Not a whole lot went down in terms of reading this month. Will Grayson, Will Grayson was great. The Arabian Nightmare was excellent, and Inkspell is as good as it's predecessor only I picked up the book at a time in which I don't have any reading energy or drive. Yeah, it's really long, but I'm not focus on books right now for whatever reason.
That said, my only goal for May is to finish the last third of Inkspell. If I feel the urge to pick something else up I'll do so, but don't hold your breath. I'm going to take a moment and re-charge the reading battery. If anything, I see myself re-reading a few books from past years that I would both enjoy and feel would reward the experience.
I've also added a lot of poetry books to look into thanks to The Parrish Lantern. Speaking of poetry; in addition to being high and might and all kinds of esoteric for the burgeoning neophyte of only weary interest it's not only difficult to get into, but pricey as well. It doesn't circulate as much as other products so libraries don't buy as much. The niche poetry publishers are uber-niche and many don't offer discounts to larger retailers. It's hard to lay your eyes on enough of the stuff that might be of interest to you to even develop what your interest may be. Not complaining, merely making notes.
I can't blame it on spring fever as it's been a mighty fine winter we've had this spring, I'm not even sure I know what I'm doing with my time, but it hasn't fallen to reading.
Saturday, May 4, 2013
Tuesday, April 9, 2013
The Arabian Nightmare by Robert Irwin
"Balian tried to see the friar's face properly before he spoke again but, having failed: 'I dream of entering a city that looks like Cairo, yet is utterly false. I dream of leaving it or trying to, but I am impeded by two agents of Satan called the Father of Cats and Michael Vane. I dream I am awake and I am not and I dream of a temptress, a woman called Zuleyka, who seduces me from chastity, and when I awake from these dreams my face courses with blood.' "Page 165-166
I wish I could remember what originally brought this book to my attention. I read about books that sound interesting, put them on my TBR list and then proceed to forget about them; often times until years later. I like doing this. Usually by the time I get around to reading something on my list I've completely forgotten what it is about and carry no expectation or preconceived ideas into reading the book. Almost always when I start a book I've no idea as to what made it originally catch my eye. All that said, The Arabian Nightmare is a particularly rare book in which immediately before reading I could have read multiple reviews or even detailed plot analysis and still not know what it was about.
What is concretely known as an absolute truth is extremely sparse in this near three-hundred page novel. We know the story happens in late fifteenth century Cairo; that Balian is an Englishman hired by the French king to spy on military forces abroad while presenting himself as a pilgrim. We know that almost immediately upon his arrival in Cairo Balian begins to suffer from an unknown malady. The Arabian Nightmare is a sleep disorder in which the afflicted can't be certain they have the condition. Their sleep is tormented, they can't tell the difference between dreams and reality, and in Balian's case he wakes covered in his own blood.
In the beginning, while Balian is still somewhat lucid, we see him come in contact with two sets of people, both of who profess a want to help him; each of which has ulterior motives; neither of which is immediately understood. The Father of Cats, Master of the House of Sleep and physician to the many 'patients' there and his assistant Micheal Vane claim to want to help Balian. Balian's instinct, training in intrigue, and most of all his dreams warn him against The Father of Cats and Vane, but he inadvertently finds solace in their associates, particularly a prostitute Zuleyka in whose arms Balian finds some manner of comfort. As he soon finds his stated intentions of being in Cairo overwhelming as his condition ever declines he seeks a visa to finish his pilgrimage to Sinai and the monastery of St Catherine, and eventually to get out of Cairo all together to save his sanity.
There is a second party that also has a great interest in Balian seemingly solely due to his affliction: Dirty Yoll, the storyteller and eventual scribe of The Thousand and One Nights, and Jean Cornu, Master of the Order of Saint Lazarus, leprous crusader knights who are rumored to be inured to pain. (Awesome.) Both parties claim to want to help Balian but their motives and intentions are made anything but clear.
