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1761048708
| 9781761048708
| 1761048708
| 4.08
| 3,919
| unknown
| May 16, 2023
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it was amazing
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Notes are private!
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2
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not set
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Jun 08, 2023
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May 20, 2023
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Lee, Bri
*
| 1760295779
| 9781760295776
| 1760295779
| 4.36
| 13,412
| May 23, 2018
| Jun 01, 2018
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really liked it
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2
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Jul 20, 2022
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May 12, 2022
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0099511029
| 9780099511021
| 0099511029
| 4.47
| 1,584,033
| Feb 20, 2018
| Jan 01, 2018
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it was amazing
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2
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Sep 20, 2020
not set
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Aug 22, 2020
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1743534949
| 9781743534946
| 1743534949
| 3.89
| 2,321
| Jun 26, 2018
| Jul 10, 2018
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liked it
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A book club that spans the country, linking women over a shared appreciation for books and discussion, has, over the decades, been reduced to just fou
A book club that spans the country, linking women over a shared appreciation for books and discussion, has, over the decades, been reduced to just four members. Adele, from Adelaide; Judy from Mandurah, WA; Simone from Hobart and Ros, a widower, from Sydney are all that remain. Now in their 60s and 70s, they are facing great changes and upheavals in their life, be it in the form of work, family or their health. When Adele retires and is offered the chance to house-sit for her cousin in the Blue Mountains of NSW, she has the idea to invite the other three book club members for a chance to meet face-to-face for the first time and discuss books that reveal something about themselves. The other women jump at the chance as an escape from their situations, to get a change of scenery and to meet each other. Adele is an anxious woman desperate to please others and make things run smoothly, a seemingly timid woman who doesn't push back - characteristics seemingly at odds with her work as CEO of her own successful business. Simone teaches yoga to the elderly and has reached calm acceptance of who she is, a calm that is tested when she discovers a horrifying truth about her family. Judy runs her own yarn and knitting shop and hasn't had a break in decades; it's taken over her life and she doesn't know how to let go or rest. And Ros has just been given a life-changing diagnosis that means the end of her cello-playing career. Over the course of the month they discuss the books that are important to them, reveal truths about themselves and learn how to overcome their fears. A Month of Sundays is an endearing tribute to the lives of women, the personal value of books and reading, and to the idea that life doesn't end at 60. Or 70. This book was selected as the first for a new local book club for mums that I'm a part of - sadly, our first meeting will have to be online because of COVID19 restrictions, but at least we have already met. It's an apt book, even if we are all a fair bit younger than the Liz Byrski's characters. There is still a lot in these women that I can relate to, like Adele and Judy's anxiety, Adele's need to make others happy and keep things smooth between people; Ros's introversion; their hard work ethic and high personal standards and so on. Interestingly, none of these women have a partner in life. Only Ros and Judy were married, and while Ros's beloved husband James died in a tragic accident in London, Judy is married in name only: she left her husband who is in a relationship with their friend Donna, making for an odd threesome. They just never bothered to get divorced. Adele and Simone are both single mothers: Adele from a period in her youth when she had flings, Simone courtesy of a generous male friend and a turkey baster. Two of the women admit to being asexual, and that is a reality that doesn't get talked about. There's so much pressure on women to remain sexually active throughout their lives, when really - especially after children - so many women lose interest altogether. Simone says she was never interested but went through the motions, trying to keep others happy, and that rings true too. Their personalities are distinct enough but it took a while for that to emerge. At first, I kept mixing them up in my head a bit. Judy and Adele are quite similar in some ways, and most of them immigrated to Australia - Simone from Italy, Adele and Judy from England. Judy and Ros are in their 70s, Simone and Adele in their 60s. They all felt familiar to me, in various ways, like I have known these women. I, like Judy, would be intimidated by Simone's effortless elegance and confidence. I, like Adele, would be intimidated by Ros's crotchety retorts. I, like Judy, would worry about what I'd left behind. Probably the one I have the least in common with is Simone. Each has their own issue to deal with. Adele must toughen up and live for herself. Judy must let go of the reins and give herself a break. Ros must face up to her diagnosis and the changes it will mean in her life. And Simone must reexamine the past and her own complicity in it. I was delighted that the books they group discussed were all new to me. They begin with the set book for their bookclub, an Australian classic from 1978 called Tirra Lirra by the River by Jessica Anderson. I felt almost ashamed that I haven't read it and, indeed, had barely heard of it. At the risk of spoilers, the other books they discussed are Sacred Country by Rose Tremain (1992); the memoir Truth and Beauty by Ann Patchett (2004); Unless by Carol Shields (2002); and An Equal Music by Vikram Seth (1999). Each story represents something pivotal and important about the woman who shares it, and I found their discussions interesting. Byrski does a good job of constructing different perspectives about each book, with the Patchett one in particular sparking an argument as to what's really happening. I found myself wishing the women would talk about other books as well - or maybe I just want Liz Byrski to write a book about books! (I really loved Reading Like a Writer by Francine Prose, totally reinvigorated me!) Where the book disappointed me was in the writing. It's not that it's bad writing, not at all, it's that there's no verisimilitude. If you wanted to understand the difference between "fiction" and "literature", as categories, this would be a good example. And as a reader, I don't care all that much for being told everything. At first, it just seemed like a lot of exposition but it turns out this is just how Byrski writes. It's also written in present tense, and anyone who knows me knows how much I hate present tense. Unnecessary to say the least, and often incorrectly or poorly used. The trouble with it, for me, is that once you notice it it really stands out, and feels like a hindrance to a story. It reeks of 'fad' and 'gimmick' now. Go back, hm, fifteen years and you'd be hard pressed to find a single book written in present tense. When oh when will this fad end? Simple past tense is stronger, more versatile and doesn't stick in my throat. Aside from this quibble, A Month of Sundays was a really enjoyable read with some wonderful moments, like when Judy throws her knitting in the fire, or when the women touch on gender politics in their discussions (it doesn't happen often enough for my liking, and I would hate to think that it would alienate female readers - the painful irony of patriarchy). The characters became familiar and their bond with each other, strong. While they all come from places of never having these kinds of female friendships (the type celebrated by Sam George-Allen in Witches: What Women Do Together ), and in many ways were quite alone, it did make me reflect on how I've never had a group of women to call my own, and in fact I find it very hard to make one, or find one - see, I don't even know. I think you have to find women you can have a shared interest with (as Witches explores) and I've just never been obsessive about anything. Except books, perhaps. Byrski's characters come together because of books, but it's not what keeps them together. Wanting to help each other, caring about each other even when they barely knew each other, being willing to listen and let others into their lives - maybe that comes with age. Maybe I'm an old soul, but I would love that. A Month of Sundays is testament to the strength of female bonds, and I did love it for that. Also, it really made me want to revisit the Blue Mountains! It's been nearly 2 decades since I've been but I still remember how beautiful it was and how much I wanted to live there. ...more |
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1
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not set
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Apr 15, 2020
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Apr 18, 2020
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Paperback
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1760633399
| 9781760633394
| 1760633399
| 3.91
| 10,441
| Nov 27, 2018
| Mar 28, 2018
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None
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Notes are private!
