Lord's punishment for that broken promise, or is it simply Bentinho's guilt seeking a punishment for the same crime? Either way, the book ends on a very bleak note. And in many ways it was the ending that made the book.

I'm still not a convert of de Assis or his writing but this one was definitely a step up. Excellent (and extra points for a wonderful cover).
]]>
Normal People 41057294
A year later, they’re both studying at Trinity College in Dublin. Marianne has found her feet in a new social world while Connell hangs at the sidelines, shy and uncertain. Throughout their years in college, Marianne and Connell circle one another, straying toward other people and possibilities but always magnetically, irresistibly drawn back together. Then, as she veers into self-destruction and he begins to search for meaning elsewhere, each must confront how far they are willing to go to save the other.

Sally Rooney brings her brilliant psychological acuity and perfectly spare prose to a story that explores the subtleties of class, the electricity of first love, and the complex entanglements of family and friendship.]]>
273 Sally Rooney 1984822179 Hux 2
Every time a book like this wins awards and gets praise, I come to the conclusion that modern books are written for the growing demographic of people who... simply don't like reading books. Firstly, there's nothing remotely 'normal' about these two characters. I'll skip over the predictably dream-like otherness of Marianne and focus on the utterly non-existent Connell. I mean, I'm sorry, but that guy (calm, thoughtful, caring, emotionally mature, intellectually honest, culturally sensitive, performatively left-wing, etc) only exists in the heads of women. He isn't just these things by the end of the book after several fraught experiences and life lessons. No, he's these things from the very start... as a teenager. You know, like most teenage boys are (can't move for stoic, romantic teenage boys who gaze out to the sea with a copy of the Guardian in their hand round our way). Really, the front cover of this book should have been him with long flowing hair and rippling muscles on a pirate ship.

These two people are highly popular, good looking, the smartest in school, and having regular sex. They are apparently off to university where they'll end up travelling around Europe on a gap year and become writers. You know, like normal people. Most plumbers live in Italy for a year before beginning their apprenticeships.

I was genuinely quite irritated but this book. It's everything I hate in fiction. I was half-expecting a final chapter to reveal that Marianne was sexually assaulted as a child (perhaps by her father, maybe even by her cartoonishly evil, moustache twirling brother) but thankfully, that didn't happen. I was also slightly offended by the implication that women (or men, for that matter) who enjoy rough sex have some kind of underlying personality disorder. I did, however, like the ending where these two millennial idiots cannot, despite all they've been through, communicate their feelings to on another. Even at the end she tells him to go to New York. I do wonder what point Rooney is trying to make here. It's not as if her generation are emotionally closed off or anything, in fact, aren't they prone to expressing their feelings continuously (incessantly) unlike all previous generations? Maybe she was criticising that very thing - that modern people who sleep around with everyone without consequences discover that... gulp... maybe there are consequences. Sigh.

I honestly couldn't tell if the book's title was ironic or if it was a clever twist on those awful romance novels (what if, instead of a pirate and a buxom wench, it was a saucy romance between two... normal people).

This is an airport book. Fine, but stop celebrating this kind of crap as meaningful literature and giving them prizes. Snap out of it!!]]>
3.81 2018 Normal People
author: Sally Rooney
name: Hux
average rating: 3.81
book published: 2018
rating: 2
read at:
date added: 2024/09/15
shelves:
review:
This was slightly tedious, a Mills and Boon romance novel for the contemporary age.

Every time a book like this wins awards and gets praise, I come to the conclusion that modern books are written for the growing demographic of people who... simply don't like reading books. Firstly, there's nothing remotely 'normal' about these two characters. I'll skip over the predictably dream-like otherness of Marianne and focus on the utterly non-existent Connell. I mean, I'm sorry, but that guy (calm, thoughtful, caring, emotionally mature, intellectually honest, culturally sensitive, performatively left-wing, etc) only exists in the heads of women. He isn't just these things by the end of the book after several fraught experiences and life lessons. No, he's these things from the very start... as a teenager. You know, like most teenage boys are (can't move for stoic, romantic teenage boys who gaze out to the sea with a copy of the Guardian in their hand round our way). Really, the front cover of this book should have been him with long flowing hair and rippling muscles on a pirate ship.

These two people are highly popular, good looking, the smartest in school, and having regular sex. They are apparently off to university where they'll end up travelling around Europe on a gap year and become writers. You know, like normal people. Most plumbers live in Italy for a year before beginning their apprenticeships.

I was genuinely quite irritated but this book. It's everything I hate in fiction. I was half-expecting a final chapter to reveal that Marianne was sexually assaulted as a child (perhaps by her father, maybe even by her cartoonishly evil, moustache twirling brother) but thankfully, that didn't happen. I was also slightly offended by the implication that women (or men, for that matter) who enjoy rough sex have some kind of underlying personality disorder. I did, however, like the ending where these two millennial idiots cannot, despite all they've been through, communicate their feelings to on another. Even at the end she tells him to go to New York. I do wonder what point Rooney is trying to make here. It's not as if her generation are emotionally closed off or anything, in fact, aren't they prone to expressing their feelings continuously (incessantly) unlike all previous generations? Maybe she was criticising that very thing - that modern people who sleep around with everyone without consequences discover that... gulp... maybe there are consequences. Sigh.

I honestly couldn't tell if the book's title was ironic or if it was a clever twist on those awful romance novels (what if, instead of a pirate and a buxom wench, it was a saucy romance between two... normal people).

This is an airport book. Fine, but stop celebrating this kind of crap as meaningful literature and giving them prizes. Snap out of it!!
]]>
Children crossing 1665899 Verity Bargate 0224016512 Hux 4
The book is hard to describe without spoilers, that being said the biggest (and most significant) event of the book occurs quite early on so I'm not sure it's a spoiler so much as something that might colour your expectations of the reading experience going in. I already had an inkling of what was to come. The book begins with Rosie and her two children, Abigail (four) and Daisy (three), on a train to Cornwall where she intends to stay with her married friends, Tom and Jane. She is going there after discovering that her husband (Joe) has been having an affair with a woman called Helen. They spend their days at the beach, have meals together, have drinks, etc. Then, when driving back home, Tom slams on his breaks for a passing fox and a lorry crashes into the back of the car instantly killing Abigail and Daisy.

What follows is the story of Rosie dealing with this. She is understandably lost and begins to be looked after by John, the local doctor, who eventually takes her back to London and begins to become slightly obsessed with her. She is splitting into different people, wanting to find ways to feel alive, trying to understand what life will look like now. She can never exist in the same way again.

The book was genuinely gripping. I read through it very quickly and couldn't stop turning the pages. The writing is straight-forward but Bargate knows how to be concise, to the point, and waste no time on anything that isn't necessary. There is no fat, only meat. The book is a flash of trauma and shock, and even when the pace slows, the book maintains its sharpness, each chapter, short and slick, moving you to the next moment. I was completely sucked in. The story is dealing with a bleak scenario but it does so with rapid energy and brevity. Rosie becomes a shell of a human, eternally damned to walk the streets as a mother without children.

Short and (bitter)sweet.]]>
4.36 Children crossing
author: Verity Bargate
name: Hux
average rating: 4.36
book published:
rating: 4
read at: 2024/09/13
date added: 2024/09/13
shelves:
review:
There's a website dedicated to 'neglected' books and this was among them so I thought I'd take a look. As you can imagine, I couldn't find a new copy, only a brown and stained second-hand version that I managed to buy. Even ŷ does't seem to know this paperback exists, the only cover they have available being the hardback. And so I read it not expecting much. And it was fantastic.

The book is hard to describe without spoilers, that being said the biggest (and most significant) event of the book occurs quite early on so I'm not sure it's a spoiler so much as something that might colour your expectations of the reading experience going in. I already had an inkling of what was to come. The book begins with Rosie and her two children, Abigail (four) and Daisy (three), on a train to Cornwall where she intends to stay with her married friends, Tom and Jane. She is going there after discovering that her husband (Joe) has been having an affair with a woman called Helen. They spend their days at the beach, have meals together, have drinks, etc. Then, when driving back home, Tom slams on his breaks for a passing fox and a lorry crashes into the back of the car instantly killing Abigail and Daisy.

What follows is the story of Rosie dealing with this. She is understandably lost and begins to be looked after by John, the local doctor, who eventually takes her back to London and begins to become slightly obsessed with her. She is splitting into different people, wanting to find ways to feel alive, trying to understand what life will look like now. She can never exist in the same way again.

The book was genuinely gripping. I read through it very quickly and couldn't stop turning the pages. The writing is straight-forward but Bargate knows how to be concise, to the point, and waste no time on anything that isn't necessary. There is no fat, only meat. The book is a flash of trauma and shock, and even when the pace slows, the book maintains its sharpness, each chapter, short and slick, moving you to the next moment. I was completely sucked in. The story is dealing with a bleak scenario but it does so with rapid energy and brevity. Rosie becomes a shell of a human, eternally damned to walk the streets as a mother without children.

Short and (bitter)sweet.
]]>
The Dog Stars 17973316 416 Peter Heller 0755392620 Hux 3
The story concerns Higs, a survivor of a global flu that has killed 99% of the planet. He lives at a small airport near Denver and one day, meets a man named Bangley (a gun nut survivalist), and (along with his dog Jasper) the three of them make a decent place to live. Higs flies a small plane and scouts the area, checking the perimeter, and occasionally going further afield. This aspect of the story was interesting, his ability to travel greater distances demonstrating their isolation. On one trip, he goes so far that he won't be able to get back. He meets an elderly man and his daughter, and they plan their journey back to the airport. Higs lost his wife to the virus and this element of loss plays a significant role in the theme of the piece.

Ultimately, I would describe the book as an example of cosy catastrophe. It isn't saying much about the human condition that hasn't already been said before. The biggest selling point of the book is its post-apocalyptic setting. I enjoyed that aspect and probably would have liked more, a greater exploration of the vast environment, his camping expeditions with Jasper, even just the crackling of an open fire in a desolate world. But instead, we get a lot of action set-pieces and the standard trope of attackers who want what you have. As such, it's pretty generic stuff. The writing style is obviously an attempt to give the work more gravitas but it doesn't really succeed. If anything, the writing style will be inclined to put you off what is an otherwise fun and comforting story of love, loss, and hope, in a world where solitude is the norm.

Enjoyable but perhaps forgettable. One for fans of the genre.]]>
3.77 2012 The Dog Stars
author: Peter Heller
name: Hux
average rating: 3.77
book published: 2012
rating: 3
read at: 2024/09/11
date added: 2024/09/11
shelves:
review:
I predominantly enjoyed this but wouldn't say it was anything more than a basic story, a cosy catastrophe narrative, empty calories, but satisfying (if you like the genre). And the bottom line is I do like the genre, post-apocalyptic stories being my guilty pleasure (even if they're bad). I knew very little of this book and within the first few pages discovered, to my horror, that it's written in a stream-of-consciousness style, at least at first glance. On closer inspection, however, I would say this was a writer doing an impression of stream-of-consciousness writing. Getting past those first few pages was a hurdle but gradually, I started to enjoy the book (more so because he was giving me context and background, something to get my teeth into, rather than because the writing was good). I would say that I enjoyed the story in spite of the writing. Although I did like the broken up paragraphs (often just a sentence).

The story concerns Higs, a survivor of a global flu that has killed 99% of the planet. He lives at a small airport near Denver and one day, meets a man named Bangley (a gun nut survivalist), and (along with his dog Jasper) the three of them make a decent place to live. Higs flies a small plane and scouts the area, checking the perimeter, and occasionally going further afield. This aspect of the story was interesting, his ability to travel greater distances demonstrating their isolation. On one trip, he goes so far that he won't be able to get back. He meets an elderly man and his daughter, and they plan their journey back to the airport. Higs lost his wife to the virus and this element of loss plays a significant role in the theme of the piece.

Ultimately, I would describe the book as an example of cosy catastrophe. It isn't saying much about the human condition that hasn't already been said before. The biggest selling point of the book is its post-apocalyptic setting. I enjoyed that aspect and probably would have liked more, a greater exploration of the vast environment, his camping expeditions with Jasper, even just the crackling of an open fire in a desolate world. But instead, we get a lot of action set-pieces and the standard trope of attackers who want what you have. As such, it's pretty generic stuff. The writing style is obviously an attempt to give the work more gravitas but it doesn't really succeed. If anything, the writing style will be inclined to put you off what is an otherwise fun and comforting story of love, loss, and hope, in a world where solitude is the norm.