We see Cairo and Irwin's characters not through Balian's eyes but much as he sees the world around him in his present physical state. Irwin's prose clearly--powerfully even-- conveys his story while maintaining a nebulous, never concrete, dreamlike cloud of obscurity. Cairo is vividly seen: it's multi-cultured inhabitants, unique sights and eccentricities (Laughing Dervishes, talking apes), its magic, the romance surrounding it that would allure any Westerner at the fifteenth century, and always a blatant sensuality, all while having our perception slightly obscured or distorted; never fully believing what is presented. With such minimal description it's amazing how much of the setting is actually seen: while not in first person everything is shown as if being described by one suffering from the Arabian Nightmare.
Hardly to be distinguished from the djinn were the moods {of Cairo}, most often turbulent and melancholy, which swept over the town as rapidly and unaccountable as a thunderstorm. Dust devils too were dangerous, seeking, as they flicked about his ankles, to draw the unwary traveller off into unfamiliar paths. It was for this reason that all rejoiced when the rains came, for the rains held the spirits down and the spiders, daughters of the rain, came out and the air, purified of old passions, smelt new again. Page 113
Balian's health declines rapidly. He is not sleeping. He has lost an obscene about of blood. He is physically weak and it would seem the entire city is chasing him. His mental facilities are leaving him. "The voices of people that he heard in the street it did not seem to him that he heard in the street at all but in his head." The more abstract of an illness The Arabian Nightmare seems to become, the more concretely I started to think the narrative followed an undiagnosed schizophrenic with a severe ailment that led to hemorrhaging.
The narrative gets more tangible closer to the end and events become static, almost tangential, as Yoll dictates stories across four chapters that may or may not be allegorical, philosophically related to the text, or perhaps merely pure fantastical diversion.
.
As we come to understand two artifacts of the dream world, both of which Balian has encountered, all is made clear as to Balian's importance in the eyes of so many and the even the Arabian Nightmare is somewhat understood. My favorite interpretation of the story's events was a none too subtle reference pointing toward Dr. Frankenstein's creation escaping his control and exceeding the expectations of his wildest dreams.
I could read it again or five more times and still perhaps not be able to tell you what it's about. It's not the largest cast of characters you'll encounter but all are of great importance. There came a point (rather early on) when I thought I should start taking notes and the book became a bit intimidating. There is some work involved reading The Arabian Nightmare. It's dark, and scary in places, but it never gets uncomfortable. It's whimsical and pure fantasy at times, and it's in those portions where the story is most substantial. It's not always easy; following Balian around and seeing things through his eyes with his illness can disorientate and astound even the most stalwart reader. The Arabian Nightmare is consistently entertaining and continually thrust the reader in the understanding and discovery process.
So what did I learn? What did I understand or discover? I haven't the slightest clue; perhaps, even, nothing, but as Balian learned what we think we are chasing and trying to understand isn't always the point of the process.
I wish I could remember what originally brought this book to my attention. I read about books that sound interesting, put them on my TBR list and then proceed to forget about them; often times until years later. I like doing this. Usually by the time I get around to reading something on my list I've completely forgotten what it is about and carry no expectation or preconceived ideas into reading the book. Almost always when I start a book I've no idea as to what made it originally catch my eye. All that said, The Arabian Nightmare is a particularly rare book in which immediately before reading I could have read multiple reviews or even detailed plot analysis and still not know what it was about.
What is concretely known as an absolute truth is extremely sparse in this near three-hundred page novel. We know the story happens in late fifteenth century Cairo; that Balian is an Englishman hired by the French king to spy on military forces abroad while presenting himself as a pilgrim. We know that almost immediately upon his arrival in Cairo Balian begins to suffer from an unknown malady. The Arabian Nightmare is a sleep disorder in which the afflicted can't be certain they have the condition. Their sleep is tormented, they can't tell the difference between dreams and reality, and in Balian's case he wakes covered in his own blood.