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0
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not set
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not set
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Apr 01, 2020
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Paperback
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1760875163
| 9781760875169
| 1760875163
| 3.86
| 6,820
| unknown
| Oct 2019
|
really liked it
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Ex-pat Astrid Coleman lives in New York City and works as a conflict resolution specialist for the UN; she's seen some traumatic things and been in so
Ex-pat Astrid Coleman lives in New York City and works as a conflict resolution specialist for the UN; she's seen some traumatic things and been in some hairy situations, but is still reluctant to return home to Tasmania when her brother JC, the premier, asks for her help. A new, highly contentious bridge linking the main island to the smaller island of Bruny has been damaged in a deliberately-set bomb blast and JC is determined to have it rebuilt and finished before the next state election. Astrid - or Ace as JC and her older half-sister, Max, the leader of the opposition party, call her - has the job of keeping the various protesting groups calm and out of the way so the bridge can be finished. At a cost of 2 billion dollars from the federal government, the suspension bridge is a six-lane architectural marvel designed to replace the ferry - but why? The entire island has only a population of 5 or 6 hundred thousand people, Bruny only several hundred residents; even with the projected increase in tourist numbers, a six-lane bridge is overkill. Meanwhile, education and health continue to be neglected and other investment ideas are put off. When Astrid learns just how involved the Chinese government is in the project, more red flags go off. The numbers just don't add up, and she suspects her brother has done some kind of deal. But the truth is more shocking than she could ever have imagined. I remember that, just a few decades ago, you'd be hard pressed to find a novel set in Tasmania, let alone by a Tasmanian author. I can just imagine the editors at publishing houses thinking, 'No one's going to want to read that' on receipt of a new manuscript. I'm loving how much that has changed, with so many emerging Tassie authors getting national and international recognition, and the island itself has become almost popular as a choice of setting, even for mainland writers like Susan Barrie. Tasmania is not just a setting in Bruny, though. This is a deeply political novel in the best way possible. A type of crime 'whodunnit' suspense story set in an alternate reality (there are lots of small references to key events, here and globally, that create that sense of time yet they are left vague enough that the book won't feel too dated too quickly), Bruny is fast-paced and really quite riveting for a story that is actually quite simple. At its heart is an exploration of what it means to be Tasmanian, of what Tassie means to the people who live here, move here, visit - the things that people search for and find here in Tassie, the things that they want to escape. And yes, those things can be boiled down to one word: capitalism. Since I moved back to Tasmania myself in late 2013, I've seen the state blossom into a place that takes pride in its artisan craft, food and prize-winning wine/cider/whiskey/gin, in art and culture and music and the landscape itself. As more people come to experience these things for themselves, more money is injected into the state coffers which, to both conservative and Labor parties, is something they want more of. So, over the last several years the focus has been on "developing" our wilderness - yes, an oxymoron if ever there was one! The very things that people come here for are in danger of being turned into a theme park - one the locals can't even afford. It is this awareness and feeling that is the driving force for Heather Rose's novel. It was easy for me to embrace this sentiment because I already agree with it; I just have to say how much I admire her knack for putting it into words. As Astrid meets with various groups and spends more time on the island, she reflects with wisdom and intelligence on what the island means to people - and, by extension, on similar topical ideas that are global in reach. In this sense, Tasmania (and Australia) is not so unique. While Ace's perspective on the world is on the pessimistic, cynical side, this is done to create sharper focus on the central conflict of the novel and to provide a clearer contrast with what it means, really means, to be human, to those who yearn for a simpler life. One character, Maggie Lennox, an expensive boutique hotel-resort owner on Bruny, captures it quite well when she tells Ace: "I need you to be quite clear on how I feel about a highway and a bridge that gets them here in forty-five minutes from airport to door, with a great big slip lane and traffic noise day and night. This bridge is my nightmare. I won't stop fighting. Everyone laughs and says don't we know we're beaten. But I'm not beaten. [...] We're trying to protect the only thing Tasmania really has going for it in the twenty-first century. Its isolation. Its quiet. Its lack of population. Its remoteness. We need fewer people with more money coming here. [...] this bridge is a dumb strategy." [101] Anyone who lives here, or has visited and listened to the news, will find this a topical novel. There's a mix of real and fictional 'facts' in the book, often mixed together - I found it hard, sometimes, to separate the two. While careful not to name real people (David Walsh is referred to as an eccentric millionaire etc.), some of the politicians are clearly modelled on real ones - I'm sure that Viper is really Eric Abetz, and I don't know but the federal guy might be Peter Dutton? I'm not schooled enough to spot the clues, and some would be an amalgamation of a few real people. The entire idea of the bridge as 'nation-building infrastructure' reminded me of the brilliant satire TV show, Utopia - they even had an episode about what Tasmania needed for a new infrastructure project, with the feds picking something that sounded good as an 'announceable' but which the people don't actually want or need. Rose takes this concept even further, though, with a highly disturbing truth-bomb that is plausible precisely because it's illogical - because you just know that politicians and businessmen would absolutely come up with the idea and think it was great, even though it's crazy. There's a sense of foreshadowing to the whole story, a sense of an impending apocalypse: "The world is a machine that feeds on people. There's always a cost. There are always broken marriages and messed-up children. Happiness - simple happiness - maybe it doesn't really exist anymore. Not in the world I saw, anyway. When it did happen, it was fleeting at best. Somewhere in the great rushing wind of conflict, refugees, climate change and capitalism, it had dissipated. It would be easy to blame capitalism but it wasn't just capitalism. It was this idea that everyone had a God-given right to live as they pleased. Now, in the US, there was a righteous, well-armed underbelly wearing their brown shirts and creeping deeper into America's psyche while the Democrats might as well have been talking underwater." [p.48] Written and published pre-COVID19, relationships with the Chinese government have noticeably cooled somewhat IRL (though probably not for long). But just to show you how on-the-money Rose is with her observations, there's a scene where two cruise ships are docked at Hobart with 300 passengers sick with either gastro or a severe flu. "The hospital only has four isolation beds. But the health department refused to quarantine the passengers," JC's wife Samantha tells Ace, because it's bad for publicity (p.281). The passengers came ashore and blocked up the emergency department. "'I mean we are this close' - and here she held her fingers about a centimetre apart - 'to a major epidemic sailing into Hobart and we simply don't have the medical facilities to cope.'" It hasn't happened here yet, but the Ruby Princess cruise ship is now infamous for letting infected passengers off into Sydney, some of which returned home to Tasmania, bringing a new round of coronavirus with them. At times I felt like I was reading an extended opinion piece by Rose, sentiments that couldn't quite work as a non-fiction book and so formed the structure, bones, skin and beating heart, of a novel. When she's writing Ace's reflective sections the prose is clear, fluid, philosophical, intelligent and sometimes quite beautiful. When the story focuses on plot and the crime-suspense aspects, it can become stilted and awkward, with short sentences like (I can't find the actual quotes so this is from memory) 'I sat in the car. I ate my sandwich.' Rose also does an awkward thing with progressive verbs - written (thankfully) in past tense, she bizarrely writes in past-progressive which sits uncomfortably on the page. Of course, this is a very white-centric Tasmania I'm describing. The irony at the core of Bruny is the parallel between the plot and British colonisation. There is some poetic justice in this but of course the outcome is quite different. ...more |
Notes are private!
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1
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Jun 08, 2020
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Jun 12, 2020
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Feb 26, 2020
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Paperback
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1863955585
| 9781863955584
| 1863955585
| 4.21
| 212
| Sep 01, 2010
| Jan 01, 2012
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really liked it
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None
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Notes are private!
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1
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not set
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Nov 03, 2019
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Oct 07, 2019
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9780141975580
| 014197558X
| 4.16
| 4,959
| May 28, 2013
| Jun 05, 2014
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really liked it
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None
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Notes are private!
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1
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Oct 04, 2018
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Oct 07, 2018
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Aug 25, 2018
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Paperback
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0349142920
| 9780349142920
| 0349142920
| 4.08
| 1,204,062
| Sep 12, 2017
| Jan 01, 2018
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liked it
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None
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Notes are private!
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2
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not set
not set
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Dec 13, 2020
not set
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Apr 15, 2018
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Paperback
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1742372384
| 9781742372389
| 1742372384
| 4.24
| 16,498
| 2010
| Sep 01, 2010
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really liked it
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None
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Notes are private!
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2
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not set
not set
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Mar 25, 2021
not set
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Nov 24, 2014
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Paperback
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1444775804
| 9781444775808
| 1444775804
| 4.38
| 1,063,081
| Aug 27, 2012
| Jul 03, 2014
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really liked it
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None
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Notes are private!
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2
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not set
not set
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Sep 24, 2022
not set
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Jul 17, 2014
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Paperback
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0771079567
| 9780771079566
| 0771079567
| 3.89
| 2,014
| 1998
| Sep 23, 1999
|
liked it
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Sri Lanka in the 1920s was a British colony called Ceylon. Already divided along caste and ethnic lines, the British encouraged the divide, raising up