Enjoyable but perhaps forgettable. One for fans of the genre.
]]>
War 214575262 First Ever English Translation of an unpublished work by Louis-Ferdinand Céline, the author of Journey to the End of the Night.

A major rediscovery of a manuscript, considered lost after being looted during the liberation of Paris, re-emerged in France in 2020, sparking a frenzy of interest. An essential missing link in Céline’s oeuvre.

The scene opens in a smouldering orchard in Flanders, where the French soldier Ferdinand, shell-shocked, badly wounded and surrounded on all sides by mud, corpses and destruction, tries to find his way to safety and make sense of what has happened to him since he lost consciousness. His hallucinatory wanderings eventually take him to the military hospital of Peurdu-sur-la-Lys. There, after narrowly cheating death, he strikes up a friendship with a Parisian pimp and continues to be confronted with the moral chaos and side effects of war in all their vicious and repulsive senselessness and brutality.

Written around 1934, only a couple of years after Journey to the End of the Night, War shares its protagonist, its setting and many of its themes with Céline’s most celebrated novel. Its manuscript, considered lost after being looted during the Liberation of Paris, re-emerged in France in 2020, sparking a frenzy of interest and being hailed as a major rediscovery. Translated now for the first time into English, War is a powerfully vivid, unflinching, darkly comical exploration of the physical and mental trauma of the Western Front, which provides a fascinating missing link in the writing career of one of the greatest � and most controversial � authors of the twentieth century.]]>
132 Louis-Ferdinand Céline 1847499163 Hux 4
With that in mind, it's worth noting that this book is both a first draft and very much incomplete. As such, the quality is affected and the context slightly altered. Nonetheless, there is enough here to justify publication and provide a coherent narrative. Most importantly of all, you get the very clear Celine voice in the piece, his cynicism, nihilism, and bitterness, his scattergun prose (albeit without the standard ellipses), and his dark, often puerile humour. And that's what I want more than anything else. Everything about the book screams Celine!

It begins with Ferdinand, a shell-shocked soldier in Flanders, making his way to safety after being badly injured. The majority of the book is set at the hospital he is taken to, and revolves around his experiences with his pal Cascade, a nurse who gives him hand-jobs, and his irritating parents. If you've read any of Celine's other work, you'll petty quickly know the character as well as the setting, placing this story at the beginning of both Journey and Guignol's Band, a prequel to both. As ever, it seems clear that Celine was somewhat destroyed by the Great War and his whole life (physical and mental) was defined by it. It's little wonder he returns to the subject so often. The story is of little importance (Cascade's prostitute wife, his overbearing parents, the slutty nurse) and the book is, like so much of his work, more concerned with his mental deterioration due to the war. Like so many others, it crippled him in more ways than one. But never enough so that his sense of the absurd and disgusting was ever diminished. The usual sexual scenes are aplenty and the ludicrous, overtly comical, nature of them is maintained. Celine wallows in the trauma of war but equally in the repugnant nature of humanity. He often reminds us that the war is literally stuck in his head, a lifelong tinnitus of explosions, noise, and buzzing, which will, he tells us, stay with him until he dies.

I enjoyed the book, but that's because I love Celine. If you're a fan, I would recommend this, if not, however, I would suggest it's probably too lightweight (100+ pages) and ultimately a mere shadow of his main works. The guys who put this together did their best to make it into something but overall, it remains the scruffy, first draft of an unfinished piece that Celine probably wouldn't have published without significant rewrites and further polishing. ]]>
3.64 2022 War
author: Louis-Ferdinand Céline
name: Hux
average rating: 3.64
book published: 2022
rating: 4
read at: 2024/09/08
date added: 2024/09/08
shelves:
review:
Before Celine ran away to Denmark in 1944 (seeing that the Germans were about to lose and his antisemitism was about to become problematic), he had written three more books but had to leave them behind in his apartment as he scarpered. He often claimed that these manuscripts had been stolen but it was only in recent years that this was revealed to be true. And so in 2022 they were finally brought to light.

With that in mind, it's worth noting that this book is both a first draft and very much incomplete. As such, the quality is affected and the context slightly altered. Nonetheless, there is enough here to justify publication and provide a coherent narrative. Most importantly of all, you get the very clear Celine voice in the piece, his cynicism, nihilism, and bitterness, his scattergun prose (albeit without the standard ellipses), and his dark, often puerile humour. And that's what I want more than anything else. Everything about the book screams Celine!

It begins with Ferdinand, a shell-shocked soldier in Flanders, making his way to safety after being badly injured. The majority of the book is set at the hospital he is taken to, and revolves around his experiences with his pal Cascade, a nurse who gives him hand-jobs, and his irritating parents. If you've read any of Celine's other work, you'll petty quickly know the character as well as the setting, placing this story at the beginning of both Journey and Guignol's Band, a prequel to both. As ever, it seems clear that Celine was somewhat destroyed by the Great War and his whole life (physical and mental) was defined by it. It's little wonder he returns to the subject so often. The story is of little importance (Cascade's prostitute wife, his overbearing parents, the slutty nurse) and the book is, like so much of his work, more concerned with his mental deterioration due to the war. Like so many others, it crippled him in more ways than one. But never enough so that his sense of the absurd and disgusting was ever diminished. The usual sexual scenes are aplenty and the ludicrous, overtly comical, nature of them is maintained. Celine wallows in the trauma of war but equally in the repugnant nature of humanity. He often reminds us that the war is literally stuck in his head, a lifelong tinnitus of explosions, noise, and buzzing, which will, he tells us, stay with him until he dies.

I enjoyed the book, but that's because I love Celine. If you're a fan, I would recommend this, if not, however, I would suggest it's probably too lightweight (100+ pages) and ultimately a mere shadow of his main works. The guys who put this together did their best to make it into something but overall, it remains the scruffy, first draft of an unfinished piece that Celine probably wouldn't have published without significant rewrites and further polishing.
]]>
Journey by Moonlight 182506449
“No one who has read it has failed to love it.� � Nicholas Lezard

Mihály and Erzsi are on honeymoon in Italy. Mihály has recently joined the respectable family firm in Budapest, but as his gaze passes over the mysterious back-alleys of Venice, memories of his bohemian past reawaken his old desire to wander.

When bride and groom become separated at a provincial train station, Mihály embarks on a chaotic and bizarre journey that leads him finally to Rome, where he must reckon with both his past and his future. In this intoxicating and satirical masterpiece, Szerb takes us deep into the conflicting desires of marriage and shows how adulthood can reverberate endlessly with the ache of youth.]]>
304 Antal Szerb 1805330241 Hux 3
Mihaly gets off the train at a station and they are separated. At this point Mihaly decides to have a breakdown and shack up with am American girl called Millicent and travel around Italy alone. Erzsi goes to Paris and things happen there but whatever. Then Mihaly bumps into Ervin and then later bumps into Eva and so and so forth (thank goodness he keeps bumping into integral characters). It was all rather forgettable. I'm not sure what the book was exploring, maybe grief, nostalgia, loss of youth, or just the inability of men to grow up. Who knows.

It was very easy to read and I enjoyed the first two thirds but was losing interest towards the end. The book has a kind of magical realism (no thanks) which goes hand-in-hand with another literary trope I loath... the mystery. The book has Mihaly searching for Eva (what happened to her) and she seems to flitter in and out like a ghost and it's mostly annoying because books with a mystery element ALWAYS disappoint. The resolution is always dull. So, you know... get on with it! Anyway, I really enjoyed the first half (very easy to read and fun) but became increasingly bored as it went along. I suspect Szerb was playing with ideas of capitalist ennui (he uses the word 'bourgeoisie' several times so you really get the point) and the rise of fascism and youthful exuberance and blah blah but the fact remains, Mihaly comes across as a spoiled middle class tool. 'Please send money so I can continue swanning about Italy and being weirdly nostalgic for a period of my life that was less than a decade ago.'

The ultimate content of the book irritated me (banal middle-class navel gazing). But it was an easy read and had some nice moments and went along at a pace so I would still recommend it. In fact, I suspect most people will like this book quite a lot (certainly more than I did).]]>
3.58 1937 Journey by Moonlight
author: Antal Szerb
name: Hux
average rating: 3.58
book published: 1937
rating: 3
read at: 2024/04/05
date added: 2024/09/04
shelves:
review:
Mihály and Erzsi are on honeymoon in Italy. While in Venice, they bump into his old friend Szepetneki (conveniently bumping into people who can push the narrative along is a recurring theme here) and this leads to Mihaly telling Erzsi a long story about his younger days with Tamás, his sister, Eva, Ervin and Szepetneki. Predominantly it is the suicide of Tamás and the disappearance of Ervin and Eva that are of note

Mihaly gets off the train at a station and they are separated. At this point Mihaly decides to have a breakdown and shack up with am American girl called Millicent and travel around Italy alone. Erzsi goes to Paris and things happen there but whatever. Then Mihaly bumps into Ervin and then later bumps into Eva and so and so forth (thank goodness he keeps bumping into integral characters). It was all rather forgettable. I'm not sure what the book was exploring, maybe grief, nostalgia, loss of youth, or just the inability of men to grow up. Who knows.

It was very easy to read and I enjoyed the first two thirds but was losing interest towards the end. The book has a kind of magical realism (no thanks) which goes hand-in-hand with another literary trope I loath... the mystery. The book has Mihaly searching for Eva (what happened to her) and she seems to flitter in and out like a ghost and it's mostly annoying because books with a mystery element ALWAYS disappoint. The resolution is always dull. So, you know... get on with it! Anyway, I really enjoyed the first half (very easy to read and fun) but became increasingly bored as it went along. I suspect Szerb was playing with ideas of capitalist ennui (he uses the word 'bourgeoisie' several times so you really get the point) and the rise of fascism and youthful exuberance and blah blah but the fact remains, Mihaly comes across as a spoiled middle class tool. 'Please send money so I can continue swanning about Italy and being weirdly nostalgic for a period of my life that was less than a decade ago.'

The ultimate content of the book irritated me (banal middle-class navel gazing). But it was an easy read and had some nice moments and went along at a pace so I would still recommend it. In fact, I suspect most people will like this book quite a lot (certainly more than I did).
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The Black Book 32703682 Black Book 465 Orhan Pamuk 0571326099 Hux 3
This started well and I was engaged but gradually, towards the middle, started losing a little of my interest. The problem here is there is no story to speak of, only a kind of vague exploration of identity and while that can be interesting (writers do seem to come back to this subject matter on a very regular basis) the writing style and the format of the book made it a little too broad for my tastes. The book is set up so that there's a chapter concerning Galip's investigation followed by a chapter which is one of the columns written by Celal (which we are presumably expected to view as a clue to the character's motivations and whereabouts). This process repeats itself throughout the book (chapter about Galip's investigations, chapter of one of Celal's columns, and so on, etc). While I was generally invested in Galip's story, the columns by Celal's added little and felt like red herrings (maybe they were). As the book goes along, you are showered in references to Turkish history and literature which, while interesting, feels a little obscure and unfamiliar, especially in the context of what is, on some level, a murder mystery. But, of course, it isn't really - but merely mimics one. I had similar issues when I read Snow (a more conventional narrative), about the west and east struggling to co-exist as a theme. But here it was harder to come to terms with.

Somewhat unsurprisingly, the book then explores the concept of the self and identity in general. Writer's do seem to love this theme. Towards the end of the book, Galip is the one now writing the columns and there is a sense that these two men might actually be the same man (I really did think at one point this was going to be the twist at the end). The two men seemingly merge, blur the lines of identity, and start to resemble each other very acutely as Galip essentially starts to live Celal's life. The ending is rather blunt and opens up avenues for new, more sinister interpretations (namely concerning just how reliable the narration is) since it involves not just Galip as a confused protagonist but also Pamuk himself.

Overall, the book is very good but too long and too dense. So much could have been removed. It didn't grab me the way Snow did perhaps because it didn't offer the same kind of conventional narrative but instead one which explored ideas that needed a better delivery system. Pamuk is a wonderful writer but this one just felt a little loose and vague. The big ideas he's looking at never quite succeed in being realised as something profound or entertaining; I was never really moved or gripped. It's definitely worth a read though.]]>
3.52 1990 The Black Book
author: Orhan Pamuk
name: Hux
average rating: 3.52
book published: 1990
rating: 3
read at: 2024/09/03
date added: 2024/09/03
shelves:
review:
A lawyer named Galip discovers that his wife, Ruya, has left a note to say she is leaving him. He keeps this information from his family and begins to search for her, in the process discovering that his uncle, Celal, a columnist for a newspaper, has also seemingly vanished. He understandably assumes they have run off together and he tries to piece together the cause of their disappearance by investigating their shared lives. Gradually he starts to read Celal's old columns for clues and slowly but surely begins to accumulate aspects of Celal's own life.