In the beginning, while Balian is still somewhat lucid, we see him come in contact with two sets of people, both of who profess a want to help him; each of which has ulterior motives; neither of which is immediately understood. The Father of Cats, Master of the House of Sleep and physician to the many 'patients' there and his assistant Micheal Vane claim to want to help Balian. Balian's instinct, training in intrigue, and most of all his dreams warn him against The Father of Cats and Vane, but he inadvertently finds solace in their associates, particularly a prostitute Zuleyka in whose arms Balian finds some manner of comfort. As he soon finds his stated intentions of being in Cairo overwhelming as his condition ever declines he seeks a visa to finish his pilgrimage to Sinai and the monastery of St Catherine, and eventually to get out of Cairo all together to save his sanity.
There is a second party that also has a great interest in Balian seemingly solely due to his affliction: Dirty Yoll, the storyteller and eventual scribe of The Thousand and One Nights, and Jean Cornu, Master of the Order of Saint Lazarus, leprous crusader knights who are rumored to be inured to pain. (Awesome.) Both parties claim to want to help Balian but their motives and intentions are made anything but clear.
We see Cairo and Irwin's characters not through Balian's eyes but much as he sees the world around him in his present physical state. Irwin's prose clearly--powerfully even-- conveys his story while maintaining a nebulous, never concrete, dreamlike cloud of obscurity. Cairo is vividly seen: it's multi-cultured inhabitants, unique sights and eccentricities (Laughing Dervishes, talking apes), its magic, the romance surrounding it that would allure any Westerner at the fifteenth century, and always a blatant sensuality, all while having our perception slightly obscured or distorted; never fully believing what is presented. With such minimal description it's amazing how much of the setting is actually seen: while not in first person everything is shown as if being described by one suffering from the Arabian Nightmare.
Hardly to be distinguished from the djinn were the moods {of Cairo}, most often turbulent and melancholy, which swept over the town as rapidly and unaccountable as a thunderstorm. Dust devils too were dangerous, seeking, as they flicked about his ankles, to draw the unwary traveller off into unfamiliar paths. It was for this reason that all rejoiced when the rains came, for the rains held the spirits down and the spiders, daughters of the rain, came out and the air, purified of old passions, smelt new again. Page 113
Balian's health declines rapidly. He is not sleeping. He has lost an obscene about of blood. He is physically weak and it would seem the entire city is chasing him. His mental facilities are leaving him. "The voices of people that he heard in the street it did not seem to him that he heard in the street at all but in his head." The more abstract of an illness The Arabian Nightmare seems to become, the more concretely I started to think the narrative followed an undiagnosed schizophrenic with a severe ailment that led to hemorrhaging.
The narrative gets more tangible closer to the end and events become static, almost tangential, as Yoll dictates stories across four chapters that may or may not be allegorical, philosophically related to the text, or perhaps merely pure fantastical diversion.
.
As we come to understand two artifacts of the dream world, both of which Balian has encountered, all is made clear as to Balian's importance in the eyes of so many and the even the Arabian Nightmare is somewhat understood. My favorite interpretation of the story's events was a none too subtle reference pointing toward Dr. Frankenstein's creation escaping his control and exceeding the expectations of his wildest dreams.
I could read it again or five more times and still perhaps not be able to tell you what it's about. It's not the largest cast of characters you'll encounter but all are of great importance. There came a point (rather early on) when I thought I should start taking notes and the book became a bit intimidating. There is some work involved reading The Arabian Nightmare. It's dark, and scary in places, but it never gets uncomfortable. It's whimsical and pure fantasy at times, and it's in those portions where the story is most substantial. It's not always easy; following Balian around and seeing things through his eyes with his illness can disorientate and astound even the most stalwart reader. The Arabian Nightmare is consistently entertaining and continually thrust the reader in the understanding and discovery process.
So what did I learn? What did I understand or discover? I haven't the slightest clue; perhaps, even, nothing, but as Balian learned what we think we are chasing and trying to understand isn't always the point of the process.