Sri Lanka in the 1920s was a British colony called Ceylon. Already divided along caste and ethnic lines, the British encouraged the divide, raising up some natives to rule, in small ways, over others. Annalukshmi Kandiah is the eldest daughter of Louisa, who came from one of the oldest Christian Tamil families but who eloped with Murugasu, a man who "had gained notoriety in his village of Jaffna for beheading the Gods in the household shrine during a quarrel with his father, running away to Malaya, and converting to Christianity." [p.4] Louisa, with three daughters in tow, left him and moved back to Colombo where they now live in a small cottage in the wealthy neighbourhood of Cinnamon Gardens. In 1927, at the age of twenty-two, Annalukshmi has acquired a teaching qualification and returned to the girls' Colpetty Mission School, run by her idol and mentor, Miss Amelia Lawton, to teach. This caused quite the stir, if not an outright scandal, among their circle. Only girls too poor or too ugly to "catch" a husband need stoop to working as a teacher. "They saw it as a deliberate thumbing of her nose at the prospect of marriage. She might as well have joined a convent. They blamed her wilful, careless nature on both parents." [p.4] Not only does Annalukshmi's pursuit of higher education and work cast a negative light on her parents - though no one has a high opinion of her father, anyway - but her actions, her desire to ride a bicycle and her disinterest in marriage will make it harder for her younger sisters, Kumudini and Manohari, to marry. Annalukshmi has the kind of ambition none of them can understand. Their neighbour is the Mudaliyar Navaratnam, now seventy, who lives in one of the grandest houses in Cinnamon Gardens. A relative on their paternal grandfather's side, he is an honorary uncle to the Kandiah girls as well as being one of the mudaliyars appointed by the British governor of Ceylon - an appointment based on loyalty to the British Empire. An official who listens to petitioners and has a seat of some kind in parliament, the Mudaliyar was raised as a very spoilt boy who never learnt how to deal with conflict or the needs of others. Years ago he exiled his eldest son for getting a servant girl pregnant - not for having sex with her or the child, but for falling in love with her and marrying her in secret. His own will thwarted, he banished Arul, and the girl Pakkiam, to India, granting him a small allowance but making his entire household, from his wife and younger son to all the servants, to never have any contact with him or speak of him again. Balendran, the Mudaliyar's youngest son, was raised up in Arul's place. The boys had never been very close so Balendran had no problem putting aside thoughts of Arul - not so his mother, Nalamma. Now forty years old, Balendran has been successful in managing the family estate and temple - in fact the family's wealth and position has never been better because of the changes he made - and he long ago married his cousin Sonia, who is half-English, and had a son of his own, Lukshman, now at university in England. But Balendran has never forgotten - or overcome - his first love, Richard Howland, whom he lived with when he himself was a student in Britain. Twenty years have gone by, and suddenly Balendran is faced with the prospect of seeing Richard again, here, in Colombo. Richard Howland is accompanying the Donoughmore Constitutional Commission to write a research paper on it, but Balendran's father thinks Richard is part of the commission itself, as an advisor to Dr Drummond Shiels, and wants Balendran to use his past connection and influence to get Richard on the Mudaliyar's side, and thus Dr Shiels. Balendran is deeply torn. He longs to see Richard again, yet is afraid to. Homosexuality is of course forbidden in Ceylonese society, and the Mudaliyar - who came to their home in England and knows exactly what they were doing - has Balendran under his thumb not just with the familial obligations that tie son to father, but with the power of his knowledge as well. His wife Sonia is furious because the Mudaliyar is against self-governemnt and universal franchise (giving the vote to the entire population, regardless of gender or caste), and Balendran would be a hypocrite to promote something he doesn't believe in, on his father's behalf. But Richard isn't an advisor, he has no influence, and without that manipulation hanging over Balendran he is free to focus on rebuilding his own relationship with Richard. It means opening himself up to his own needs and desires once again, being vulnerable and more aware of the lies he lives. Both Annalukshmi and Balendran are faced with strong opposition to the lifestyle and freedoms they want, and handle it in slightly different ways. For Annalukshmi, it is a time of shedding her youthful naiveté and seeing more clearly her position in Ceylonese society - not just among her own people and class, but in the eyes of her mentor Miss Lawton as well. She must decide what path she will take, for she cannot have marriage and a career. Balendran must face the family's secrets, their locked-away past, and learn for himself just where his loyalties should lie: with his dictatorial father and his dictates born of fear, or with his own heart, his own conscience. As change bears down on the entire colony, and a new era is on the cusp of being born, these two cousins also go through change and growth, and must decide who they will be on the other side. I read this for a recent book club meeting; it wasn't a novel I'd heard of before and I don't know that it's readily available outside of Canada. The author, Shyam Selvadurai, came to Canada from Sri Lanka when he was nineteen, lives in Toronto, and is himself gay. I found that the character of Balendran, the troubled, gay son of a small-minded, influential man and caught up in the laws of traditional Tamil society which makes honouring the father more important that almost anything else, both refreshing and illuminating. This sounds weird maybe, but I really enjoy reading about homosexual characters, and you just don't get many books that aren't labelled as LGBT fiction, that delve into the lives of LGBT people in such a way (especially historical fiction). It's not like being gay is a new thing - quite the contrary, it's as old as humanity itself - but as a group they're sorely missing from literature. Living in hiding, in fear, in persecution, surely would make not just interesting, intriguing and possibly eye-opening fiction; it would acknowledge the kind of pain Balendran experienced, having to deny a major part of who he is and pretend, fake it, create an illusion at the expense of his own nature. It's not fair to him, it's not fair to Sonia who does actually love her husband, and it's just so sad. Annalukshmi provided a nice contrast to Balendran, and supplied a glimpse into another oppressive aspect of Ceylonese culture and tradition and laws: the uneasy introduction of feminism and women's rights (or lack thereof). What was especially interesting was how Annalukshmi, who had gained an English education and had, in her way of thinking, moved away from a more traditional Tamil mentality, was not only thwarted in her ambitions by her own society, family, culture and traditions, but by the English themselves. As she learns from her friend Nancy, a low-caste Ceylonese girl who had been orphaned and adopted by Miss Lawton, Miss Lawton herself doesn't think Ceylonese women have the ability or capacity to learn the skills required to be a headmistress - which is Annalukshmi's ambition. While within Ceylon there were so many rules and strictures and laws of tradition that proscribed female behaviour (and everyone's behaviour), the English brought another layer to the picture: that of civilised coloniser who, through a simple education and conversion to Christianity, seeks to "save" the natives and give them a humanity as defined by the British (who wouldn't have acknowledged the Ceylonese any other way) - but never to see them as anything more than the Exotic Other, the civilised savage, a people no more able to rule themselves than they are to handle more complex mental tasks, like running a school. Annalukshmi goes through quite a process of figuring herself out and deciding what she'll fight for - much as Balendran was, but also different. She's a very relatable character, and it's easy to think of her as a kind of Anne of Green Gables, with her penchant for mischief and disobeying the rules, for striving to be better, for her zest for life. Unwilling to settle, knowing she could never live the life of a sequestered Hindu wife and not interested in being a Christian one either, Annalukshmi does not take the easy road. I can only imagine that her life beyond the book would be a tough one, and it's so tragic to think of what women had to sacrifice - it's always one or the other: family or career, you couldn't have both. It's still like that in so many places, and even in our developed nations, women often end up having to sacrifice their career in order to have a family, especially if they can't afford daycare or a nanny. As someone who greatly values and appreciates the freedoms that I have as a woman today, I love reading about the pioneer women, the women who led the way and fought hard to acquire the vote and other rights: the idea of losing these rights chills me to the bone. So I felt for Annalukshmi, yes I really did. Many supporting characters have the chance to show their perspectives as well, and shed further light on this society. Take Sonia for example, who was raised English - mostly by her aunt - but still confined by Tamil traditions and laws. In this way she reflects on her marriage to Balendran: What a difference there was between her expectations and what her marriage had really turned out to be. She belonged, she knew, to that group of women from Europe who had married non-European men as an escape from the strictures of their world, a refusal to conform. What they did not know, could not have known, was that these men, so outcast in Europe and America, were, in their own land, the very thing women like her were trying to escape. This was what she had not been prepared for. Balendran's unquestioning obedience to familial and social dictates, his formality even in their lovemaking, his insistence that they maintain separate bedrooms. [pp.79-80] Poor Sonia - I wonder whether her marriage would have been a more positive experience had Balendran not been gay, and not had the father that he did. In the guise of a simple, very human story I came to learn a lot about the British colony of Ceylon during the 1920s - a pivotal time for the island. I can't say I understand everything, and this is just one slice of the island's history, but Selvadurai does a great job of incorporating the historical context and exposition into the story, making it relevant and comprehensible. It is quite complicated, but it was a good beginner's lesson for me and stirred my interest in the topic. Selvadurai manages to show both the negative - or confused - effects of British colonisation on this old, traditional society, as well as the great strides the people had made in adapting to this new world and making the best of it. Some more than others, of course: if you benefit from a new ruler, you're of course most likely to support them. Cinnamon Gardens begins slowly, but alternating between Annalukshmi and Balendran it soon picks up and as you get your bearings more and understand the place and the era and the mixed-up culture better, it becomes more interesting. I wasn't as impressed with the writing as I was with the story itself. The storytelling was good, but the flow and pacing was a bit awkward, the prose a bit clunky at times. For a second novel it's a solid work and definitely worth reading, but it's not as polished as it could have been. There are clear signs of skill and talent, and Selvadurai created a colonial, faux-British historical setting that felt very authentic and real. There is a lot going on here about being blinded or repressed by tradition, of being true to yourself despite what society thinks, and standing up for yourself. It's a story about the illusions of civilisation, the things we emphasise as being markers of true nobility and civilisation that are, like everything else, constructs and changeable. And it's a story about love: within the family and without, of sacrifice and obligation, and of treading the fine line between tradition, culture, religion and modernism. A fine achievement in historical fiction. ...more |
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1
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not set
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Jul 11, 2013
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Jul 02, 2013
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Paperback
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0670064718
| 9780670064717
| 0670064718
| 3.62
| 12,579
| 2012
| Mar 27, 2012
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really liked it
|
In present day Alberta, a car plummets over the edge of a ravine, killing the elderly driver. There are two sets of tyre marks on the road above, and