This started well and I was engaged but gradually, towards the middle, started losing a little of my interest. The problem here is there is no story to speak of, only a kind of vague exploration of identity and while that can be interesting (writers do seem to come back to this subject matter on a very regular basis) the writing style and the format of the book made it a little too broad for my tastes. The book is set up so that there's a chapter concerning Galip's investigation followed by a chapter which is one of the columns written by Celal (which we are presumably expected to view as a clue to the character's motivations and whereabouts). This process repeats itself throughout the book (chapter about Galip's investigations, chapter of one of Celal's columns, and so on, etc). While I was generally invested in Galip's story, the columns by Celal's added little and felt like red herrings (maybe they were). As the book goes along, you are showered in references to Turkish history and literature which, while interesting, feels a little obscure and unfamiliar, especially in the context of what is, on some level, a murder mystery. But, of course, it isn't really - but merely mimics one. I had similar issues when I read Snow (a more conventional narrative), about the west and east struggling to co-exist as a theme. But here it was harder to come to terms with.

Somewhat unsurprisingly, the book then explores the concept of the self and identity in general. Writer's do seem to love this theme. Towards the end of the book, Galip is the one now writing the columns and there is a sense that these two men might actually be the same man (I really did think at one point this was going to be the twist at the end). The two men seemingly merge, blur the lines of identity, and start to resemble each other very acutely as Galip essentially starts to live Celal's life. The ending is rather blunt and opens up avenues for new, more sinister interpretations (namely concerning just how reliable the narration is) since it involves not just Galip as a confused protagonist but also Pamuk himself.

Overall, the book is very good but too long and too dense. So much could have been removed. It didn't grab me the way Snow did perhaps because it didn't offer the same kind of conventional narrative but instead one which explored ideas that needed a better delivery system. Pamuk is a wonderful writer but this one just felt a little loose and vague. The big ideas he's looking at never quite succeed in being realised as something profound or entertaining; I was never really moved or gripped. It's definitely worth a read though.
]]>
Berlin Alexanderplatz 35886439 The inspiration for Rainer Werner Fassbinder's epic film and that The Guardian named one of the "Top 100 Books of All Time," Berlin Alexanderplatz is considered one of the most important works of the Weimar Republic and twentieth century literature.

Franz Biberkopf, pimp and petty thief, has just finished serving a term in prison for murdering his girlfriend. He's on his own in Weimar Berlin with its lousy economy and frontier morality, but Franz is determined to turn over new leaf, get ahead, make an honest man of himself, and so on and so forth. He hawks papers, chases girls, needs and bleeds money, and gets mixed up in spite of himself in various criminal and political schemes. This is only the beginning of our modern everyman's multiplying misfortunes.

Berlin, Alexanderplatz is one of great twentieth-century novels. Taking off from the work of Dos Passos and Joyce, Doblin depicts modern life in all its shocking violence, corruption, splendor, and horror. Michael Hofmann, celebrated for his translations of Joseph Roth and Franz Kafka, has prepared a new version, the first in over 75 years, in which Doblin's sublime and scurrilous masterpiece comes alive in English as never before.]]>
458 Alfred Döblin 1681371995 Hux 4
Style aside, the basic story is about Franz Biberkopf, a lowlife criminal who begins the novel being released from prison after 4 years for the murder of his girlfriend (the crime itself described by Biberkopf as 'some stupid stuff'). He intends to go straight but struggles to break the cycle of his social status. As the novels says: ' As long as he had money, he remained decent. But then he ran out of money.' Soon, Biberkopf gets involved with a criminal gang and one tragedy after another seems to befall him. It's one thing after another and frankly a rather bleak worldview (plus there's a certain political movement on the horizon in late '20s Germany which bubbles away in the background and only adds to the foreshadowing) That's the basic premise of the narrative and there are no real happy endings to be found here.

This is one of those novels, like so many of the '20s and '30s, which want to look at civilisation as a whole, delving into the underbelly of a particular city and examining some of its many inhabitants. Döblin occasionally drops us into the lives of people who aren't remotely involved in the main story, occasionally throws in some Greek myth, the bible, an old drinking song, whatever takes his fancy. There are stream of consciousness elements, sound effects, parables. Some of it works, some of it doesn't, but it's all in service of a wonderfully ambitious and interesting book (to me at least). I was genuinely enraptured by the writing at times, though it must said, I also struggled. But I'm one of those people who takes a certain perverse pleasure in being asked to put in some effort when it comes to my reading (if the writing is good enough to justify that work).]]>
4.06 1929 Berlin Alexanderplatz
author: Alfred Döblin
name: Hux
average rating: 4.06
book published: 1929
rating: 4
read at: 2022/03/18
date added: 2024/09/01
shelves:
review:
This is a heavyweight novel. One of those intimidating buggers which demands you invest more than merely your time. The style is experimental and sometimes difficult to follow, but worth it in the end. The novel begins with a third person narration but very quickly we discover that Döblin switches to first person when it suits him. You will hear the protagonists thoughts but there will be no marker telling you when the change has occurred which, at the beginning, was difficult to deal with. Gradually, however, I did find this technique actually quite enjoyable, producing an effect which adds to the overall flow of the narrative. Then we come to dialogue. Döblin doesn't use speech tags and, to make matter worse, doesn't break up dialogue by starting a new paragraph; instead, it's simply a wall of text where only the presence of apostrophes delineate between speakers. Again, this was hard to follow at the start but, similar to the narration, I actually found it very affective once I got into the novel. And I did get sucked in after a few chapters. After that, the whole thing flows really well and you find, rather intuitively, that you're correctly guessing who is speaking and when (Döblin spares us too many conversations involving more than two participants).

Style aside, the basic story is about Franz Biberkopf, a lowlife criminal who begins the novel being released from prison after 4 years for the murder of his girlfriend (the crime itself described by Biberkopf as 'some stupid stuff'). He intends to go straight but struggles to break the cycle of his social status. As the novels says: ' As long as he had money, he remained decent. But then he ran out of money.' Soon, Biberkopf gets involved with a criminal gang and one tragedy after another seems to befall him. It's one thing after another and frankly a rather bleak worldview (plus there's a certain political movement on the horizon in late '20s Germany which bubbles away in the background and only adds to the foreshadowing) That's the basic premise of the narrative and there are no real happy endings to be found here.

This is one of those novels, like so many of the '20s and '30s, which want to look at civilisation as a whole, delving into the underbelly of a particular city and examining some of its many inhabitants. Döblin occasionally drops us into the lives of people who aren't remotely involved in the main story, occasionally throws in some Greek myth, the bible, an old drinking song, whatever takes his fancy. There are stream of consciousness elements, sound effects, parables. Some of it works, some of it doesn't, but it's all in service of a wonderfully ambitious and interesting book (to me at least). I was genuinely enraptured by the writing at times, though it must said, I also struggled. But I'm one of those people who takes a certain perverse pleasure in being asked to put in some effort when it comes to my reading (if the writing is good enough to justify that work).
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The Man Without Qualities 33517111
Unable to deceive himself that the jumble of attributes and values that his world has bestowed on him amounts to anything so innate as a 'character', he is effectively a man 'without qualities', a brilliant, detached observer of the spinning, racing society around him. Part satire, part visionary epic, part intellectual tour de force, The Man Without Qualities by Robert Musil is a work of immeasurable importance.]]>
1130 Robert Musil 1447289439 Hux 4
The year is 1913. A celebration is planned for the 70th jubilee of emperor Franz Joseph's reign in the upcoming year of 1918; a committee is brought together to come up with a theme for this celebration and noted thinkers, politicians, and artists are invited to the meetings held at the house of Ermelinda Tuzzi, better known as Diotima.

Her cousin is Ulrich, a 32-year-old mathematician who is also invited. Ulrich is the man without qualities.

Where to begin with this book? Firstly, it's huge, at over a 1000 pages long in three volumes, and is quite daunting as a result of that; but the writing is Proustian in its exquisiteness. Every single chapter is like a work of art in its own right with magnificent prose, lyrical fluidity, and beautiful metaphors. That being said there are chapters that probably don't need to exist, where details are provided in sumptuous language for something that quite frankly doesn't add anything to the story. And that brings me to my second point: there is no story here. Hence why I loved it so much. Despite its 19th century style of flowing language, this book is very much considered a modern novel, this most prominently seen in its utter lack of a plot. The details I gave above essentially cover everything, several characters discussing a theme for the celebration and thus, discussing art, politics, morality, progress, philosophy, meaning, you name it. The book is a satire on western European civilisation and its inability to capture purpose without endless contradiction. The book revels in the big ideas of existence, society, and progress. It delves into philosophical discussion on virtually every page and has characters embodying these debates and questions. Yet the most opinionated character of all is the third person narrator, his thoughts and ideas being the most thoroughly explored and expressed (not sure I've encountered such an opinionated omniscient third person narrator in a book before).

There's a host of characters that orbit Ulrich such as Count Leindsdorf, his childhood friend Walter and his wife Clarisse (who is in love with Ulrich). His mistress Bonadea, the Prussian business man Arnheim, his black servant Soliman, and the maid Rachel. Then there's the murderer Moosbrugger who serves as a kid of floating question throughout the book on human nature and morality . They all spiral around Ulrich and add to his search for meaning and understanding. Then, towards the very end of the book, Ulrich (and Musil) abandons all of them entirely and spends several chapters focusing exclusively on Ulrich's sister Agathe, a woman with whom he has a quasi incestuous relationship (Musil is very deliberately vague on this yet equally quite clear). She is a stand-out character but only emerges at the very end of the book as a kind of other half for Ulrich, a Siamese twin as they describe it.

This book contains some of the most astonishingly wonderful writing I've come across but I wouldn't recommend it lightly. It's far too long (despite being unfinished) and many chapters, while being beautifully written, offer little in terms of the themes being explored. For that reason, it's a 4.5 rather than a five.]]>
4.22 1930 The Man Without Qualities
author: Robert Musil
name: Hux
average rating: 4.22
book published: 1930
rating: 4
read at: 2021/12/03
date added: 2024/09/01
shelves:
review:
A glorious epic of political satire.

The year is 1913. A celebration is planned for the 70th jubilee of emperor Franz Joseph's reign in the upcoming year of 1918; a committee is brought together to come up with a theme for this celebration and noted thinkers, politicians, and artists are invited to the meetings held at the house of Ermelinda Tuzzi, better known as Diotima.

Her cousin is Ulrich, a 32-year-old mathematician who is also invited. Ulrich is the man without qualities.

Where to begin with this book? Firstly, it's huge, at over a 1000 pages long in three volumes, and is quite daunting as a result of that; but the writing is Proustian in its exquisiteness. Every single chapter is like a work of art in its own right with magnificent prose, lyrical fluidity, and beautiful metaphors. That being said there are chapters that probably don't need to exist, where details are provided in sumptuous language for something that quite frankly doesn't add anything to the story. And that brings me to my second point: there is no story here. Hence why I loved it so much. Despite its 19th century style of flowing language, this book is very much considered a modern novel, this most prominently seen in its utter lack of a plot. The details I gave above essentially cover everything, several characters discussing a theme for the celebration and thus, discussing art, politics, morality, progress, philosophy, meaning, you name it. The book is a satire on western European civilisation and its inability to capture purpose without endless contradiction. The book revels in the big ideas of existence, society, and progress. It delves into philosophical discussion on virtually every page and has characters embodying these debates and questions. Yet the most opinionated character of all is the third person narrator, his thoughts and ideas being the most thoroughly explored and expressed (not sure I've encountered such an opinionated omniscient third person narrator in a book before).