Tuesday, April 2, 2013
Will Grayson, Will Grayson by John Green and David Levithan
It's easy to talk about a book and start with, 'This book is hard to talk about.' The reasons stated can range from plot sensitivity to the book not making a strong enough connection with the reviewer to share anything of merit. Will Grayson, Will Grayson is difficult talk about for a very unique reason: it follows two narratives, one written by each author, each dealing with a different main character named 'Will Grayson.'
From a distance--before I actually read the book--I had many thoughts as to what the story was about and how this mechanic would work: alternate realities in which we see the same person live different lives under different circumstances; maybe how Will Grayson sees his life and how the rest of the world see Will Grayson living his life (which is close to what happens); or perhaps some psychological study. Upon reading the novel it is much more simple than my supposition: it deals with two guys, one in Evanston the other in run down, not so nice part of Naperville (which I'm pretty sure doesn't exist considering my past visits to Naperville), both named Will Grayson and the circumstances that lead their lives to coincide.
Halfway through the book, I think to myself, 'Well this is cute,' and it's not even that I wanted something more substantial, and while I was compelled to read (I'll say it consumed me, five hours over two day; done) I did finish it slightly wondering what it was about and if the story mechanic involving a grand coincidence of meeting someone with your name and having them play a role in your life was merely underwhelming or fell short of its potential.
The difficulty of two Will Grayson's is made easy to follow as the chapters alternate between their perspectives: one Will's story is told fluidly as you'd expect to find in a novel, the other Will (they each refer to the other in the book as 'The Other Will Grayson' or 'o.w.g.' somewhat surprisingly it's never confusing) doesn't believe in punctuation and the dialogue is presented in a slightly manic shorthand. For my purposes there will be Will Grayson, and will grayson, respectively.
Both Will's struggle with complications of being teenagers and who they will allow themselves to be. Will, has very specific rules of engagement with other people that he strictly adheres to; with his conflicting desire to be with a certain girl and polarizing love of the fact that he is not in a relationship. will, with his antidepressants, feeling of isolation and wholly repulsive feelings of lack of self worth and insecurity won't allow himself true friendship. (In a cast of infuriating characters, will grayson was particularly hard to like.)
The Wills unifying thread is the larger-than-life, unstoppable force of nature that is Tiny Copper: a division one, college football nose tackle who is not only physically massive but whose capacity for being gay may take the crown when it comes to fiction. (A crown Tiny would be ecstatic to win.) Will Grayson laments having Tiny as a friend, claiming he has no choice in the matter; that he is stuck with Tiny. will grayson is always furious with himself for pushing people away and never allows anyone to be as close a friend as Will Grayson and Tiny are, and will grayson does this for reasons that were never made fully convincing to me.
Tiny is loud and obnoxious and a bit of a bully (meant in the best of positive, friendliest of ways). The story is supposed to be about both Wills learning that they need other people in their lives and yet the book is undoubtedly about Tiny. Which, of course, makes one question the title.
In my past reading experience with Green, he has proven very comfortable using a secondary character to narrate the story of someone else's life. (Quentin from Paper Towns told the story but Margo was certainly the main character, just as The Fault in Our Stars was Augustus' story as told by Hazel) This is my first experience reading Levithan but he displays his more intimate, brooding, slightly self-destructive will grayson with equal aplomb as Green's reluctant extrovert.
A cruel trick by a questionable friend bring the Wills together and it's Tiny who manages to enhances, and--on the scale of high school drama--ruin each of their lives. There's a rapid rise of maturity displayed by both Wills at the book's conclusion concerning forgiveness and acceptance that didn't ring true to me, especially considering their previous behavior. By the end, Will gets the girl (no surprise) and will confronts a lot of problems and internal turmoil. The novel lacked a climax for either character that felt like it would lead their characters to truly change or grow, and in a bad way the larger-than-life, flawed-but-awesome Tiny remains the same from start to finish.