In present day Alberta, a car plummets over the edge of a ravine, killing the elderly driver. There are two sets of tyre marks on the road above, and at first the police suspect the dead man was being chased. But the marks belong to the same car: it had taken him two tries to get the angle right to miss the guard rails in order to drive off the road. His family never suspected a thing. Never realised how troubled the retired high school teacher was, never realised he had sent all his and his wife's money to someone in Nigeria, even taking out a second mortgage against the house already long paid for, and is well over a hundred thousand dollars in debt. Never realised that he felt like he was being watched, that he was being threatened, that he had increased his life insurance policy before killing himself, putting his daughter Laura down as the sole beneficiary. But the police discover it all, and ask the family: Do you know anyone from Nigeria? Have you ever heard of 419? Laura takes her father's death particularly hard. A reclusive copy editor who works from home, she is distracted by all the grammatical and spelling errors in the emails her father received, until she notices that there is a pattern - like the authors she edits, the writers of the emails have a style, and it might be possible to find the person behind her father's death through the way they write. It's not about the money, she tells herself: it's about losing her father, a man who had been trying to reach out to her but to whom she had not given her time. A man she misses deeply. In Nigeria, a lone woman walks through the desert with a jerry can of water balanced on her head. Pregnant, she has long ago traded her jewellery for food and is reduced to scavenging at campsites and chewing on nuts. Finally reaching the city of Zaria, the furthest she's ever been in her life. But even here, there are people who recognise the ritual tribal scars on her face that can tell a person exactly which village she is from; even Zaria is not far enough away. And she she keeps walking, heading to the next city. And in the west, in the Niger Delta, European oil companies strike deals with the government to drill for oil, destroying the mangrove swamps, poisoning the water, killing the fish that are the livelihood of the Igbo people who live there. Nnamdi is a boy when the Dutch first come and a teenager when they give him, and many other boys, jobs in an attempt to pacify the tribe and give them a vested interest in protecting the pipelines that snake through their land. What Nnamdi learns on the refinery island will save his life several times, and take him far from home. All three - Laura, the unnamed woman, and Nnamdi - are on a trajectory that will bring them together in unexpected ways. This is an epic story and demonstrates Ferguson's ability to weave seemingly disparate plot lines and characters together. It also shows the impressive depth of his research, which I had noticed from reading his earlier novel, Spanish Fly . In the latter book - about three con artists during the Depression in the United States - you could tell that Ferguson's research and fascination with the cons was stronger than his storytelling, and his characters suffered for it. With 419, though, there was a much better balance between the scope of his research - which is truly extensive - and the storytelling. As a story, I really enjoyed this. As insight into life in Nigeria and the situation between the locals and the oil companies, it's enlightening and terrifying and disheartening. Where it falters a bit is with Laura and her side of the story, especially towards the end. I would say that Ferguson wrote the Nigerian side of the story, and the Nigerian characters, more believable, honest and human than he did Laura. Which is curious, when you think about it. It begins in an unnamed city in Canada which I figure is either Calgary or some more northern city - the Rockies are mentioned, and Laura absently tracks the ups and downs of the oil industry by watching the cranes move on the horizon: when they're still, it's a bad day. (Alberta is home to the infamous Tar Sands.) I'm always curious about why authors decide to leave a city unnamed like that. The bulk of the novel is set in Nigeria and covers pretty much the entire country - it was easy enough to picture the individual settings and get an idea of how close they are, as well as the very diverse landscape, based on how things are described, but I would still have loved a map. I love maps, and I find them useful in creating a more three-dimensional picture in my imagination. If you're unfamiliar with what "419" is, it is an email scam that nets millions of dollars for Nigeria and is one of their biggest industries, after oil. It begins with an email, and it's a fair bet that by now, anyone who has at least one email address would have received at least one of these messages. I hadn't had one in a really long time - well I get spam mail on gmail (never Hotmail) but I never open them; most of those are about winning lots of pounds from Britain for something-or-other (or messages from Canadian banks telling me there's a problem with my account - right, and I don't even have accounts with those banks!). Incidentally, we also get one via phone here, someone Indian asking us about the Microsoft bug reported on our computer - a-ha, yeah, nice try. You ask yourself, how can these possibly work? They're so blatantly obvious, so incredibly stupid. But they do. Not with you or me, but with other people. In the case of Ferguson's novel, the 419 scam that lured in Laura's dad - a lovely, kind-hearted man whose two children didn't have much time to give him anymore - it was a plea for his help in aiding a young woman. And of course, the sender had done their research, having found out lots of information about him via the woodworking forum he frequented, which enabled the sender to make his message personal, intimate even - clearly, they had the right person. Ironically, the day I wrote this review I received a private message through Goodreads - the user was deleted before I could report it so they're very quick on catching them, but just goes to show that they really do find people everywhere, on forums etc. I thought, before I deleted it, I'd include it here as a sample message, very typical of 419: Hello , I honestly couldn't have made that up (to say the least, I'm incapable of writing something with that many errors!), but it's interesting to note it's talking about Ghana - 419 seems to have spread. The messages are always like that: help us liquidate someone's money before the government seizes it, all you have to do is hold it in your account, and you'll get a commission. But there is no money, and that's not how it works. In Nigeria, it's a huge underground business, employing thousands. As one of the RCMP officers explains to Laura and her family, it's named after "the section in the Nigerian Criminal Code that deals with obtaining money or goods under false pretenses." [p.111] I did notice, though, that this one wasn't half as well-targeted as the one that nets Laura's dad. It doesn't even use my name! In the story, Laura's blustering older brother Warren is the character created as a foil, the person added to the story to show just how easily people can fall for things. In fact, the whole conversation with the RCMP when they're shown the emails, the forged documents, and had it all explained to them, is pure exposition. "Your father signed a document granting power of attorney to the law office of Bello & Usman in Lagos." Learning about 419 and its effect on the victims - whom the Nigerians see as merely greedy and so not people to feel sorry for - was naturally fascinating. As was learning about the state of Nigeria's oil industry, which is plain frightening. I read this book for a book club and one of the other readers brought along a slideshow of images from the Niger Delta, of the water slick with spilled oil, the natural gas flares, burning off the gas that would normally be collected. As Ferguson describes in the novel, these fires create acid rain and the people's skin burns. Their food source is gone, and they have resorted to sabotage and guerilla warfare: opening up the pipes to siphon off the oil to sell on the black market; kidnapping foreign (white) workers and holding them to ransom; terrorising their own people on the rivers and in villages. When their own people aren't attacking them, the government sends in soldiers to kill them, burn their villages, take anything left. It's amazing the Igbo have survived at all. One of the boys was wavering on his feet. His eyes were milky and unfocused. It reminded Nnamdi of the glassy gaze of the Egbesu boys, but without the bravado or the gin. Nnamdi's people, the Ijaw, was the tribe who used to capture people from other tribes, take them to the coast and sell them to the white slavers. So in Nigeria, they're not particularly well-loved, and the government views their protests against the oil industry as a kind of anti-Nigerian act of terrorism. Reading Nnamdi's story, it pretty much breaks your heart, watching along with him as the precious mangrove swamps - mangroves being one of those instrumental vegetation needed to filter CO2 from the air - are annihilated, the water poisoned, the fish and animals obliterated. So much waste - it's unbelievable. Anywhere else, the industry is fairly well regulated, but in Nigeria, either no one cares or it's simply too dangerous - the locals have made sure that any attempts to repair pipelines, for instance, are a death mission. That's another aspect touched upon in 419: colonialism and inter-tribal conflict. There are running jokes about the different tribes, of which there are many, who, like everywhere in Africa, now find themselves lumped together in one country thanks to the borders drawn by European colonists. What was Nigeria? The unnamed woman from the Sahel, who calls herself Amina, is decidedly foreign, alien, yet sympathetic - especially woman-to-woman. We never learn the real reason why she's fleeing her tribal land, her village, her people - the way she talks about them gives me the idea she still has pride in who she is and where she's from, but something happened to drive her out, most likely linked to her pregnancy. I found that not knowing increased the mystery of her, and kept you wary, but also made you proud of her too. In the end, it didn't matter that we don't learn the truth, it becomes irrelevant. Nnamdi is a hugely likeable character. Unlike many others that fill the background of the story, he is loyal, trustworthy, respectful, intelligent and full of life and even laughter. He is only about eighteen years old, and the fact that he was the most sympathetic character of all of them makes his story the hardest to read about. The weak link is Laura, though part of this is deliberate on Ferguson's part and the rest is a let-down in what was strong storytelling up to the end. Laura comes from a different world, and when she arrives in Nigeria she represents the quintessential white colonist, caught up in her own objective, her own wishes, with zero empathy or any wish to understand the people she encounters. She blunders in in typical white-foreigner fashion, making things so much worse, and effectively kills one character. While I could see her side of it and understand her actions, because I had got to know the other characters and their world a bit, I found her abhorrent and unsympathetic. It just goes to show what knowledge and education can do to your perspective, in opening your mind. The question then becomes, Just who is the real victim? There are many ways to be a victim, and it's never black-and-white like you wish it was, like Laura makes it out to be. The trouble is that Laura's not a very convincing character. Interestingly enough, Ferguson did a much better job at capturing the Nigerians, than he did his own countrywoman. It's hard to really understand her, because she's so withdrawn and lives like a hermit. I would have respected her but that, after making her point, she then demands the money - when all this time she's claimed it wasn't about the money. I don't know whether to think that in the heat of the moment, she lashed out to hurt more deeply, or whether, deep down, it really is about the money, always. Food for thought. The novel is full of parallels, between the oil pumping like hot blood through the Niger Delta contrasted with the wealth of industry and progress in Laura's city, to the parallel between the description of a man having a tyre put around his chest and arms, doused in petrol and set alight, to the detective investigating a scene near Laura's apartment building in which a homeless man has been set alight: these juxtapositions show both the interconnectedness of the world (the fact that what's happening in one country - that we all like to frown upon - often benefits our own - like China's emissions, largely created by the demand for cheap products consumed by us), as well as showing that the cruelty seen in one country, like Nigeria, is not confined to it - that we can be cruel and violent and heartless, too. A lot of the time, these parallels were a bit obvious, a bit heavy-handed, but I still appreciated their presence. As a story, 419 is an impressive work, richly layered, complex, nuances and empathetic, fleshing out a country that's easy to demonise and isolate as its own downfall. As the winner of Canada's most prestigious literary award, I'm not so sure. This is solid fiction, but not what I would expect of the Giller Prize. It has some absolutely lovely prose, some beautiful - if harrowing - descriptions, and speaks to the condition of humanity and the human heart with touching honesty and wry humour. It is a story I definitely recommend, one that shows great sensitivity towards another culture and people and tells their story with much respect. It was a better story, overall, than Spanish Fly. But I don't think I would have picked it for a Giller winner. ...more |
Notes are private!