There's a host of characters that orbit Ulrich such as Count Leindsdorf, his childhood friend Walter and his wife Clarisse (who is in love with Ulrich). His mistress Bonadea, the Prussian business man Arnheim, his black servant Soliman, and the maid Rachel. Then there's the murderer Moosbrugger who serves as a kid of floating question throughout the book on human nature and morality . They all spiral around Ulrich and add to his search for meaning and understanding. Then, towards the very end of the book, Ulrich (and Musil) abandons all of them entirely and spends several chapters focusing exclusively on Ulrich's sister Agathe, a woman with whom he has a quasi incestuous relationship (Musil is very deliberately vague on this yet equally quite clear). She is a stand-out character but only emerges at the very end of the book as a kind of other half for Ulrich, a Siamese twin as they describe it.

This book contains some of the most astonishingly wonderful writing I've come across but I wouldn't recommend it lightly. It's far too long (despite being unfinished) and many chapters, while being beautifully written, offer little in terms of the themes being explored. For that reason, it's a 4.5 rather than a five.
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Death on Credit 35275670 Journey to the End of the Night and Death on the Installment Plan shocked European literature and world consciousness. Nominally fiction but more rightly called "creative confessions," they told of the author's childhood in excoriating Paris slums, of service in the mud wastes of World War I and African jungles. Mixing unmitigated despair with Gargantuan comedy, they also created a new style, in which invective and obscenity were laced with phrases of unforgettable poetry. Céline's influence revolutionized the contemporary approach to fiction. Under a cloud for a period, his work is now acknowledged as the forerunner of today's "black comedy."

Death on the Installment Plan is the story of young Ferdinand's first 18 years. His life is one of hatred, of the grinding struggle of small shopkeepers to survive, of childhood sensations and fantasies � lusty, scatological, violent, but also poetic. There is a running battle with his ineffectual insurance clerk of a father, with his mother, who lives and whines around the junkshop she runs for the boys benefit; there is also the superbly funny Meanwell College in England where the boy went briefly, a Dickensian, nightmare institution. Always there is humiliation, failure, and boredom, at least until he teams up with the "scientist" des Pereires. This inventor, con-man, incorrigible optimist � whose last project is to grow enormous potatoes by electricity � rescues him, if only temporarily; for the reader he is one of the most lovable charlatans in literature.]]>
490 Louis-Ferdinand Céline 1847496342 Hux 4
For me, the book doesn't come close to the exquisite quality of Journey. Everything that made that book so compelling is slightly overdone here. The use of ellipses to control and influence the writing was used sparingly in Journey but here, it's just every single sentence. 'I went to the shop... Then bought some cheese... I saw the shopkeeper's daughter... She said hello.' After a while, it starts to lose any of the impact it had in Journey and simply becomes a thing... that's there... constantly. Not that it spoils things, it's just over used in my opinion. Likewise, the use of repetition is heavy handed. In Journey, it was sporadic and effective but here it's just relentless. I'd say about 50% of the book is just descriptions of his mother's exaggerated histrionics. She implored... she implored... she implored. Then five pages later. She implored... she implored... she implored. I'll admit, Celine hits you over the head with this stuff so much that it seeps into your brain and gives you a real sense of being saturated in the experience. But it's just not that fun to read.

Fundamentally, what made Journey so good was the variety of experiences (War, sailing, Africa, New York, Paris etc). Death on Credit, however, stays in the same places and with the same people for too long until you're craving something new. The most thrilling part of the book for me was when he goes to boarding school in England and finally, we have new characters and experiences to explore (rather than just more of his mother's melodramatic swooning). This was such a fun part of the book where we meet the kid who barks like a dog and sucks off the other boys. Where we meet the beautiful wife of the school master. As well as Jongkind, the mentally retarded boy. Suddenly, things are interesting, well paced, original, exciting, and unique again. But it doesn't last long.

That all being said, Celine still conjures up a world that drills its way into your head and paints a picture which is thoroughly detailed and real (all done with endless repetition). His cynicism is as present as ever, his nihilism, his low opinion of mankind. It's hard not to like. I just wish there could have been a few more moments of respite from the persistent (and often punishing) onslaught of repetition.]]>
3.68 1936 Death on Credit
author: Louis-Ferdinand Céline
name: Hux
average rating: 3.68
book published: 1936
rating: 4
read at: 2022/08/02
date added: 2024/09/01
shelves:
review:
Death on Credit (or death on the installment plan) is essentially a prequel to Journey to the end of the night. Celine's alter ego now reminisces about his childhood and adolescence, the vast majority of which revolves around his abusive and mercurial father and his (cartoonishly) hysterical mother. Ferdinand then endeavours to get work but always appears to fall flat before engaging in a series of sexual escapades that border on the fantastical (it's hard not to find them almost comical in their ludicrous unrealistic portrayals). His experiences in a English boarding school contains a segment at the end which can only be described as... absolute horseshit (in the sense that it's hilarious). After that there's more whining from his parents before Ferdinand hooks up with an inventor (Courtial) who gives him a job at his magazine and gets him to help with his hot air balloon shenanigans. The book ends with Ferdinand, Courtial and Courtial's wife heading for the country where they hope to make it big in agriculture.

For me, the book doesn't come close to the exquisite quality of Journey. Everything that made that book so compelling is slightly overdone here. The use of ellipses to control and influence the writing was used sparingly in Journey but here, it's just every single sentence. 'I went to the shop... Then bought some cheese... I saw the shopkeeper's daughter... She said hello.' After a while, it starts to lose any of the impact it had in Journey and simply becomes a thing... that's there... constantly. Not that it spoils things, it's just over used in my opinion. Likewise, the use of repetition is heavy handed. In Journey, it was sporadic and effective but here it's just relentless. I'd say about 50% of the book is just descriptions of his mother's exaggerated histrionics. She implored... she implored... she implored. Then five pages later. She implored... she implored... she implored. I'll admit, Celine hits you over the head with this stuff so much that it seeps into your brain and gives you a real sense of being saturated in the experience. But it's just not that fun to read.

Fundamentally, what made Journey so good was the variety of experiences (War, sailing, Africa, New York, Paris etc). Death on Credit, however, stays in the same places and with the same people for too long until you're craving something new. The most thrilling part of the book for me was when he goes to boarding school in England and finally, we have new characters and experiences to explore (rather than just more of his mother's melodramatic swooning). This was such a fun part of the book where we meet the kid who barks like a dog and sucks off the other boys. Where we meet the beautiful wife of the school master. As well as Jongkind, the mentally retarded boy. Suddenly, things are interesting, well paced, original, exciting, and unique again. But it doesn't last long.

That all being said, Celine still conjures up a world that drills its way into your head and paints a picture which is thoroughly detailed and real (all done with endless repetition). His cynicism is as present as ever, his nihilism, his low opinion of mankind. It's hard not to like. I just wish there could have been a few more moments of respite from the persistent (and often punishing) onslaught of repetition.
]]>
No Longer Human 11222940 Mine has been a life of much shame. I can't even guess myself what it must be to live the life of a human being.

Portraying himself as a failure, the protagonist of No Longer Human narrates a seemingly normal life even while he feels incapable of understanding human beings. Oba Yozo's attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a "clown" to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness.

Semi-autobiographical, No Longer Human is the final completed work of Osamu Dazai. Still one of the ten bestselling books in Japan, No Longer Human is a powerful exploration of an individual's alienation from society.]]>
177 Osamu Dazai Hux 5
This book is sublime. That much is clear but how much of it is fiction and how much is simply Dazai's final thoughts on the world (he committed suicide after this book was completed) is hard to tell. Actually, that's not true. At no point did I ever feel I was reading about the fictional Yozo. I always felt that I was reading Dazai's thoughts. And yet fact and fiction are sometimes the same thing.

The book is presented to us as an epistolary novel. A series of notebooks that have been found and explore the mind of a character called Yozo. As a boy he quickly fails to grasp human beings and learns that he must pretend to be one of them to fit in. He smiles when he knows your supposed to. He claims to be hungry when he isn't because he doesn't know what hunger feels like. He acts the clown because he knows it will make people laugh. Even when he is sexually abused by the servants he does not speak out because what would it accomplish?

As an adult he begins a series of affairs but never once truly connects or feels any meaningful emotion towards these women. And yet he pretends (even to himself) that he does feel something. Soon, he and his latest companion make a suicide pact but where she succeeds, Yozo fails. He now has to live with those circumstances and yet, as before, thinks only of himself. Her death is no more important to him that his next drink.

His final relationship is with a woman named Yoshiko and includes a curious (and very confusing) moment. She is essentially raped (a thing Yozo witnesses) but Yozo describes this in such a vague manner that it's hard to know if she was simply having consensual sex or being raped. It is written as though it is the latter and yet when Yozo witnesses it, he walks away as though he is the victim. It's quite an unnerving moment in the book and I'm not sure if it's a deliberate blurring of issues or simply a cultural aspect to Japanese morality. Then again, perhaps it was a call back to his own experience of sexual assault. It certainly left me with a strange feeling in my bones. Like a lot of the book in fact. Soon after, another suicide is attempted and his alcoholism is replaced by a methadone addiction. It's only a matter of time before his family commit him to an asylum. It is here that he discovers that his father has died.

Three years later, he is living alone in an old house with an elderly female servant. He requests some sleeping pills and takes ten of them only to discover that the servant actually gave him laxatives. And thus, he finishes the book pathetic... failed... alone... and shitting himself.

The book ends with someone finding his notebook and querying what happened to the protagonist. But to this we never have an answer.

The book is a staggering work of genius. And I would recommend it to everyone. It is painfully sad and yet (for me, at least) has so many excruciatingly relevant moments that I could relate to. Things which are hard to put into words but which Dazai very brilliantly succeeds in achieving. It strongly triggered memories of reading Camus' The Stranger in the sense that the main character does not... cannot... function as a proper human being. I would say that this book was actually a better exploration of that same theme:

How does one know if they're human?]]>
3.80 1948 No Longer Human
author: Osamu Dazai
name: Hux
average rating: 3.80
book published: 1948
rating: 5
read at: 2021/06/16
date added: 2024/09/01
shelves:
review:
How does one know if they're human?

This book is sublime. That much is clear but how much of it is fiction and how much is simply Dazai's final thoughts on the world (he committed suicide after this book was completed) is hard to tell. Actually, that's not true. At no point did I ever feel I was reading about the fictional Yozo. I always felt that I was reading Dazai's thoughts. And yet fact and fiction are sometimes the same thing.

The book is presented to us as an epistolary novel. A series of notebooks that have been found and explore the mind of a character called Yozo. As a boy he quickly fails to grasp human beings and learns that he must pretend to be one of them to fit in. He smiles when he knows your supposed to. He claims to be hungry when he isn't because he doesn't know what hunger feels like. He acts the clown because he knows it will make people laugh. Even when he is sexually abused by the servants he does not speak out because what would it accomplish?

As an adult he begins a series of affairs but never once truly connects or feels any meaningful emotion towards these women. And yet he pretends (even to himself) that he does feel something. Soon, he and his latest companion make a suicide pact but where she succeeds, Yozo fails. He now has to live with those circumstances and yet, as before, thinks only of himself. Her death is no more important to him that his next drink.

His final relationship is with a woman named Yoshiko and includes a curious (and very confusing) moment. She is essentially raped (a thing Yozo witnesses) but Yozo describes this in such a vague manner that it's hard to know if she was simply having consensual sex or being raped. It is written as though it is the latter and yet when Yozo witnesses it, he walks away as though he is the victim. It's quite an unnerving moment in the book and I'm not sure if it's a deliberate blurring of issues or simply a cultural aspect to Japanese morality. Then again, perhaps it was a call back to his own experience of sexual assault. It certainly left me with a strange feeling in my bones. Like a lot of the book in fact. Soon after, another suicide is attempted and his alcoholism is replaced by a methadone addiction. It's only a matter of time before his family commit him to an asylum. It is here that he discovers that his father has died.

Three years later, he is living alone in an old house with an elderly female servant. He requests some sleeping pills and takes ten of them only to discover that the servant actually gave him laxatives. And thus, he finishes the book pathetic... failed... alone... and shitting himself.

The book ends with someone finding his notebook and querying what happened to the protagonist. But to this we never have an answer.