I don't really know what Will Grayson, Will Grayson was about but it was incredibly fun: a word that concretely means nothing in today's vernacular and yet one that I can not ascribe to the vast majority of what is possibly 'better than this' fiction out there. There's tension, conflict, forward motion, even resolution all despite the story being relatively weak. I doubt this is either author's best work but it's easy to get caught up in the specifics of the story, speculate about characters, and even if the conclusion doesn't resonate as strongly as it could have, don't be surprise if you don't notice due to the fact that you'll be having such a good time reading.
From a distance--before I actually read the book--I had many thoughts as to what the story was about and how this mechanic would work: alternate realities in which we see the same person live different lives under different circumstances; maybe how Will Grayson sees his life and how the rest of the world see Will Grayson living his life (which is close to what happens); or perhaps some psychological study. Upon reading the novel it is much more simple than my supposition: it deals with two guys, one in Evanston the other in run down, not so nice part of Naperville (which I'm pretty sure doesn't exist considering my past visits to Naperville), both named Will Grayson and the circumstances that lead their lives to coincide.
Halfway through the book, I think to myself, 'Well this is cute,' and it's not even that I wanted something more substantial, and while I was compelled to read (I'll say it consumed me, five hours over two day; done) I did finish it slightly wondering what it was about and if the story mechanic involving a grand coincidence of meeting someone with your name and having them play a role in your life was merely underwhelming or fell short of its potential.
The difficulty of two Will Grayson's is made easy to follow as the chapters alternate between their perspectives: one Will's story is told fluidly as you'd expect to find in a novel, the other Will (they each refer to the other in the book as 'The Other Will Grayson' or 'o.w.g.' somewhat surprisingly it's never confusing) doesn't believe in punctuation and the dialogue is presented in a slightly manic shorthand. For my purposes there will be Will Grayson, and will grayson, respectively.
Both Will's struggle with complications of being teenagers and who they will allow themselves to be. Will, has very specific rules of engagement with other people that he strictly adheres to; with his conflicting desire to be with a certain girl and polarizing love of the fact that he is not in a relationship. will, with his antidepressants, feeling of isolation and wholly repulsive feelings of lack of self worth and insecurity won't allow himself true friendship. (In a cast of infuriating characters, will grayson was particularly hard to like.)
The Wills unifying thread is the larger-than-life, unstoppable force of nature that is Tiny Copper: a division one, college football nose tackle who is not only physically massive but whose capacity for being gay may take the crown when it comes to fiction. (A crown Tiny would be ecstatic to win.) Will Grayson laments having Tiny as a friend, claiming he has no choice in the matter; that he is stuck with Tiny. will grayson is always furious with himself for pushing people away and never allows anyone to be as close a friend as Will Grayson and Tiny are, and will grayson does this for reasons that were never made fully convincing to me.
Tiny is loud and obnoxious and a bit of a bully (meant in the best of positive, friendliest of ways). The story is supposed to be about both Wills learning that they need other people in their lives and yet the book is undoubtedly about Tiny. Which, of course, makes one question the title.
In my past reading experience with Green, he has proven very comfortable using a secondary character to narrate the story of someone else's life. (Quentin from Paper Towns told the story but Margo was certainly the main character, just as The Fault in Our Stars was Augustus' story as told by Hazel) This is my first experience reading Levithan but he displays his more intimate, brooding, slightly self-destructive will grayson with equal aplomb as Green's reluctant extrovert.
A cruel trick by a questionable friend bring the Wills together and it's Tiny who manages to enhances, and--on the scale of high school drama--ruin each of their lives. There's a rapid rise of maturity displayed by both Wills at the book's conclusion concerning forgiveness and acceptance that didn't ring true to me, especially considering their previous behavior. By the end, Will gets the girl (no surprise) and will confronts a lot of problems and internal turmoil. The novel lacked a climax for either character that felt like it would lead their characters to truly change or grow, and in a bad way the larger-than-life, flawed-but-awesome Tiny remains the same from start to finish.