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1
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not set
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Feb 2013
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Dec 12, 2012
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Hardcover
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0307359719
| 9780307359711
| 0307359719
| 3.81
| 22,062
| Oct 2009
| Sep 06, 2012
|
it was ok
|
Based on the author's childhood experiences of fleeing Vietnam during the war and arriving in Canada as a refugee, Ru is a scattering of memories, sho
Based on the author's childhood experiences of fleeing Vietnam during the war and arriving in Canada as a refugee, Ru is a scattering of memories, short vignettes told by Nguyễn An Tịnh (An Tịnh being her first name, which is one punctuation mark different from her mother's). The word "ru" means "small stream" in French; in Vietnamese is means "lullaby" - both meanings capture both the meandering nature of the story, such as it is, as well as the soothing voice of a woman to her past self, the child of her memories, as well as her own children. The word, according to the blurb on the book, also signifies a flow - of tears, blood, money. This too resonates with the passage An Tịnh finds herself on with her once-affluent family, from luxury estate to destitute boat people to new immigrants in Canada, struggling to balance their cultural heritage with the world they find themselves in. When I started reading this, I was struck by the beauty of the language. The very first page, the first vignette, reads like a spoken word poem and gave me a good feeling: this was going to be a book I would love. Alas, it was not to be. But let me share that first page with you, so you can see what I mean: I came into the world during the Tet Offensive, in the early days of the Year of the Monkey, when the long chains of firecrackers draped in front of houses exploded polyphonically along with the sound of machine guns. It sets the scene well, introducing us to our narrator - now a mother of two boys living in Montreal in the present day - as well as to what life was like around the time of her birth. Fleeing as a refugee feels imminent, and in a way, it is: the vignettes aren't told - or shared - in chronological order; they jump around in time and location, and many are like snapshots, a scene, a memory, frozen in time and set on a loop, the only things left of a life, a world, long gone. I read this for a book club and one of the other people there mentioned that she had heard or read that Thúy jotted these down in her car while waiting at red lights, which helped her read it because that is the way our memories come to us, in bits, randomly, suddenly, a flash across the mind. But for me, it only added to the sense that this memoir disguised as a novel lacked structure and focus, and without some of both, I held in my hands just that: random scribblings, put together in a sloppy, lazy way, where the moments of poetry cannot make up for the unreliable narrator and the lack of cohesion. It's not that I wanted this to conform to the standard structure of a novel, not at all. I'm all for the experimental novel, even the ones I'm not interested in reading like the Irvine Welsh book where the guy's tapeworm talks in the margins and, as it grows fatter, takes over from the man's narration altogether (I do, after all, find that I get the most enjoyment and meaning out of stories that use a more sturdy, reliable framework rather than some pretentious narrative structure that just distracts from the content - and perhaps tries to hide the vacuousness of the story itself). But sometimes you read a book where it feels like the author really didn't exercise enough control over their artistic, creative impulses. The art comes first, you could say, and then a good writer must shape it, give it form, and breathe life into it. With Ru, I felt like some random person had come across a draft, sketches, notes of a potential novel or pages from someone's diary, all torn up and scattered on the ground, and had picked them up and tried to sort them then given up, and published them just like that. That wasn't actually my problem with reading this. Chiefly, I never managed to connect or relate to the narrator, An Tịnh - a fictionalised version of Thúy. Part of the problem was the simple fact that I just don't know enough about the Vietnam war or what Canada was like in the 70s to be able to fill in the gaps in context, because there's no historical or political context provided, no background details. I have only a vague understanding of the Vietnam war based on a few classic American movies (and some not-so-classic) and the fact - little known in North America - that Australia fought for the U.S. in that war. Even though I grew up with kids whose dads had been there and had various side-effects, no one talked about that war, no one taught it or studied it. We did have a draft but nothing like the American one, and the men had a choice: go or be in the Reserves. When my dad's birthday was called, he chose the Reserves and has many hilarious stories to tell of what he and these other young men got up to on those weekends. As to the politics behind the war, my understanding is as thinly sketched out as this novel. There are some details about the Vietnam War, but they only served to confuse me most of the time. I couldn't follow the narrative all the time. Even though I read this almost in one sitting, it seemed like one minute the narrator said one thing and the next she contradicted herself. Lines like this: "The police were ordered to allow all boats carrying Vietnamese of Chinese background to leave 'in secret'. The Chinese were capitalists, hence anti-Communist, because of their ethnic background and their accent." [p.44] just left me feeling bewildered. Often within a scene you couldn't tell who she was talking about, as the use of pronouns would follow a proper noun and yet she'd be talking about someone else. It's the kind of book you would need to read at least three times to get to the point of following it better. After some time - a year? - in a refugee camp in Malaysia, An Tịnh and her family - once so affluent with wealth and a large estate - arrive in Canada as destitute boat people and, as part of a government policy at the time, are settled into the small rural town of Granby, Quebec. An Tịnh is still a child and one whose life has been uprooted; she latches onto new friends and small kindnesses in a pitiful way, a lost child in a new place, struggling to make a home. Again, my lack of contextual knowledge of Canada at the time made these memories, these scenes, decidedly lacking in a deeper meaning so that they read as superficial - a kind of wishful thinking rather than reality (many people in my book club had personal immigrant experiences to share, that this book made them think of. I'm an immigrant to Canada as well, but as a white English-speaking, Anglo-ethnic woman migrating from Australia to Canada, I don't feel like I had a "true" immigrant experience). Everyone in Quebec was so kind and welcoming and helpful to these refugees, these aliens in their midst. In the 1970s. To one who wasn't here to witness it (I wasn't even alive at the time), who didn't have knowledge of this policy or what people were like back then, it was disconcerting and unreal. And you still don't get a sense for An Tịnh anymore than you do in the scenes of her as a mother in the present, even though small details about her life are so vivid. Speaking of motherhood reminds me to mention that there are some recurring themes and elements in the book, some of them better executed than others. In the beginning she talks about the ties between her and her own mother, something culturally Other and hard to grasp in a way I could even picture; I had expected some more meaningful parallel between this relationship and the one she has with her own two boys (another confusing detail is her relationship status - at one point I was sure she mentioned a husband or father to her children, while later she talks about all her flings, her seeking of pleasure which implies she's a single mother. Frankly I've no idea what the truth is). One parallel that worked well (it wasn't subtle) was the one between north and south Vietnam, and English- and French-speaking Canada. Around that time, my employer, who was based in Quebec, clipped an article from a Montreal paper reiterating that the "Quebecois nation" was Caucasian, that my slanting eyes automatically placed me in a separate category, even though Quebec had given me my American dream, even though it had cradled me for thirty years. Whom to like, then? No one or everyone? I chose to like the gentleman from Saint-Felicien who asked me in English to grant him a dance. "Follow the guy," he told me. I also like the rickshaw driver in Da Nang who asked me how much I was paid as an escort for my "white" husband. And I often think about the woman who sold cakes of tofu for five cents each, sitting on the ground in a hidden corner of the market in Hanoi, who told her neighbours that I was from Japan, that I was making good progress with my Vietnamese. Other recurring themes include walls or barriers, especially between people - or peoples - sharing a space, and about being unable to speak. There were several references to shadows which I barely noticed at the time so I have no opinion on that. The novel is very tactile, very engaging of the senses - one of things I did like. In small details sights, smells, tastes, textures are described which does give the narrative a richness, in the way that memories can sometimes be accompanied by a single overriding sense, making the two inseparable. And there were moments of humour, like the young soldiers auditing the contents of their mansion who find their grandmother's dresser drawer full of bras - which they'd never seen before so they decide they're coffee filters (the new puzzle: why are there two of them joined together? After some thought they decide it's because you don't drink coffee alone), alongside moments of tragedy, like her aunt who's mentally handicapped in some way (undiagnosed, this being in Vietnam in the 60s) who used to escape the house and run wild through the alleys until one time she comes home pregnant. The little glimpses of life during the war are poignant and precious. Most of those children of GIs became orphans, homeless, ostracized not only because of their mothers' profession but also because of their fathers'. They were the hidden side of the war. Thirty years after the last GI had left, the United States went back to Vietnam in place of their soldiers to rehabilitate those damaged children. The government granted them a whole new identity to erase the one that had been tarnished. A number of those children now had, for the first time, an address, a residence, a full life. Some, though, were unable to adapt to such wealth. In a way, reading individual vignettes like that is more satisfying and engaging than reading the whole as a novel. I got much more out of that particular vignette, for instance, as I read it again just now than I did as I was reading it for the first time, when I had trouble following it even. It makes so much more sense the second time, and I'm sure the book as a whole would too if I were to re-read it. It would also make more sense to those who have the knowledge, the context, the history to understand what's really going on here. Lacking that, it wouldn't matter how many times I read it, there are parts that just won't make sense to me without the necessary context - some of it cultural and unlearnable. And no matter how many times I could read this, I don't think I would ever find the narrator to be anything other than a vague voice on a page, not a living, breathing woman with a rich and varied past. It's not that Thúy didn't accomplish what she set out to do: tracing a young girl's journey from her war-torn homeland, across the ocean in perilous circumstances to a new home where everything is so vastly different and having to find her place in it. It's that I didn't find she was fully successful in her control of her own writing. Writing takes a lot of work and practice, and authors take a long time - and a lot of drafts and scrapped stories - developing their own style. I am torn in two by Ru: there were elements to it that I greatly admire and even loved, and there is a lyrical, almost magical quality to it that appeals to me no less than the story of a refugee trying to reconcile her past with her new life. But if I can't relate to the narrator, if I can't even follow what's going on half the time, then I just feel alienated rather than engaged, frustrated rather than empathetic. It doesn't matter that this was the point, that, as others have pointed out, her story is fragmented and confused as a true reflection of her life. By the time I got to the end I was just glad it was so short and I didn't have to fight my headache anymore. For a book so beautifully written and with such potential (and trust me, I can see why so many people loved this), it was deeply disappointing for me and the only thing that makes it stand out at all (or makes it memorable at all) is the way it is written, which is not altogether successful. ...more |
Notes are private!