The book is a staggering work of genius. And I would recommend it to everyone. It is painfully sad and yet (for me, at least) has so many excruciatingly relevant moments that I could relate to. Things which are hard to put into words but which Dazai very brilliantly succeeds in achieving. It strongly triggered memories of reading Camus' The Stranger in the sense that the main character does not... cannot... function as a proper human being. I would say that this book was actually a better exploration of that same theme:

How does one know if they're human?
]]>
The Cormorant 58022955 160 Stephen Gregory 1912681692 Hux 3
I mean... it was fine. I was never bored reading this but the creepiness I was supposed to feel never really materialised. Maybe I just don't find horror very interesting. To me, it all seems a little silly and I never understand the motivations of the people involved let alone the malignant desires of the dead. If you simply read it as the mental disintegration of the protagonist then it's still a rather dry reading experience especially when you take into account the fact that Gregory really drags this out. It's a short story stretched out into a novella. Or maybe it's just the standard Poe-esque building of tension by describing the mundane daily experiences. I dunno, I really don't care for this genre in all honesty. Like I said, it feels a bit silly. Why is uncle Ian a dick? Why would he stipulate that you only get the house if you get the bird? Is he some kind of wacky japester? Why not just give the bird away and screw that crazy uncle and his inheritance. There's just something about books that are supposed to be creepy that require a lot of dumb convenience or coincidence or downright irrationality. I'm just left thinking... but why? Why would you do that?

But it was easy enough to read and certainly kept me intrigued enough to continue. The ending left me somewhat baffled I must say. It felt forced and cheap. The only truly creepy moment in this book comes in the form of the bath scene where husband and wife and son are all together and lathered up. It sort of comes out of nowhere and doesn't really add much to the story but it's unquestionably the most WTF moment. But if that moment is why this book is considered a transgressive classic then it's a very low bar. I had to read it twice to check what happened actually happened (of a sexual nature) then tried to grasp what the purpose of this scene was (inconclusive).

So yeah, overall, I enjoyed it. I was never bored. The writing is pretty basic stuff and occasionally dull and monotonous but it was okay. Worth a look.]]>
3.69 1987 The Cormorant
author: Stephen Gregory
name: Hux
average rating: 3.69
book published: 1987
rating: 3
read at: 2024/08/29
date added: 2024/08/29
shelves:
review:
A man (the narrator) and his wife (Ann) and small baby (Harry) inherit a cottage in Wales from an uncle (Ian) but his will stipulates that he must also look after his bird, a cormorant, as part of the deal (why?). So this family now live in the cottage and the husband keeps the bird (naming it Archie) in the backyard behind some chicken wire. One day, the bird attacks the cat and kills it, ripping its face off. Ann leaves with the baby and stays with her parents for a week. Meanwhile, the narrator seemingly bonds with the bird by going fishing with it. Then Ann and the boy return, then there's a very blunt ending.

I mean... it was fine. I was never bored reading this but the creepiness I was supposed to feel never really materialised. Maybe I just don't find horror very interesting. To me, it all seems a little silly and I never understand the motivations of the people involved let alone the malignant desires of the dead. If you simply read it as the mental disintegration of the protagonist then it's still a rather dry reading experience especially when you take into account the fact that Gregory really drags this out. It's a short story stretched out into a novella. Or maybe it's just the standard Poe-esque building of tension by describing the mundane daily experiences. I dunno, I really don't care for this genre in all honesty. Like I said, it feels a bit silly. Why is uncle Ian a dick? Why would he stipulate that you only get the house if you get the bird? Is he some kind of wacky japester? Why not just give the bird away and screw that crazy uncle and his inheritance. There's just something about books that are supposed to be creepy that require a lot of dumb convenience or coincidence or downright irrationality. I'm just left thinking... but why? Why would you do that?

But it was easy enough to read and certainly kept me intrigued enough to continue. The ending left me somewhat baffled I must say. It felt forced and cheap. The only truly creepy moment in this book comes in the form of the bath scene where husband and wife and son are all together and lathered up. It sort of comes out of nowhere and doesn't really add much to the story but it's unquestionably the most WTF moment. But if that moment is why this book is considered a transgressive classic then it's a very low bar. I had to read it twice to check what happened actually happened (of a sexual nature) then tried to grasp what the purpose of this scene was (inconclusive).

So yeah, overall, I enjoyed it. I was never bored. The writing is pretty basic stuff and occasionally dull and monotonous but it was okay. Worth a look.
]]>
<![CDATA[Journey to the End of the Night]]> 15956697 415 Louis-Ferdinand Céline 1847492401 Hux 5 favorites
It begins in World War I with Bardamu (Celine's alter ego) and explores the trauma and futility of the war. He meets Robinson, a kind of doppelganger who lives his life parallel to Bardamu. Broth meet again in Africa, a place where Bardamu experiences yet more suffering (the chapter on the boat to Africa is sublime).

Then he goes to New York (following Robinson) and works at the Ford company and meets a prostitute called Molly. He returns to France and studies medicine at which point the book jumps ahead six years and finds Bardamu working in a working-class suburb of Paris dealing with horrific things such as botched abortions, miscarriages, and the death of a local child. This is where Leon Robinson become a regular character rather than just a spectre.

The book is often described as a celebration nihilism. Celine has very little respect for humanity. To him, it's all suffering, crime, greed, and pain. He witnesses awful things but responds to them as though they're the banal embodiment of normalcy (the book is actually quite funny because of this). Even when Robinson plots to murder an old woman, Bardamu doesn't seem to care, and simply thinks... 'it's nothing to do with me.' There's an underlying message about the trauma caused to both men due to the war. They have both been numbed to the point that they are no longer human beings.

The prose is some of the most exquisite I've ever come across. Which is interesting because it was made famous for its more authentic, real-life writing. Celine was, of course, a noted antisemite in real life. That might be an issue for some. Personally speaking, the fact that Celine is a fairly awful person himself only makes the book resonate more. I have a tendency to separate the artist from the art. And thank God because this book is a masterpiece. 9/10]]>
4.05 1932 Journey to the End of the Night
author: Louis-Ferdinand Céline
name: Hux
average rating: 4.05
book published: 1932
rating: 5
read at:
date added: 2024/08/28
shelves: favorites
review:
This was one of the most glorious things I've ever read. It's just magnificent.

It begins in World War I with Bardamu (Celine's alter ego) and explores the trauma and futility of the war. He meets Robinson, a kind of doppelganger who lives his life parallel to Bardamu. Broth meet again in Africa, a place where Bardamu experiences yet more suffering (the chapter on the boat to Africa is sublime).

Then he goes to New York (following Robinson) and works at the Ford company and meets a prostitute called Molly. He returns to France and studies medicine at which point the book jumps ahead six years and finds Bardamu working in a working-class suburb of Paris dealing with horrific things such as botched abortions, miscarriages, and the death of a local child. This is where Leon Robinson become a regular character rather than just a spectre.

The book is often described as a celebration nihilism. Celine has very little respect for humanity. To him, it's all suffering, crime, greed, and pain. He witnesses awful things but responds to them as though they're the banal embodiment of normalcy (the book is actually quite funny because of this). Even when Robinson plots to murder an old woman, Bardamu doesn't seem to care, and simply thinks... 'it's nothing to do with me.' There's an underlying message about the trauma caused to both men due to the war. They have both been numbed to the point that they are no longer human beings.

The prose is some of the most exquisite I've ever come across. Which is interesting because it was made famous for its more authentic, real-life writing. Celine was, of course, a noted antisemite in real life. That might be an issue for some. Personally speaking, the fact that Celine is a fairly awful person himself only makes the book resonate more. I have a tendency to separate the artist from the art. And thank God because this book is a masterpiece. 9/10
]]>
Siddartha 30141085 131 Hermann Hesse Hux 3
But then comes the ending. The simplicity of the book suddenly becomes beautiful and profound. Knowledge can be communicated, but wisdom cannot. Siddhartha has found enlightenment through the means of accepting that it cannot be taught. He respects the Buddha, finds his outlook sincere and pure, but does not believe (as his friend Govinda does) that he can be taught because words and thoughts never truly become things. Like the river, like the rock.

To me, this is a book that requires you reach the end to fully experience (and appreciate) the words that led you there. All the dry, meandering story telling that precedes it comes into its own light and beauty when Siddhartha And Govinda meet one last time as old men. It all comes together. And the mundane becomes poetry, wisdom, insight.

I recommend listening to Nick Drake's 'Riverman' (inspired by the book) when you finish.]]>
4.13 1922 Siddartha
author: Hermann Hesse
name: Hux
average rating: 4.13
book published: 1922
rating: 3
read at: 2022/02/13
date added: 2024/08/27
shelves:
review:
A rather simplistic and somewhat prosaic novella that plods along nicely without ever really reaching any great heights. It's all very matter-of-fact, mundane, obvious, straight-forward, uninspiring. Ultimately, I would describe the narrative (and the prose) as enormously dry and artless.

But then comes the ending. The simplicity of the book suddenly becomes beautiful and profound. Knowledge can be communicated, but wisdom cannot. Siddhartha has found enlightenment through the means of accepting that it cannot be taught. He respects the Buddha, finds his outlook sincere and pure, but does not believe (as his friend Govinda does) that he can be taught because words and thoughts never truly become things. Like the river, like the rock.

To me, this is a book that requires you reach the end to fully experience (and appreciate) the words that led you there. All the dry, meandering story telling that precedes it comes into its own light and beauty when Siddhartha And Govinda meet one last time as old men. It all comes together. And the mundane becomes poetry, wisdom, insight.

I recommend listening to Nick Drake's 'Riverman' (inspired by the book) when you finish.
]]>
Boredom 67140
Boredom, the story of a failed artist and pampered son of a rich family who becomes dangerously attached to a young model, examines the complex relations between money, sex, and imperiled masculinity. This powerful and disturbing study in the pathology of modern life is one of the masterworks of a writer whom as Anthony Burgess once remarked, was "always trying to get to the bottom of the human imbroglio."]]>
320 Alberto Moravia 1590171217 Hux 5
I'm not sure if it was the writing, the subject matter, the characters, or even just the feel of the book in my hand (heavy, with a smooth surface and crisp pages). Hell, even the yellow cover was hugely appealing to me. All I know is that I haven't enjoyed reading a book as much as this for a very long time. The words almost seemed to melt from the pages as I read them.

It begins with our narrator (Dino), the wealthy son of a rich mother, telling us that from a very young age he has always suffered from boredom. Not the regular variety that accompanies a lack of activity or engagement, but a version which is probably better described as ennui. He finds that once he is bored of a particular thing (inanimate object, person, lifestyle) he no longer feels connected to it, no longer feels that it exists for him as part of realty. Reality itself is taken away from him. He is a painter who, ten years after taking up the vocation, can no longer do so. This too has left him bored and detached. Across from his studio is another painter named Balestrieri, older, in his sixties, who paints beautiful young models and often has sexual relations with them. These women come and go but one day, a young 17-year-old girl becomes Balestrieri's muse and he is apparently besotted with her, in a way that has evidently never happened before. Then, not long after this, Balestrieri dies (perhaps during love-making).

Dino finds himself almost instantly beginning a relationship with this young woman, Cecilia, and he seems to slot into the same role as Balestrieri just as quickly. They regularly meet for sex, until Dino decides that in order to end the relationship with her he must become bored of her, so that she is no longer a part of his reality. But there is something unique about this girl, something which, despite her vast sexual appetite, almost suggests the same illness of ennui. She is very matter-of-fact, passive, unemotional, and sees the world only in terms of today and now. Dino finds himself struggling to escape from her as a result, believing that only by possessing her can he become free of her.

I must say, I think Cecilia might be my favourite ever female literary character. She is everything which Dino claims to be and more. She is utterly uncompromising. You keep thinking there might be a twist, but there isn't. This is just who she is. And the fact that she (painfully) reminded me of an ex-girlfriend might admittedly have played a part in my fascination with her too.

This book was an absolute joy. I only discovered Moravia a few months ago and will definitely be reading more of his work.]]>
3.92 1960 Boredom
author: Alberto Moravia
name: Hux
average rating: 3.92
book published: 1960
rating: 5
read at: 2022/04/26
date added: 2024/08/27
shelves:
review:
I adored every second of this.

I'm not sure if it was the writing, the subject matter, the characters, or even just the feel of the book in my hand (heavy, with a smooth surface and crisp pages). Hell, even the yellow cover was hugely appealing to me. All I know is that I haven't enjoyed reading a book as much as this for a very long time. The words almost seemed to melt from the pages as I read them.