I don't really know what Will Grayson, Will Grayson was about but it was incredibly fun: a word that concretely means nothing in today's vernacular and yet one that I can not ascribe to the vast majority of what is possibly 'better than this' fiction out there. There's tension, conflict, forward motion, even resolution all despite the story being relatively weak. I doubt this is either author's best work but it's easy to get caught up in the specifics of the story, speculate about characters, and even if the conclusion doesn't resonate as strongly as it could have, don't be surprise if you don't notice due to the fact that you'll be having such a good time reading.
Monday, April 1, 2013
A new to me author
David Levithan was recommended to me a few weeks ago by a co-worker. I had never heard his name before but looked into him and saw he wrote a book with John Green, who I am familiar with, and now I'm halfway through Will Grayson, Will Grayson. I'll have comments for that book shortly but when I first started googling Levithan and learning about him all I could find was the cover for his new book coming in August.
It's not a good cover and, "You heard it here first," Knopf will change it before publication. (Or at least I hope so.)
This is worst type-setting ever. The font; the color of the font; the absurd size of the font all need to go. The image trumps the title, so the letters don't need to be so large. (I'll forgo telling you how much the 'i's' dot above the lower portion of the 'y' makes me want to drown puppies.) It's as if they what this extreme close up picture for shock effect but try to cover it up as best they can with the font. If the title were printed in the smallest size possible we'd still know what this book was named... The picture conveys the point; as such, it could stand to be zoomed out a bit. While the font, and font size are awful there isn't any dead space to put the letters in a shot as close up as what Knopf is using.
The Fix Knopf should do:
Change the color of the font. Do it. Do it now! Change the font to anything else. Shrink the hell out of the font. Zoom out and put the letters not-on-peoples'-faces.
The Fix they wont do:
Don't alter the image at all and remove all the text. That picture is the title... "Two Boys Kissing by David Levithan" on the spine would be just fine.
That will never happen. I could maybe see a European publisher do it, more so than an American one, but I don't think any publisher would be okay with no text on the cover.
It's not a good cover and, "You heard it here first," Knopf will change it before publication. (Or at least I hope so.)
The Fix Knopf should do:
Change the color of the font. Do it. Do it now! Change the font to anything else. Shrink the hell out of the font. Zoom out and put the letters not-on-peoples'-faces.
The Fix they wont do:
Don't alter the image at all and remove all the text. That picture is the title... "Two Boys Kissing by David Levithan" on the spine would be just fine.
That will never happen. I could maybe see a European publisher do it, more so than an American one, but I don't think any publisher would be okay with no text on the cover.
The Month in Review
March turned out to be a prolific reading month. It would be awesome to make seven books a month my norm but I'm not making any promises. Everything I read was really good with only National Book Award winner Goblin Secrets by William Alexander failing to make any impression on me at all. I preferred fellow short list nominee Out of Reach by Carrie Arcos, but those are the only two from the young adult category that I read.
I'm hoping that Everybody has Everything by Katrina Onstad wins all kinds of awards upon it's US release.
Sweethearts, Code Name: Verity, and Permeable Borders were all surprises in one way or another. If any of those books sounds exciting I wouldn't hesitate to recommend anyone them. The Ersatz Elevator by Lemony Snicket rounded out my reading or the month (and I was upset that I didn't get to see more of the Quagmire triplets).
I did buy a lot of books this month. Most of which was stuff that I had already read, but enjoyed and wanted to own: Inkheart, and it's follow up Inkspell by Cornelia Funke; the previously mentioned Goblin Secrets; The Arabian Nightmare by Robert Irwin; Once Was Lost by Sara Zarr (who I'm seriously in love with); Hate List Jennifer Brown; The Magician King by Lev Grossman; and Everybody Has Everything by Onstad.
Expect The Arabian Nightmare and Inkspell to be discussed soon. Right after Will Grayson, Will Grayson by John Green and David Levithan. (Which is kinda really awesome.) I'm kinda bummed that my library doesn't yet have a listing for Clockwork Princess by Cassandra Clare especially since it came out the nineteenth. Actually I don't understand how this is... Oh Well...