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1
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not set
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Mar 06, 2013
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Nov 01, 2012
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Paperback
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3.96
| 207,539
| -400
| May 31, 2007
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None
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Notes are private!
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0
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not set
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not set
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Dec 15, 2011
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Paperback
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014243714X
| 9780142437148
| 014243714X
| 3.72
| 13,615
| 1001
| 2003
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None
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Notes are private!
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0
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not set
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not set
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Nov 16, 2011
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Paperback
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019953781X
| 9780199537815
| 019953781X
| 4.01
| 43,908
| -458
| Jan 15, 2009
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liked it
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Oresteia is the only surviving trilogy of Greek tragedy plays, performed in 458 BCE - two years before Aeschylus's death in 456 BCE. This review summa
Oresteia is the only surviving trilogy of Greek tragedy plays, performed in 458 BCE - two years before Aeschylus's death in 456 BCE. This review summarises all three plays as a trilogy, and because I think that it's easier to read them if you know what to expect, I do give away all the relevant plot points. The first play, "Agamemnon", is about betrayal: King Agamemnon returns home to Argos after the successful sacking of Troy (in modern-day Turkey), only to be killed by his wife Clytemnestra and her lover, Agamemnon's cousin, Aegisthus, who had taken over Agamemnon's rule in his absence. Clytemnestra is wrathful because her husband sacrificed their daughter, Iphigenia, in order to placate the god Artemis and secure calm winds for the voyage to Troy, and kills Agamemnon in his bath. They also murder Cassandra, his spoils of war, the prophetess cursed to never be believed who sees her own death but is, of course, disbelieved. Such is the curse of Agamemnon's family continued. The second play, "Libation Bearers", is about just revenge, or deliverance. Clytemnestra and Agamemnon's son Orestes returns from another kingdom where he was sent to live, having learned from the oracle Loxias of his mother's murderous betrayal. Through Loxias he is given leave by the god Apollo to exact revenge by killing his mother and her lover. When he arrives at the palace he goes first to the tomb of his father to pay his respects; there he encounters his sister Electra, also in mourning. With the help of the palace servants, he disguises himself as a traveller bearing news of his own death so as to trick his way inside and see Aegisthus privately. He slews him and then his mother, who knows she is going to her death but does not fight it. The third play, "Eumenides", is about justice and change - it displays a new way of seeking justice, that in a new court-of-law, with the verdict decided by a group of citizen jurors in Athens. The Furies are hounding Orestes, demanding payment for the matricide. Orestes seeks out Apollo's temple and Apollo's protection, and then Athena (Pallas Athena), goddess of war, wisdom and justice (among many other things). Athena decides to hold a trial to hear the case, with the Furies the prosecution and Apollo defending Orestes. Athena casts her own vote in Orestes' favour, and the result is a tie: Orestes goes free. The Furies threaten to destroy the land but Athena placates them instead into protecting it, and decrees that henceforth a trial by jury shall always be used to decide such cases. That's the general overview of this trilogy of Greek tragedies, though there is a lot more going on in the details. I did struggle a bit, reading these short plays, because it's so hard for me to concentrate these days. I found my mind wandering continuously, thoughts intruding, and even when I made the effort to focus I often had to re-read passages several times and then admit defeat. The notes do help, but the fact remains that I had trouble with the structure of many lines, that like obscure poetry they alluded me. Full of metaphor and requiring a great deal of knowledge to get the mythic and historical references, a lot of "Agamemnon" in particular was hard to follow, in particular the Chorus' chants, like when they tell the story of the family curse (I only know that's what it's about from reading the intro and some notes. Other names are often used - like Ilion, for Troy, or Pallas, for Athena - and like an optical illusion the lines seem to double in on themselves so you don't know what the hell is really being said, or so it seems to me, like it's a language I don't know. It gives me a headache. Yet, on that note, it also made me wonder (an intruding thought among many), how these plays would have been heard by ordinary people, just as Shakespeare's plays were heard by the poor and uneducated as much as the rich - regardless, they all understood them, didn't they? I mean, the style of speech was understandable in all its convolutions and beseechings. We struggle to follow all the lines in Shakespeare today - it just makes me really recognise how much verbal language has changed, verbal English (I know Greek isn't English, but the translation honours the original). But I digress. I'm not entirely sure what to make of this story. We've all heard the story of Troy even if you haven't read The Illiad, and you've probably heard of Agamemnon and Cassandra too. Aeschylus wasn't the only playwright to create plays based on this myth of Agamemnon's murder - Euripides, for example, who came just after Aeschylus died, wrote one too. I've studied some ancient Greek plays, years ago, but I don't really have a background in it. To me, as a modern-day reader and an emancipated woman, I can't help but find them almost misogynistic in tone, even though scholars have apparently seen Clytemnestra as an early feminist figure for taking over the male role of ruler - the translator, Christopher Collard, Emeritus Professor of Classics at the University of Wales, says in his introduction that "it seems unnecessary to think of her as more than a playwright's imaginative construction for the sake of his drama." (p.xxvii) But there are far stronger anti-women sentiments voiced in these plays, especially the third one. (I want to bring it up not because I'm offended or anything, but because it's an interesting theme, to me at least, and because I vaguely remember when I studied Greek plays in university that strong, powerful, mad women are a common theme - but more than that, I can't remember!) In "Agamemnon", the king himself speaks of the gods' undivided and just support for the destruction of Tory, saying "it was for a woman that Troy was ground into dust..." (p.23) Apollo has the worst denouncement, though, when he says during the trial in "Eumenides": The so-called mother is no parent of a child, but nurturer of a newly seeded embryo; the parent is the one who mounts her, while she conserves the child like a stranger for a stranger, for those fathers not thwarted by god. [p.103] And Athena makes her judgement thus: It is my business in this case to give my judgement last; and I shall cast this vote of mine for Orestes. [...] I do so because there is no mother who gave me birth, and I approve the masculine in everything - except for union with it - with all my heart; and I am very much my father's: so I will set a higher value on the death of a woman who killed her husband, a house's guardian. [p.105] (Athena, a rational goddess, is the daughter of Zeus, born of his head.) So combined with Agamemnon's sacrifice of his daughter, his other daughter Electra's idolatry of her father, Clytemnestra's usurping of a man's role and adultery, the gods' promotion of the masculine over the feminine is rather like having the last word. Bit hard to gainsay a god. I bring up the theme of women in these plays because I feel it is relevant in questioning, what is Clytemnestra's greatest crime here? Why does Orestes feel the need to kill her rather than bring her to justice? Certain lines jump out at me that make it apparent that her greatest crime was taking on a man's role, and therefore depriving Orestes of his inheritance. In "Libation Bearers", Orestes says of his decision to kill his mother, "Many desires are falling together into one; there are the gods' commands, and my great grief for my father; besides, it oppresses me to be deprived of my property, so that our citizens, who have the finest glory among men, and honour for their heart in sacking Troy, should not be subjects like this of a pair of women. [p.59] (By "pair of women" he refers here to his mother's lover Aegisthus, who he calls "effeminate at heart".) I wonder whether she would have been so abominable in mens' eyes if she had not sought to rule, which she was doing in her husband's absence anyway. It is so easy in mythology to lay all blame and evil and everything that goes wrong, at the feet of women. What scapegoats we make! Though to be fair, if Athena had not cast her own vote, Orestes would have been found guilty, for her vote made it a tie in which case she decreed he would be pardoned. The majority of jurors voted against him. Which brings me to the big idea of the trilogy of plays, though: justice itself. Here we have the myth of how the first court of law, the first trial, began and was institutionalised in Athens, making it the most sophisticated and modern city-state in Greece. With the Furies trying to avenge Clytemnestra's murder and losing, they bemoan the change: "You younger gods! The ancient laws - you have ridden them down! You have taken them out of my hands for yourselves!" [p.106] The tied verdict, though, helps Athena, the patron of Athens, placate the Furies by saying they have not been dishonoured, and the goddess moves quickly to give the Furies a new role, that of protecting Athens rather than bringing destruction upon it for losing the trial. In doing so, she posits the city as the pinnacle of all things, blessed by the gods and made fortunate by the Furies who she gives the role of "keeping both land and cit on the straight way of justice." (p.111) In telling the story of Agamemnon and Clytemnestra's downfall, this trilogy of plays gives us the mythologised story of how Athens became great - to an Athenian audience, so it's very much a self-aggrandising story. There's lots more going on here; I've barely scratched the surface. I don't feel I can give it a rating, so I've given it a 3 because it's so middle-of-the-road. In terms of the general plot, it brought to mind "Hamlet" and also "Macbeth" - it's true that everything borrows from everything else, and stripped down, I'm sure there are probably only about three real plots or something (or was it seven? I think there's a book on this already!). It's tricky to read because all the action happens off the page; or rather, it happens in speech, making it fairly bogged-down with details, but this was also an interesting aspect of the plays. It was hard to read Cassandra and Clytemnestra's dialogue when they are both aware they are walking to their deaths - there's real emotion in those lines. The chants of the chorus are the hardest to read, being like poetry rather than prose and requiring significant background knowledge to understand. A note on this edition: This is a new 2002 translation by Christopher Collard for Oxford World's Classics, and it's more of an academic translation than a popular, readable one. There is a long introduction and essay by Collard on the characters, the theatre production of the plays, dramatic form and so on, as well as extensive notes in the back. It comes with a summary of the three plays - which it's a great idea to read first or it's hard to follow what's going on - as well as a chronology of Agamemnon's family and a map that shows Greece and Turkey, which I really appreciated. All in all, it's a very thorough translation, noting when lines and words are missing from the original manuscripts, and probably your best choice if you're studying the plays. ...more |
Notes are private!