It begins with our narrator (Dino), the wealthy son of a rich mother, telling us that from a very young age he has always suffered from boredom. Not the regular variety that accompanies a lack of activity or engagement, but a version which is probably better described as ennui. He finds that once he is bored of a particular thing (inanimate object, person, lifestyle) he no longer feels connected to it, no longer feels that it exists for him as part of realty. Reality itself is taken away from him. He is a painter who, ten years after taking up the vocation, can no longer do so. This too has left him bored and detached. Across from his studio is another painter named Balestrieri, older, in his sixties, who paints beautiful young models and often has sexual relations with them. These women come and go but one day, a young 17-year-old girl becomes Balestrieri's muse and he is apparently besotted with her, in a way that has evidently never happened before. Then, not long after this, Balestrieri dies (perhaps during love-making).

Dino finds himself almost instantly beginning a relationship with this young woman, Cecilia, and he seems to slot into the same role as Balestrieri just as quickly. They regularly meet for sex, until Dino decides that in order to end the relationship with her he must become bored of her, so that she is no longer a part of his reality. But there is something unique about this girl, something which, despite her vast sexual appetite, almost suggests the same illness of ennui. She is very matter-of-fact, passive, unemotional, and sees the world only in terms of today and now. Dino finds himself struggling to escape from her as a result, believing that only by possessing her can he become free of her.

I must say, I think Cecilia might be my favourite ever female literary character. She is everything which Dino claims to be and more. She is utterly uncompromising. You keep thinking there might be a twist, but there isn't. This is just who she is. And the fact that she (painfully) reminded me of an ex-girlfriend might admittedly have played a part in my fascination with her too.

This book was an absolute joy. I only discovered Moravia a few months ago and will definitely be reading more of his work.
]]>
Under the Volcano 18481710
Drowning himself in mescal while his former wife and half-brother look on, powerless to help him, the consul has become an enduring tragic figure. His story, the image of one man's agonized journey towards Calvary, became a prophetic book for a whole generation.]]>
379 Malcolm Lowry 0141182253 Hux 2
So we'll start with the mind-numbingly tedious plot. Some posh English twats in Mexico are having trouble dealing with the mammoth task of being posh English twats abroad. There's the consul, Geoffrey, an alcoholic whose wife has left him. He swans about the streets and bars being intoxicated whilst hallucinating. His wife, Yvonne, returns to Mexico from America to try and salvage their marriage. Meanwhile, his brother Hugh (has also possibly banged the missus), a commie singer-songwriter shows up. Chin Chin! Then there's Laruelle, a French film director (also banged the missus). They all swan about and drink. Then they go on a bus trip to Tomalin and take in a bullfight... then...

Look, none of this matters because the book is utterly appalling. Some of the most gloopy prose I've ever encountered, full of dense treacle that somehow, despite the educated levels of grammar and English, manages to be entirely lacking in any wit, charm, or fluidity. It's just a thick swamp of verbosity and slop. Now I'm sure there are those who will tell me that Lowry writes a neat and tidy sentence and I would agree. But that's my entire problem with this book. It's so dead behind the eyes. Of course he writes a tidy sentence, he's a privately educated, Cambridge graduate who grew up in a mock Tudor mansion with a tennis court. Christ, his butler could probably write a half-decent sentence merely by virtue of standing next to the man. This is a writer who embodies the privilege of that era, a man who, as a boy, probably walked up to his mother and said: 'mummy, I want to be a writer,' and she replied... 'sure, whatever.' Because it wasn't actually his mother, it was the housemaid on a fag break. But whatever, the point is... he gets to be a writer now because that's what the posh little turd wanted.

The days where these kinds of men just rocked up and were taken seriously by everyone are thankfully over. Today, he'd be forced to settle for a career in banking or golf. Personally, I'd like to see these people forced to work in the mines (with their butlers) but hey, progress is slow. At least they don't get publishing deals for their 18th birthday anymore. But there are still those who mistake this kind of educated word-salad for complexity when it's mere mundane class inheritance (and they are sadly still among us).

The man can write, but only in so much as he is a very well-educated individual. Beyond that, there is no real beauty here, no exquisite turn of phrase or unique insight. It's not enough to be a privately educated posh lad abroad, you need to excite my soul with something crisp, refreshing, breathtaking, magical. This book was just a forest of noise and bloated entitlement, mediocre in its exploration, prosaic in its execution, and worst of all, over inflated in its significance. The book is dry and soulless. I challenge ANYONE to give me just one example of a line from the book that is lyrical, enchanting, exquisite, or elevating. Just one. A line that made you feel like your heart was about to explode with rage, joy, or sorrow.

I have never read anything quite so full of bluster and self-importance yet which offers NOTHING, not a solitary moment of sincere beauty.

Or, to quote Bukowski (who sums my feelings up more accurately) and criticised the book for its lack of pace, quickness, life, sunlight, juice and flavour. "I yawned myself to shit."]]>
3.58 1947 Under the Volcano
author: Malcolm Lowry
name: Hux
average rating: 3.58
book published: 1947
rating: 2
read at: 2024/08/27
date added: 2024/08/27
shelves:
review:
Sound and fury... signifying nothing. Christ, this was awful.

So we'll start with the mind-numbingly tedious plot. Some posh English twats in Mexico are having trouble dealing with the mammoth task of being posh English twats abroad. There's the consul, Geoffrey, an alcoholic whose wife has left him. He swans about the streets and bars being intoxicated whilst hallucinating. His wife, Yvonne, returns to Mexico from America to try and salvage their marriage. Meanwhile, his brother Hugh (has also possibly banged the missus), a commie singer-songwriter shows up. Chin Chin! Then there's Laruelle, a French film director (also banged the missus). They all swan about and drink. Then they go on a bus trip to Tomalin and take in a bullfight... then...

Look, none of this matters because the book is utterly appalling. Some of the most gloopy prose I've ever encountered, full of dense treacle that somehow, despite the educated levels of grammar and English, manages to be entirely lacking in any wit, charm, or fluidity. It's just a thick swamp of verbosity and slop. Now I'm sure there are those who will tell me that Lowry writes a neat and tidy sentence and I would agree. But that's my entire problem with this book. It's so dead behind the eyes. Of course he writes a tidy sentence, he's a privately educated, Cambridge graduate who grew up in a mock Tudor mansion with a tennis court. Christ, his butler could probably write a half-decent sentence merely by virtue of standing next to the man. This is a writer who embodies the privilege of that era, a man who, as a boy, probably walked up to his mother and said: 'mummy, I want to be a writer,' and she replied... 'sure, whatever.' Because it wasn't actually his mother, it was the housemaid on a fag break. But whatever, the point is... he gets to be a writer now because that's what the posh little turd wanted.

The days where these kinds of men just rocked up and were taken seriously by everyone are thankfully over. Today, he'd be forced to settle for a career in banking or golf. Personally, I'd like to see these people forced to work in the mines (with their butlers) but hey, progress is slow. At least they don't get publishing deals for their 18th birthday anymore. But there are still those who mistake this kind of educated word-salad for complexity when it's mere mundane class inheritance (and they are sadly still among us).

The man can write, but only in so much as he is a very well-educated individual. Beyond that, there is no real beauty here, no exquisite turn of phrase or unique insight. It's not enough to be a privately educated posh lad abroad, you need to excite my soul with something crisp, refreshing, breathtaking, magical. This book was just a forest of noise and bloated entitlement, mediocre in its exploration, prosaic in its execution, and worst of all, over inflated in its significance. The book is dry and soulless. I challenge ANYONE to give me just one example of a line from the book that is lyrical, enchanting, exquisite, or elevating. Just one. A line that made you feel like your heart was about to explode with rage, joy, or sorrow.

I have never read anything quite so full of bluster and self-importance yet which offers NOTHING, not a solitary moment of sincere beauty.

Or, to quote Bukowski (who sums my feelings up more accurately) and criticised the book for its lack of pace, quickness, life, sunlight, juice and flavour. "I yawned myself to shit."
]]>
Trilogy 91255044 331 Ágota Kristóf 1909585475 Hux 5 favorites
Two small twin boys are dropped off at their grandmother's house by their mother during the start of the war. They live on the edge of town, near the guarded border of a foreign land. The grandmother is mean spirited and refers to them as sons of bitches. The two boys agree to become self-sufficient, to reject pain, to learn how the world works. They are little psychopaths, emotionless, willing to kill and get their way no matter what. They are slightly terrifying but compelling. The whole book is narrated with the word 'we' throughout. 'We did this, we did that. We walked here, we ate our meal.' As they grow older, they become ruthless young men, powerful, intelligent, ambitious and brilliant. At the end of the book, one of the boys escapes to the foreign land beyond the border, while the other agrees to stay behind. The book is written in a stark, to-the-point style that involves short chapters which draw you in and are utterly engrossing. I read it very quickly, zipped through it with joy.

The Proof (1989)

This is where things get complicated (and challenging). This book switches from 'we' narration to a standard third person narration. And we finally discover the names of the boys (Lucas and Claus). Lucas is the one who stayed behind in the town. What follows is his story of making money, having affairs, and shacking up with a young pregnant woman (Yasmine) who was impregnated (willingly) by her own father. She gives birth to a boy named Mathias who Lucas becomes very attached to. One day Yasmine leaves and Lucas raises Mathias alone. He later buys a shop where he can sell the writing equipment he has always loved. He befriends a Party member called Peter and lives out his life and waits for his brother's return. Towards the end of the book, we jump ahead in time when Lucas has left the town and we discover that Yasmine was probably murdered by him. Then Claus comes to the town and tells Peter that he is looking for his brother Lucas. Peter laughs at this and knows that it is simply Lucas returning. That Lucas never really had a brother. He was always a fiction.

The Third Lie (1991)

Now comes the real head-fuck (in first person narration). What if none of the above is true? What if it was all lies? What if a completely different life was lived by this man, these men, Lucas, Claus, both, neither, none... arghh! Now we have a new story, one about a woman shooting her cheating husband and going into an asylum while her twin boys are separated, one in the other country where he has been disabled by one his mother's stray bullets, the other raised by the husband's mistress. Lucas (or is it Claus) wants to return to his mother, wants to find and reunite with his brother. We see things from both their perspectives, both lives being lived, yet never knowing if there truly are two boys or just one. Maybe there are none at all!! They are old men, they are young boys, back and forth, they are forever connected. I honestly don't know anymore. But I was mesmerised.

All I can say is that this is one of the greatest pieces of work I've ever come across. It deals with memory, truth, fiction, identity in such a profoundly brilliant way. I felt lost. I felt stunned. It's just an exquisite piece of literature that mind-fucked me into a catatonic daze. I was bewildered by it. Yes, part one is by far the most compelling and wonderful to read and yes, part two and three (slightly less fun to read), massively undermine it, make it all lies, untrustworthy, even pointless (part of me even resents that). But part two and three also make part one suddenly something new and extraordinary, something terrifying -- something I probably need to read again. Because let's face it, life is nothing more than what we remember, what we recollect. And the truth is, we remember so little of it. And what we do remember, we remember so very incorrectly. Who is to say what really happened? Maybe that's why we're so obsessed with documenting our lives in various ways, because what other method is there for proving that any of it happened? Memory cannot be trusted. It's a shimmering wave of vague colours and feelings, white sunlight on the ocean.

This book horrified me. Amazing.]]>
4.44 1991 Trilogy
author: Ágota Kristóf
name: Hux
average rating: 4.44
book published: 1991
rating: 5
read at: 2024/07/31
date added: 2024/08/26
shelves: favorites
review:
The Notebook (1986)

Two small twin boys are dropped off at their grandmother's house by their mother during the start of the war. They live on the edge of town, near the guarded border of a foreign land. The grandmother is mean spirited and refers to them as sons of bitches. The two boys agree to become self-sufficient, to reject pain, to learn how the world works. They are little psychopaths, emotionless, willing to kill and get their way no matter what. They are slightly terrifying but compelling. The whole book is narrated with the word 'we' throughout. 'We did this, we did that. We walked here, we ate our meal.' As they grow older, they become ruthless young men, powerful, intelligent, ambitious and brilliant. At the end of the book, one of the boys escapes to the foreign land beyond the border, while the other agrees to stay behind. The book is written in a stark, to-the-point style that involves short chapters which draw you in and are utterly engrossing. I read it very quickly, zipped through it with joy.