I'm not planning on seven books for April. The rain has stopped. Baseball has begun and the Braves--as ever--are already working on my nerves. Spring and springishness is in full effect. I'll do what I can on the reading front but I see a lot of other activities vying for my time in the coming weeks.
Oh, and 'vying' might be might least favorite spelling of an irregular English language word ever.
I'm hoping that Everybody has Everything by Katrina Onstad wins all kinds of awards upon it's US release.
Sweethearts, Code Name: Verity, and Permeable Borders were all surprises in one way or another. If any of those books sounds exciting I wouldn't hesitate to recommend anyone them. The Ersatz Elevator by Lemony Snicket rounded out my reading or the month (and I was upset that I didn't get to see more of the Quagmire triplets).
I did buy a lot of books this month. Most of which was stuff that I had already read, but enjoyed and wanted to own: Inkheart, and it's follow up Inkspell by Cornelia Funke; the previously mentioned Goblin Secrets; The Arabian Nightmare by Robert Irwin; Once Was Lost by Sara Zarr (who I'm seriously in love with); Hate List Jennifer Brown; The Magician King by Lev Grossman; and Everybody Has Everything by Onstad.
Expect The Arabian Nightmare and Inkspell to be discussed soon. Right after Will Grayson, Will Grayson by John Green and David Levithan. (Which is kinda really awesome.) I'm kinda bummed that my library doesn't yet have a listing for Clockwork Princess by Cassandra Clare especially since it came out the nineteenth. Actually I don't understand how this is... Oh Well...
I'm not planning on seven books for April. The rain has stopped. Baseball has begun and the Braves--as ever--are already working on my nerves. Spring and springishness is in full effect. I'll do what I can on the reading front but I see a lot of other activities vying for my time in the coming weeks.
Oh, and 'vying' might be might least favorite spelling of an irregular English language word ever.
Thursday, March 28, 2013
Blurry Sex
This is an odd topic I've come across in a few books I've been reading this month. I don't feel that when reading a book I should have to wonder whether or not two characters just had sex, and yet recently I've found myself having to re-read passages more than once to clarify the question. Some things definitively happen in fiction: no one kinda dies, or kinda gave birth. Sex is much the same.
This kind of nebulous writing appeared in a brief passage in Sweethearts, and Everybody has Everything; both of which I loved. Both of those authors are extremely competent and capable of communicating extreme detail with minimal words should they choose to do so; and so I feel the vague 'Did they just get it on?' atmosphere they created in their respective books must have been intentional. Only I don't think there is any benefit to casting this cloud of obscurity.
In Sweethearts, I tried--and failed--to excuse the passage by telling myself it's YA fiction and sex isn't the focus. I couldn't let that pass as the hook-ups in that book were more than likely psychologically damaging and the act happened for wrong reasons. In the case of Everybody has Everything considering the concrete realities that the book was depicting from start to finish for the life of me I don't know why 'oral sex' couldn't be communicated in some more clear fashion.
Authors can be artistic and vague when talking about sex, they can blunt; but reader confusion is never a good thing; especially so since sex really ain't that subtle. I wish I had marked those passages so I could quote them here but this complaint brings to mind a grip from a review I did awhile ago for Breakable You.
" "They had spent the afternoon on the couch, though, come to think of it, he couldn't quite remember whether they'd actually, technically, made love. They'd done something, but he couldn't quite remember what." I don't even know what that means. Perhaps if we replace 'made love' with 'bad acid trip' I could make sense of this, but when people aren't drugged they definitively know whether or not they 'technically' made love or not. No matter how pleasant having sex is, it isn't that subtle. "
That's how I felt then, and concerning blurry sex that is still how I feel now. I don't need exacting detail or erotica. Hell, the page break in Gone with Wind is one of the more profound sex scenes in fiction that never actually happens on the page but it is communicated with zero confusion. If it is important to your story and character background, make that information clear.