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1
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not set
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Oct 26, 2011
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Oct 11, 2011
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Paperback
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0143106295
| 9780143106296
| 0143106295
| 3.86
| 132,207
| -19
| Dec 28, 2010
|
liked it
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This was one of the three main texts for Ancient Civs in first year uni (1998), but I didn't actually finish any of them (the other two were The Odyss
This was one of the three main texts for Ancient Civs in first year uni (1998), but I didn't actually finish any of them (the other two were The Odyssey and The Iliad, of course). This one I got farther with, but at uni you really have to juggle your extensive reading lists and with so many books to cover for English, History, Philosophy and Ancient Civs (that's my entire first year, right there), it was more prudent to stick with the short plays of Euripides, for instance, than these big epics. But I do remember enjoying what I read of this one, and dropping it in the bath. That, and Aeneas' love affair with Dido are the only things I remembered about this book. So I started reading this for the Classics book club pretty much from scratch. To give you some context, Virgil was Italy, or Rome's, Homer, and The Aeneid is basically, on one level anyway, his version of Homer's Iliad. But in fact this story is much more than that, and since I haven't read The Iliad I can't compare them (but if you have, it would give you an interesting context for reading this one). Here is a basic summary, which gives you most of the salient points of the story (personally I find spoilers don't apply to texts as old as this, but if you do you can skip the summary). It begins after the Battle of Troy, with the survivors of that doomed and destroyed city are in their ships, looking for a new home. But nothing happens without the gods meddling, and Juno seeks to prevent the Trojans from establishing a new Troy, as she has foreseen that it would eclipse her own favourite city, Cathage (in Tunisia), which she intended to one day rule the world. And so she sets the weather against the Trojans, aiming to destroy them for good, but Neptune intervenes and brings them safely to - wait for it - Carthage. Here reigns Queen Dido (the Greek name for Queen Elissa, the founder of Carthage), and thanks to Aeneas's immortal mother, Venus, Cupid makes her fall in love with Aeneas, the captain and leader of the surviving Trojans (I never really understood why). Aeneas tells Dido the story of the fall of Troy from the Trojan perspective, and what their plans are - but after he and Dido get busy in a cave one day, he seems to abandon the goal of establishing a new Troy. Enter Jove - or Jupiter or Zeus, king of the gods and both husband and brother to Juno - who sends a messenger to Aeneas to remind him of his mission, a god-ordained mission. Dido freaks out when Aeneas tells her he is leaving her, and both kills herself and destroys her city. Aeneas blithely sails on and eventually finds his way to Italy, where he arrives peacefully in Latium and is offered the king's daughter in marriage - but a rival for fair Lavinia, Turnus, incites war to oust the invaders, in which the gods - despite Jupiter's injunction to stop meddling - continue to play a hand in. There's a lot going on in this deceptively straight-forward epic, but I feel a bit Vergil'd out and lacking the motivation to really go into it all. Also, it's been about three weeks since I finished it. Let me start with a bit about this particular edition/translation. Robert Fagles is well known for his translations of the Greek and Roman epics, as a translator who makes these works accessible (readable) for modern audiences. At uni we were always told we had to read the Richard Latimore translations, as they're more "academic", but I was recently bitten by the "academic" translation of The Tale of Genji so I was determined to get Fagles this time, knowing I probably wouldn't be able to finish it in time for the book club meeting otherwise. And it certainly is readable. I think a comparison would be in order, though, because I want to say that there're some really beautiful lines in this book but I don't know if that's Vergil or Fagles, especially since in his Translator's Postscript Fagles talks about his own voice, and his work, which took me by surprise. He's not being completely presumptuous - in fact he sounds quite humbled by Virgil, as you read on - but there is as always this looming question of whether you're getting a true sense of the original. (I know, you'd have to read the original to get that, but what I mean is that every translator has their own style, and every translator makes decisions on how to translate a line, a word, a phrase, so that they become inseparable.) I didn't end up reading much of the Introduction. I usually like to read it before the actual text, for these kinds of books, because they can help you understand what you're reading. But in this case I didn't find the Intro to be terribly useful. It does provide some good historical context, though. More useful is the map, which shows Aeneas' voyage and all the places he made landfall, and the extensive glossary at the back - particularly as several characters have more than one name. Going back to the language, it really is quite lovely at times. On they went, those dim travelers under the lonely night, While I never really did get comfortable with the cadence of the lines - the punctuation and broken-up sentences - I still found it very poetic and quite lovely. Yet, you'd be surprised at the violence in the novel, the blood and gore and brutality. Well, I was surprised, not so much that there was violence as the stark quality to it, the lack of mercy - the big war that takes up the second half of the story sees many farmers pitted against soldiers, and when anyone surrenders they're brutally killed. But while he begged the sword goes plunging clean through Euryalus' ribs, (Euryalus was a Trojan and in love with another soldier, Nisus - they are both killed when they go out on a secret mission at night against the entrenched enemy.) There is a great deal of gruesome killing on both sides, and I usually had no idea which army the characters were from. But Halaesus hot for combat Virgil was clearly fond of metaphors and similes, and often goes into poetic tangents where he describes things in terms of animals or flowers - like the poppy metaphor above. Alongside the mythology that runs throughout the story (the gods, the seers, the cyclops', the trip down to hell), the consistent references and anchoring of characters and events to the natural world presents a culture that is so different from our own, and yet, in many ways, the foundation of our culture. I couldn't help but admire their close connection with so many earthly and otherworldly elements. I did have a moment of clarity while reading this, that I hadn't had at any other time of reading or studying ancient Greece or Rome. For the Greeks and Romans, with their many gods who live out a soap opera-like life, many heroes - historical or otherwise - were born of the gods. Aeneas' mother is Venus, or Aphrodite. Lots of characters have an immortal parent, and some - like Turnus' sister - were changed into immortals (often after being seduced by a god). In the context of this melding between the gods and mortals, it really isn't odd to think that a group of men sat at conference, deciding Jesus' level of immortality: he joins Odysseus and Hercules and many, many more. (Yes it's different, but I'm referring to the context - you would never get people today, outside of the Vatican, having a meeting to decide that your neighbour, say, was practically a god. We're in a different mental headspace.) What I mean to say is, that it was quite easy and not at all unusual to take extraordinary people and decide, posthumously, that they were the offspring of gods. I'm sure someone somewhere's done a study or two on that. The other thing I always notice when I read ancient texts like these, or the bible, is how they're essentially Fantasy fiction. Or let me turn that around: our love of these kinds of stories, of magic and gods and foretelling, one-eyed giants, magic, witches etc, of heroic quests and tragic love stories, has never died. I would say even that Fantasy is the oldest genre - it's the modern version of mythology, after all. When you read a novel by Tolkien, Shinn, Holdstock, Sanderson et al, they're not writing stories that were invented relatively recently. So going back to writers like Homer and Virgil isn't far out of our comfort zone, and it's one reason why they continue to be read and loved today. The story surprised me in several ways, and wasn't entirely predictable: I didn't anticipate that about half the story would be a war, for instance. But it is truly fascinating, even if all the names start to run together and I sometimes struggled to tell Anchises, Ascanius and Acestes apart (their names are too similar for me!). As I mentioned, I haven't read the Iliad, but apparently they have similar plot points, though many scholars and other readers consider Virgil's version to be better than Homer's. They are different stories written for different purposes. The Aeneid was written as a history of Italy and to show how the Roman Emperors were direct descendants of Aeneas, who was descended of the gods and Troy. Since the emperors were claimed to be the sons of gods (or they claimed to be), this was an important piece of propaganda. I was talking to a friend who also studied ancient civilisations at uni, and she mentioned that many academics debate whether Virgil was 100% patriotic, or if he had subliminal messages in the Aeneid. Whether he was a simple brown-nose or was not entirely approving of the Roman emperors. It's fun to keep that in mind while reading it, because you can read into it quite a bit. Virgil never finished his epic to his satisfaction (which would also explain the oddly abrupt ending) and wanted it destroyed when he died, but the Emperor Augustus refused. Clearly he found it to be favourable propaganda. I found it to be an interesting story, sometimes gripping, sometimes infuriating, sometimes a bit slow, but as with most classics, the more education you have about a certain period, the more you'll get out of it. Mine is pretty hazy now and two years isn't great, but it gave me a bit of a leg-up. Still, there's clearly a lot going on here that I don't have the background to fully understand. Regardless, it's worth reading. ...more |
Notes are private!