The Proof (1989)

This is where things get complicated (and challenging). This book switches from 'we' narration to a standard third person narration. And we finally discover the names of the boys (Lucas and Claus). Lucas is the one who stayed behind in the town. What follows is his story of making money, having affairs, and shacking up with a young pregnant woman (Yasmine) who was impregnated (willingly) by her own father. She gives birth to a boy named Mathias who Lucas becomes very attached to. One day Yasmine leaves and Lucas raises Mathias alone. He later buys a shop where he can sell the writing equipment he has always loved. He befriends a Party member called Peter and lives out his life and waits for his brother's return. Towards the end of the book, we jump ahead in time when Lucas has left the town and we discover that Yasmine was probably murdered by him. Then Claus comes to the town and tells Peter that he is looking for his brother Lucas. Peter laughs at this and knows that it is simply Lucas returning. That Lucas never really had a brother. He was always a fiction.

The Third Lie (1991)

Now comes the real head-fuck (in first person narration). What if none of the above is true? What if it was all lies? What if a completely different life was lived by this man, these men, Lucas, Claus, both, neither, none... arghh! Now we have a new story, one about a woman shooting her cheating husband and going into an asylum while her twin boys are separated, one in the other country where he has been disabled by one his mother's stray bullets, the other raised by the husband's mistress. Lucas (or is it Claus) wants to return to his mother, wants to find and reunite with his brother. We see things from both their perspectives, both lives being lived, yet never knowing if there truly are two boys or just one. Maybe there are none at all!! They are old men, they are young boys, back and forth, they are forever connected. I honestly don't know anymore. But I was mesmerised.

All I can say is that this is one of the greatest pieces of work I've ever come across. It deals with memory, truth, fiction, identity in such a profoundly brilliant way. I felt lost. I felt stunned. It's just an exquisite piece of literature that mind-fucked me into a catatonic daze. I was bewildered by it. Yes, part one is by far the most compelling and wonderful to read and yes, part two and three (slightly less fun to read), massively undermine it, make it all lies, untrustworthy, even pointless (part of me even resents that). But part two and three also make part one suddenly something new and extraordinary, something terrifying -- something I probably need to read again. Because let's face it, life is nothing more than what we remember, what we recollect. And the truth is, we remember so little of it. And what we do remember, we remember so very incorrectly. Who is to say what really happened? Maybe that's why we're so obsessed with documenting our lives in various ways, because what other method is there for proving that any of it happened? Memory cannot be trusted. It's a shimmering wave of vague colours and feelings, white sunlight on the ocean.

This book horrified me. Amazing.
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Last Words from Montmartre 18465930 Last Words from Montmartre. Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women—their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu’s genre-bending novel is at once a psychological thriller, a sublime romance, and the author’s own suicide note.

The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders—until the genderless character Zoë appears, and the narrator’s spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima’s Confessions of a Mask, Goethe’s The Sorrows of Young Werther, and Theresa Cha’s پé, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.]]>
176 Qiu Miaojin 1590177258 Hux 2
The book is a collection of letters she has written to her lover Xu. Sometimes it's letters to her lover Yong and, at the end, it's letters she (Zoe) receives. This gives the whole book a sense of auto-fiction, especially when you consider that Qiu Miaojin killed herself after this book.

As such, we have the issue of authenticity. This does not feel like a novel, it feels like a suicide note. And frankly, I didn't feel comfortable reading her suicide note. And yet there's the possibility that this is a genuine piece of fiction. But it's hard to see it that way (certainly for me). The fact that Qui Miaojin repeatedly references Dazai's 'No Longer Human' a book which was essentially his own suicide note, further muddies the waters. Maybe I'm wrong but I found it impossible to interpret this book as anything other than her real experiences.

And as those experiences go, they didn't really reach me. I found the whining tedious and immature (and self-indulgent) and I found the rest of her life a little, I dunno, performative? Her lesbian relationships made for a diverting exploration of early to mid nineties attitudes (though to pretend the 90s was somehow like the 50s is disingenuous) and her Taiwanese background may have added to a sense of otherness in this regard; plus her notions of maleness and femaleness will no doubt fascinate contemporary audiences (while they slightly bored me). Then there's the physical abuse she inflicts on her lover, a thing which, had this book been written by a man, would almost certainly make the people giving the book rave reviews change their tune.

I honestly can't say the book held my interest with any success and even when it momentarily did, it felt voyeuristic and sullied. There are pieces that are of some worth but overall, I just found the relentless misery, wailing, and navel-gazing grating. Poor me. Poor me. And yet, she did actually top herself so maybe I should be more impressed, more reverent. And yet I'm not. It was just a little too self-indulgent for my liking. The way she implied her lover will have to live with her suicide. The way she referenced Dazai and... I dunno, it was just a tad juvenile. If you're a lesbian (or just one of those people who pretends to be queer as an alternative to having personality) then you might find something of value here. All I found was a teenager threatening to kill herself if you refused to bend to her will. The fact that she followed through with it doesn't add weight to her complaints (or elevate this drivel to the status of good art).]]>
3.90 1996 Last Words from Montmartre
author: Qiu Miaojin
name: Hux
average rating: 3.90
book published: 1996
rating: 2
read at: 2024/08/25
date added: 2024/08/25
shelves:
review:
The first few chapters of this book (more precisely the first few letters she writes to her lover) almost made me want to quit given that they were the whining laments of an angst ridden teenager. It was just endless 'why don't you love me? I'm so lonely. Life is so unfair, you love me but you just don't know it' etc, and it was irritating to say the least. But as I kept reading, she finally fleshed out her world a little more and incorporated other aspects of living, certainly enough that I was gradually more invested by the content. But nonetheless, the book is essentially one big whine about being betrayed by her lover, letter after letter about the depths of her love and her unhappiness. It wasn't exactly what i would describe as fun to read.

The book is a collection of letters she has written to her lover Xu. Sometimes it's letters to her lover Yong and, at the end, it's letters she (Zoe) receives. This gives the whole book a sense of auto-fiction, especially when you consider that Qiu Miaojin killed herself after this book.

As such, we have the issue of authenticity. This does not feel like a novel, it feels like a suicide note. And frankly, I didn't feel comfortable reading her suicide note. And yet there's the possibility that this is a genuine piece of fiction. But it's hard to see it that way (certainly for me). The fact that Qui Miaojin repeatedly references Dazai's 'No Longer Human' a book which was essentially his own suicide note, further muddies the waters. Maybe I'm wrong but I found it impossible to interpret this book as anything other than her real experiences.

And as those experiences go, they didn't really reach me. I found the whining tedious and immature (and self-indulgent) and I found the rest of her life a little, I dunno, performative? Her lesbian relationships made for a diverting exploration of early to mid nineties attitudes (though to pretend the 90s was somehow like the 50s is disingenuous) and her Taiwanese background may have added to a sense of otherness in this regard; plus her notions of maleness and femaleness will no doubt fascinate contemporary audiences (while they slightly bored me). Then there's the physical abuse she inflicts on her lover, a thing which, had this book been written by a man, would almost certainly make the people giving the book rave reviews change their tune.

I honestly can't say the book held my interest with any success and even when it momentarily did, it felt voyeuristic and sullied. There are pieces that are of some worth but overall, I just found the relentless misery, wailing, and navel-gazing grating. Poor me. Poor me. And yet, she did actually top herself so maybe I should be more impressed, more reverent. And yet I'm not. It was just a little too self-indulgent for my liking. The way she implied her lover will have to live with her suicide. The way she referenced Dazai and... I dunno, it was just a tad juvenile. If you're a lesbian (or just one of those people who pretends to be queer as an alternative to having personality) then you might find something of value here. All I found was a teenager threatening to kill herself if you refused to bend to her will. The fact that she followed through with it doesn't add weight to her complaints (or elevate this drivel to the status of good art).
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<![CDATA[The Book of the Unnamed Midwife (The Road to Nowhere, #1)]]> 29806086 When she fell asleep, the world was doomed. When she awoke, it was dead.

In the wake of a fever that decimated the earth’s population—killing women and children and making childbirth deadly for the mother and infant—the midwife must pick her way through the bones of the world she once knew to find her place in this dangerous new one. Gone are the pillars of civilization. All that remains is power—and the strong who possess it.

A few women like her survived, though they are scarce. Even fewer are safe from the clans of men, who, driven by fear, seek to control those remaining. To preserve her freedom, she dons men’s clothing, goes by false names, and avoids as many people as possible. But as the world continues to grapple with its terrible circumstances, she’ll discover a role greater than chasing a pale imitation of independence.

After all, if humanity is to be reborn, someone must be its guide.]]>
291 Meg Elison 1503939111 Hux 4
The story concerns a young, unnamed woman who survives a virus that kills almost everyone else. It seems to kill women at an even higher rate than men and children born in this new world always appear to die minutes or hours after birth. Given the sparsity of women, they understandably become a commodity that men buy and sell, abuse and control. This is where the book finds its only true moment of originality; in the form of the unnamed midwife traipsing across the wasteland and offering these abused women birth control and STD treatment. It's an interesting idea, one I haven't seen before, the midwife offering family planning in a world where women are turned into sex objects and where pregnancy can be a death sentence. She cuts her hair short and pretends to be a man, understands that in the new world her feminist narratives have lost a lot of their currency. She's not always a likeable character (often a good thing) and has a tendency to exude a certain sense of superiority.

After a few varied encounters, she meets some Mormon survivors and holes up in a house at the edge of town where they know of her presence. The book spends a long time here with one of the female Mormons coming to live with her because she's pregnant. Later, the father also joins them and we have a chunk of the novel being about their developing relationships and the eventual birth of the child. The book slightly changes pace here and we get some sudden, out-of-the-blue sexual language that felt a little incongruent with the rest of the book. My clit this, and my clit that, etc. It was around this point that I acquired that feeling I hate acquiring when reading a book -- that I'm being lectured to by a smug left-winger. It comes from the unnamed midwife but it's more obviously coming from Elison and I could have done without it. There's plenty of trans and queer and feminist drivel to contend with which feels entirely redundant in this post-apocalyptic environment. It's only a small criticism and I would dismiss it along with the occasional clunky writing and the occasional jumps forward in time (not to mention that we get narration about what's going on in the rest of the world. Why? It's supposed to be the book of the unnamed midwife, not the book of everyone else who survived -- that stuff was unnecessary). Then we have all the diary entries which are written in italics. That wasn't always fun to read either. But none of this really spoils the book.

Overall, very enjoyable stuff. I enjoyed this world, liked the little details, the barren landscape, the scavenging, the settling down for winter in one place and staying warm by the fire. It was an entertaining story that kept me engaged. The writing is a little clumsy and inexperienced but the story was good and the character of the unnamed midwife (Alex, Dusty, Jane, all the many names she goes by) was very fleshed out and very compelling. ]]>
4.13 2014 The Book of the Unnamed Midwife (The Road to Nowhere, #1)
author: Meg Elison
name: Hux
average rating: 4.13
book published: 2014
rating: 4
read at: 2024/08/23
date added: 2024/08/23
shelves:
review:
I enjoyed this. From a literary point of view, it's a somewhat unremarkable work written using very basic prose and offering the standard post apocalyptic tropes. But it was fun.

The story concerns a young, unnamed woman who survives a virus that kills almost everyone else. It seems to kill women at an even higher rate than men and children born in this new world always appear to die minutes or hours after birth. Given the sparsity of women, they understandably become a commodity that men buy and sell, abuse and control. This is where the book finds its only true moment of originality; in the form of the unnamed midwife traipsing across the wasteland and offering these abused women birth control and STD treatment. It's an interesting idea, one I haven't seen before, the midwife offering family planning in a world where women are turned into sex objects and where pregnancy can be a death sentence. She cuts her hair short and pretends to be a man, understands that in the new world her feminist narratives have lost a lot of their currency. She's not always a likeable character (often a good thing) and has a tendency to exude a certain sense of superiority.

After a few varied encounters, she meets some Mormon survivors and holes up in a house at the edge of town where they know of her presence. The book spends a long time here with one of the female Mormons coming to live with her because she's pregnant. Later, the father also joins them and we have a chunk of the novel being about their developing relationships and the eventual birth of the child. The book slightly changes pace here and we get some sudden, out-of-the-blue sexual language that felt a little incongruent with the rest of the book. My clit this, and my clit that, etc. It was around this point that I acquired that feeling I hate acquiring when reading a book -- that I'm being lectured to by a smug left-winger. It comes from the unnamed midwife but it's more obviously coming from Elison and I could have done without it. There's plenty of trans and queer and feminist drivel to contend with which feels entirely redundant in this post-apocalyptic environment. It's only a small criticism and I would dismiss it along with the occasional clunky writing and the occasional jumps forward in time (not to mention that we get narration about what's going on in the rest of the world. Why? It's supposed to be the book of the unnamed midwife, not the book of everyone else who survived -- that stuff was unnecessary). Then we have all the diary entries which are written in italics. That wasn't always fun to read either. But none of this really spoils the book.

Overall, very enjoyable stuff. I enjoyed this world, liked the little details, the barren landscape, the scavenging, the settling down for winter in one place and staying warm by the fire. It was an entertaining story that kept me engaged. The writing is a little clumsy and inexperienced but the story was good and the character of the unnamed midwife (Alex, Dusty, Jane, all the many names she goes by) was very fleshed out and very compelling.
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A Hero of Our Time 5986287 "One of the most vivid and persuasive portraits of the male ego ever put down on paper."--Neil LaBute, from the Foreword

The first major Russian novel, A Hero of Our Time was both lauded and reviled upon publication. Its hero, twenty-five-year-old Pechorin, is a beautiful and magnetic but nihilistic young army officer, bored by life and indifferent to his many sexual conquests. Chronicling his unforgettable adventures in the Caucasus involving brigands, smugglers, soldiers, rivals, and lovers, this classic tale of alienation influenced Tolstoy, Dostoyevsky, and Chekhov, and holds up a mirror not only to Lermontov's time but also to our own.

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208 Mikhail Lermontov 0143105639 Hux 3
So it starts with a narrator (a traveller) meeting a fellow traveller called Maxim Maximych who tells him a story about his old friend Pechorin. The story concerns him abducting a woman called Bela then, when she finally submits to him, realising that he's not that interested in her after all. What a cad and a bounder! The next story has Maxim and the narrator briefly meeting Pechorin. Then we have Pechorin's own diary entries before finally, a story about fatalism. The diary section involves Pechorin meeting yet another woman whom he pursues despite admitting that he doesn't actually want her after all. Then there's a duel with a friend who is a potential suitor to the same woman.

I have to say... none of these stories were especially interesting to me. I'm slightly bewildered by the book receiving such high praise from so many corners. It's well written but it's never anything truly magnificent. Sure, Pechorin is a great character, a proper Byronic scoundrel who treats 'em mean and keeps 'em keen, but I'm not sure there's much else to say here. He's a brooding ideal of a man which, by modern standards, most people would agree is a total dick! Yet there's something compelling about him and the narrator (perhaps meant to be Lermontov himself) admits his own bias by confirming that what he thinks of Pechorin can be found in the title he gave the book: A Hero of Our Time. But to me, he was never more than a mildly distracting man of 19th century flim-flam.

So yeah, the book is fine, completely fine. ]]>
3.95 1839 A Hero of Our Time
author: Mikhail Lermontov
name: Hux
average rating: 3.95
book published: 1839
rating: 3
read at: 2024/08/20
date added: 2024/08/20
shelves:
review:
Another book which many seem to have a high opinion of but which I found slightly underwhelming. I mean, it's well written and everything (as you'd expect from a 19th century novel since back then most people were uneducated but the educated were VERY educated) but it's all rather standard stuff for the time. There was nothing here that was especially ground breaking or new. It's just... a 19th century scoundrel does some stuff. The framing of the piece was potentially the most interesting aspect (starting with his last adventure, then having his stories recounted by an old friend, followed by his own diary entries). But like I said, the actual content of these stories is very basic.

So it starts with a narrator (a traveller) meeting a fellow traveller called Maxim Maximych who tells him a story about his old friend Pechorin. The story concerns him abducting a woman called Bela then, when she finally submits to him, realising that he's not that interested in her after all. What a cad and a bounder! The next story has Maxim and the narrator briefly meeting Pechorin. Then we have Pechorin's own diary entries before finally, a story about fatalism. The diary section involves Pechorin meeting yet another woman whom he pursues despite admitting that he doesn't actually want her after all. Then there's a duel with a friend who is a potential suitor to the same woman.

I have to say... none of these stories were especially interesting to me. I'm slightly bewildered by the book receiving such high praise from so many corners. It's well written but it's never anything truly magnificent. Sure, Pechorin is a great character, a proper Byronic scoundrel who treats 'em mean and keeps 'em keen, but I'm not sure there's much else to say here. He's a brooding ideal of a man which, by modern standards, most people would agree is a total dick! Yet there's something compelling about him and the narrator (perhaps meant to be Lermontov himself) admits his own bias by confirming that what he thinks of Pechorin can be found in the title he gave the book: A Hero of Our Time. But to me, he was never more than a mildly distracting man of 19th century flim-flam.

So yeah, the book is fine, completely fine.
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Transit 59040513 INTRODUCED BY STUART EVERS: ‘A genuine, fully fledged masterpiece of the twentieth century; one that remains just as terrifyingly relevant and truthful in the twenty-first�

An existential, political, literary thriller first published in 1944, that explores the plight of the refugee with extraordinary compassion and insight. Written by Anna Seghers, one of Germany’s most revered and important twentieth-century writers.

Having escaped from a Nazi concentration camp in Germany and later a camp in Rouen, the nameless twenty-seven-year-old narrator of Seghers’s multilayered masterpiece finds himself in the dusty seaport of Marseille. Along the way he is asked to deliver a letter to a writer named Weidel in Paris, who he discovered has killed himself, leaving behind a suitcase containing the manuscript of a novel � and an exit visa to leave France. As he makes his way to Marseille to find Weidel’s widow, the narrator assumes the identity of a refugee named Seidler, though the authorities think he is really Weidel. There in the giant waiting room of Marseille, the narrator converses with the desperate refugees, listening to their stories over pizza and wine, while also gradually piecing together the story of Weidel, whose manuscript has shattered the narrator’s “deathly boredom,� bringing him to a deeper awareness of the transitory world the refugees inhabit as they wait and wait for that most precious of possessions: transit papers.]]>
288 Anna Seghers 0349014701 Hux 2
The story is narrated by a young nameless man (though it always felt like a very feminine narration) who, after escaping a Nazi camp, and going to Paris, comes across the unfinished novel of a dead man and is tasked with delivering it to him in Marseilles (where he seeks the man's wife instead). This is where the book begins to wallow in repetition and Kafkaesque regurgitation. He goes to the Mexican consulate to discuss a visa. He goes to a cafe and speaks to a friend about getting a visa. He goes to the American consulate to discuss a visa. He goes to another cafe to chat with a Corsican about getting a visa. He goes to the Brazilian consulate to discuss a visa. He has a pizza and discusses a visa. He speaks to his friend Binnet about going to the consulate to get a visa.

It's just excruciatingly boring.

Like I said, this kind of existentialist book is hard to do. The risk of exploring the banal, mediocrity of life and its oppressive institutions can often lead to a book that is equally as tedious as the thing it's exploring. Even when it's done well, it can be very VERY dry. A good example of this would be Buzzati's The Tartar Steppe which, by the skin of its teeth, barely manages to explore the tedium of life and its pointless endeavours. But I'd say Buzzati just about pulls it off despite large amounts of the book being very slow and plodding due to the necessity of writing stories like this (they don't demand wonderful prose after all, only that the theme is properly explored). Seghers doesn't even come close to accomplishing this. Her writing is as basic as it gets, bland, perfunctory, dull. And her story is possibly one of the most boring you will ever encounter. That she's attempting to explore an interesting idea is redundant. Poking a turd with a stick might produce important knowledge that benefits mankind.

But it's still just... poking a turd with a stick.]]>
3.52 1944 Transit
author: Anna Seghers
name: Hux
average rating: 3.52
book published: 1944
rating: 2
read at: 2024/08/18
date added: 2024/08/18
shelves:
review:
Generally, I can tell within a few chapters if I'm going to like a book or not; and I knew very early on that I was not going to like this. The problem the book has is that it's one of those novels that tries to explore a big theme, one which, through painstaking effort, requires a rather dry style and an extremely prosaic level of prose. It's not an easy thing to do successfully and even when people do succeed, it's not always the most fun to read (hello Kafka). The theme Seghers is exploring is the mind-numbing banality and stifling nature of bureaucracy (especially in regards to refugees trying to find the legal means of moving from one country to another). But, for me, she makes the mistake of allowing her own story to become as dull as the subject matter she's addressing.

The story is narrated by a young nameless man (though it always felt like a very feminine narration) who, after escaping a Nazi camp, and going to Paris, comes across the unfinished novel of a dead man and is tasked with delivering it to him in Marseilles (where he seeks the man's wife instead). This is where the book begins to wallow in repetition and Kafkaesque regurgitation. He goes to the Mexican consulate to discuss a visa. He goes to a cafe and speaks to a friend about getting a visa. He goes to the American consulate to discuss a visa. He goes to another cafe to chat with a Corsican about getting a visa. He goes to the Brazilian consulate to discuss a visa. He has a pizza and discusses a visa. He speaks to his friend Binnet about going to the consulate to get a visa.

It's just excruciatingly boring.

Like I said, this kind of existentialist book is hard to do. The risk of exploring the banal, mediocrity of life and its oppressive institutions can often lead to a book that is equally as tedious as the thing it's exploring. Even when it's done well, it can be very VERY dry. A good example of this would be Buzzati's The Tartar Steppe which, by the skin of its teeth, barely manages to explore the tedium of life and its pointless endeavours. But I'd say Buzzati just about pulls it off despite large amounts of the book being very slow and plodding due to the necessity of writing stories like this (they don't demand wonderful prose after all, only that the theme is properly explored). Seghers doesn't even come close to accomplishing this. Her writing is as basic as it gets, bland, perfunctory, dull. And her story is possibly one of the most boring you will ever encounter. That she's attempting to explore an interesting idea is redundant. Poking a turd with a stick might produce important knowledge that benefits mankind.

But it's still just... poking a turd with a stick.
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The Painted Veil 60049875 240 W. Somerset Maugham 1784878049 Hux 4
In this instance the person in question is Kitty, a young and frivolous woman who marries for convenience rather than love. Her husband is dull, shy, lacking in natural charm and obvious social skills, and the book opens with the two of them moving to Hong Kong where Kitty and her lover Charles Townsend worry that he has come home early and heard them in the bedroom. As it turns out, they were right. The husband, Walter, gives Kitty an ultimatum. Convince your lover to leave his wife for you and I will agree to a divorce. Otherwise, go with him to a cholera ravaged part of the country to help those in need. Unsurprisingly, the latter is what follows.

The story is ostensibly about Kitty being forced to grow up by these new circumstances and discovering that her desires and interests are trivial and empty. Yet despite her development and new found maturity, she cannot help still being overwhelmed by lust and passion in the presence of Townsend (which begs the question: did she grow up as much as she thinks?). Personally, I wasn't convinced.

The book is very easy to read and a lot of fun. Maugham writes beautifully on occasion and knows how to maintain a good pace. Short and sweet. Very good.]]>
4.07 1925 The Painted Veil
author: W. Somerset Maugham
name: Hux
average rating: 4.07
book published: 1925
rating: 4
read at: 2024/08/15
date added: 2024/08/15
shelves:
review:
A rather straight-forward novel but one which is well written and very entertaining. Maugham appears to have a fixation with people falling in love with people who don't love them back (he really pushed this theme in Of Human Bondage). I can only assume that, once upon a time, he had an especially bad experience in this regard (as the unloved) and wrote about it as much as he could to exercise some demons. As such, there's a certain amount of moralising which suggests he didn't quite get over it and this story is the embodiment of that, his ultimate lament (directed at whoever hurt him) being that... you ought to bloody grow up!!

In this instance the person in question is Kitty, a young and frivolous woman who marries for convenience rather than love. Her husband is dull, shy, lacking in natural charm and obvious social skills, and the book opens with the two of them moving to Hong Kong where Kitty and her lover Charles Townsend worry that he has come home early and heard them in the bedroom. As it turns out, they were right. The husband, Walter, gives Kitty an ultimatum. Convince your lover to leave his wife for you and I will agree to a divorce. Otherwise, go with him to a cholera ravaged part of the country to help those in need. Unsurprisingly, the latter is what follows.

The story is ostensibly about Kitty being forced to grow up by these new circumstances and discovering that her desires and interests are trivial and empty. Yet despite her development and new found maturity, she cannot help still being overwhelmed by lust and passion in the presence of Townsend (which begs the question: did she grow up as much as she thinks?). Personally, I wasn't convinced.

The book is very easy to read and a lot of fun. Maugham writes beautifully on occasion and knows how to maintain a good pace. Short and sweet. Very good.
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