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1
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not set
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Mar 27, 2012
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Sep 26, 2011
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Paperback
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0141321040
| 9780141321042
| B00QD9QRU4
| 3.85
| 204,410
| Nov 25, 1864
| Jan 01, 1965
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it was ok
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There are apparently two editions for this book: one published with children in mind, and one with adults in mind. This is a children's edition, which
There are apparently two editions for this book: one published with children in mind, and one with adults in mind. This is a children's edition, which means that there aren't any notes and the chapters are titled instead of numbered, with very obvious titles like "We Reach Iceland" and "Inside the Crater". You could read the list of chapters and get the whole story, really. It's also kept the original names of the characters - the narrator is Axel, not what was it, Henry? (Both are German names, but I guess Henry sounds more English!) This isn't an abridged edition, but there is an additional scene in the non-children's edition that I hear isn't authentic to Verne. Honestly, I was just happy to have this end. In her introduction, Diana Wynne-Jones talks of reading and loving this book at the age of 10. As I was reading it, I kept thinking, ten? TEN?!? On the one hand, the loopy science and fantastical inner world would certainly appeal to children, though if I had read it at the age of ten I certainly would have questioned the science just as much as now; on the other hand, the descriptions are so hard to follow (because the writing is poor) and the story so often dull and slow, that I don't know that I would have ever finished it. A great portion of the story is concerned with discovering the secret map in code, assembling a ridiculous list of supplies (that makes no logical sense, in terms of food and water - sorry, rum), getting to Iceland, and then traversing rock corridors within the volcano. And they never do reach the centre of the earth. Where they arrive at is a vast inner world, with its own sky and sea and cliffs and giant humans, giant sea monsters and weird colourless plants. And then suddenly they're on the surface again. There's not much too it, and while Axel provides the foil to his eccentric scientist uncle, Professor Lidenbrock, he's one very annoying young man. The constant complaining (although he's often right - he says what we're thinking, much of the time) and whinging make him sound like a petulant little boy, and not much fun to be around either. I didn't like the Professor much at all either - he's completely lacking in charisma and can't listen to others. The real hero of the story is Hans, their Icelandic guide, who saves them time and time again, and without whom they would have perished before even making it inside the volcano. But don't worry, he got his pay! Dear me. Overall, not one I'd recommend, though I hear Verne's other two famous books are better written. ...more |
Notes are private!
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1
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not set
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Nov 24, 2010
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Oct 25, 2010
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Unknown Binding
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1402768354
| 9781402768354
| 1402768354
| 4.00
| 393,229
| 1865
| Nov 03, 2009
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really liked it
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This was my first time reading Alice and I couldn't help thinking, as I was reading it, why it took me so long. That is, I know why I never read it be
This was my first time reading Alice and I couldn't help thinking, as I was reading it, why it took me so long. That is, I know why I never read it before - it just didn't interest me - but I wish I had, I wish I'd read it as a kid. Any kid who loves Labyrinth or The Dark Crystal, as I did (the latter, especially, was deeply formative for me), would enjoy this story. Even as an adult, I had a lot of fun reading this. If, like me, you're only familiar with the story through movie adaptations, I'll offer a bit of a synopsis because in my meagre experience, the movies begin the same as the book, and then go wildly off in another direction entirely. Or something. To be honest, one of the reasons I never read this before was partly due to the fact that I never watched a movie all the way through until recently. Various adaptations have come my way, including a surreal but visually stunning German (I think it was German, can't quite remember now) adaptation that was playing on SBS once, but I never watched them to the end. So the beginning is very vivid for me, and a little boring because of all the repetition, but once Alice makes it through the door my memory of the story scatters. I have memories of dreaming about the caterpillar when I was little, but I don't know if that's from seeing a cartoon movie of it, or doing a jigsaw puzzle. Or both. Then there's the recent Tim Burton adaptation, which I did go and see, and I have to say that apart from a similar-ish beginning, it's completely different. Which is fine. I haven't read Through the Looking Glass, but I'm wondering if Burton amalgamated the two stories, or if he went with a completely different second half in order to make a movie out of it. Because one thing becomes abundantly clear: this isn't a story as you or I are used to. This is a dream, a collection of bizarre little episodes that don't make a whole lot of sense and don't add up to all that much, and yet convey a great sense of suspense, adventure, wonderment and imagination. [image] Oh right, the synopsis: Alice, so the story goes, is sitting with her sister by the riverbank one day. Her sister is reading a book without pictures ("and where's the fun in that?" she thinks) and Alice is bored, until she sees a white rabbit go by, dressed in a natty waistcoat, staring at his fob watch and muttering to himself. He disappears down a rabbit hole and Alice follows. She finds herself in strange situation after strange situation, talking to mice and caterpillars and people made out of playing cards playing croquet. Small, simple motivations keep Alice going - above all, she wants to reach the pretty garden she saw through the little door. Along the way she encounters all manner of peculiar creatures who make no sense at all, and with whom Alice often argues the point with, and suffers little setbacks what with growing too big and then too small and then too big again. Once I'd accepted that this has really very little in common with the story the movies went with, I relaxed and let it take me where it willed, which was a delightful adventure full of unexpected surprises. Which makes me glad the movies vary as they do, in order to tell a more coherent, cinematic story - it enables us to revisit the book free of theatrical baggage. (I actually like it when movies deviate from the books, if they tell a compelling story and reinvent the characters - I don't want to watch a film that's just the book in moving pictures!) [image] I love all the characters in the story, each of them silly and yet strangely tragic. Alice barely scrapes the surface of this world, and leaves you hungering for more. What a perfect way to engage a child's imagination! Not just with the images - and Carroll always meant the story to be illustrated: he did the original pictures himself, with the handwritten first edition he wrote for ten year old Alice Liddell - but also with words: songs and rhymes and fanciful stories and clever puns. I recognised several now-famous quotes in this book. It was like reading Hamlet: going back to the "original" and realising how much we've borrowed, or rather absorbed, without even realising it half the time. Alice is a funny thing - not terribly likeable, being precocious and argumentative, and yet somehow endearing all the same. I found she fit right in, though in her clumsy way she causes so many of the problems that she finds so exasperating! But can you imagine having such a story written about you, for you, as a child? While there are some slower sections, it's a zippy book to read, beautifully paced overall and, considering Carroll initially told it to the real Alice in little stories to keep her occupied, it comes together remarkably well. [image] This is a sumptuous edition, and really, when it comes to Alice's Adventures in Wonderland, I recommend finding the best edition you can - it's worth it. Robert Ingpen, an Australian illustrator (graduate of RMIT!!) has gone back to the original illustrations of John Tenniel, who teamed up with Carroll when he went to publish it, for inspiration. His drawings aren't modern versions of the old ones, but in terms of how characters are depicted, he's stuck with Tenniel and Carroll's original vision. And they are superb, truly gorgeous, a wonder all in themselves. The book itself, a lush hardcover, is well worth the money: with thick pages and a ribbon to mark your place, it also has a reproduction of front pages of Carroll's original at the back as well as short essays about the history of the book and of Ingpen's contribution. This edition is original and unabridged. ...more |
Notes are private!
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1
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not set
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Aug 24, 2010
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Jul 30, 2010
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Hardcover
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my rating |
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4.08
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it was amazing
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Jun 08, 2023
not set
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May 20, 2023
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Lee, Bri
*
| 4.36
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really liked it
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Jul 20, 2022
not set
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May 12, 2022
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4.47
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it was amazing
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Sep 20, 2020
not set
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Aug 22, 2020
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3.89
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liked it
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Apr 15, 2020
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Apr 18, 2020
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3.91
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not set
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Apr 01, 2020
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3.86
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really liked it
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Jun 12, 2020
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Feb 26, 2020
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4.21
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really liked it
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Nov 03, 2019
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Oct 07, 2019
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4.16
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really liked it
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Oct 07, 2018
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Aug 25, 2018
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4.08
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liked it
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Dec 13, 2020
not set
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Apr 15, 2018
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4.24
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really liked it
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Mar 25, 2021
not set
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Nov 24, 2014
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4.38
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really liked it
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Sep 24, 2022
not set
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Jul 17, 2014
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3.89
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liked it
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Jul 11, 2013
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Jul 02, 2013
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3.62
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really liked it
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Feb 2013
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Dec 12, 2012
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3.81
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it was ok
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Mar 06, 2013
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Nov 01, 2012
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3.96
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not set
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Dec 15, 2011
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3.72
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not set
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Nov 16, 2011
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4.01
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liked it
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Oct 26, 2011
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Oct 11, 2011
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3.86
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liked it
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Mar 27, 2012
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Sep 26, 2011
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3.85
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it was ok
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Nov 24, 2010
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Oct 25, 2010
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4.00
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really liked it
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Aug 24, 2010
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Jul 30, 2010
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