As The Allman Brothers sing, 'Please don't keep me Wonderin.'
This kind of nebulous writing appeared in a brief passage in Sweethearts, and Everybody has Everything; both of which I loved. Both of those authors are extremely competent and capable of communicating extreme detail with minimal words should they choose to do so; and so I feel the vague 'Did they just get it on?' atmosphere they created in their respective books must have been intentional. Only I don't think there is any benefit to casting this cloud of obscurity.
In Sweethearts, I tried--and failed--to excuse the passage by telling myself it's YA fiction and sex isn't the focus. I couldn't let that pass as the hook-ups in that book were more than likely psychologically damaging and the act happened for wrong reasons. In the case of Everybody has Everything considering the concrete realities that the book was depicting from start to finish for the life of me I don't know why 'oral sex' couldn't be communicated in some more clear fashion.
Authors can be artistic and vague when talking about sex, they can blunt; but reader confusion is never a good thing; especially so since sex really ain't that subtle. I wish I had marked those passages so I could quote them here but this complaint brings to mind a grip from a review I did awhile ago for Breakable You.
" "They had spent the afternoon on the couch, though, come to think of it, he couldn't quite remember whether they'd actually, technically, made love. They'd done something, but he couldn't quite remember what." I don't even know what that means. Perhaps if we replace 'made love' with 'bad acid trip' I could make sense of this, but when people aren't drugged they definitively know whether or not they 'technically' made love or not. No matter how pleasant having sex is, it isn't that subtle. "
That's how I felt then, and concerning blurry sex that is still how I feel now. I don't need exacting detail or erotica. Hell, the page break in Gone with Wind is one of the more profound sex scenes in fiction that never actually happens on the page but it is communicated with zero confusion. If it is important to your story and character background, make that information clear.
As The Allman Brothers sing, 'Please don't keep me Wonderin.'
Tuesday, March 26, 2013
Everybody Has Everything by Katrina Onstad
"There was money to be released. There was a court date pending. There was suddenly a fleet of people in their home, in their bank accounts, her office. Ana had begun to feel like a criminal, as if she were trying to steal this boy who had, in fact, been given to her, shockingly, without her request, even her knowledge. Between a lunch and a dinner, Ana and James had become stewards of a human being." Page 65
Children represent so much in today's society. They can be a problem, even the downfall of a particular person should they have too many or not raise them to societal norms of how a child 'should' be brought up. They can be the pride and joy or point of bragging for others. Society judges people with children and those without: are the parents married, single, divorced, are they a good or ideal parent; and while these questions and thoughts are raised in people's minds, they are very rarely--if ever--discussed. Everybody has Everything deals with what it means to be a parent and ultimately what it means to not want to be one. It is the most contemporary and honest piece of fiction I've come across in a long time dealing with a universal issue that mostly flies under the radar.
I'm at the beginning of the juncture in life when people ask about my plans to get married, settle down, have children. (Much like the characters in the book I resist the near homicidal urges that these insensitive questions instill; only asked by those selfish and pretentious enough to assume that you're not happy as you are, or rather, as they are.) I'm thirty-two years old, (my two and half year old nephew told me a few weeks ago that I was 'probably the oldest person ever') single, and have no children and just like everyone else in the world, people judge me based on this criteria. It was remarkably easy to read Everyone Has Everything and relate to the characters: I see parts of myself in some, my friends, and real life people I know in others. So much so, that I mentally renamed characters in the book with people I know from my own life.
Ana and James are married, successful, working professionals who are unable to conceive a child. Their status as 'married without children' is the single defining point of their relationship. They each bring a unique background and preconceived ideas as to what it means to be a parent to their marriage. After miscarriages and confirmation of Ana's 'inhospitable' womb they each get comfortable to the idea of marriage and life without children. Ana chides her pride concerning her looks; knowing she doesn't merely look 'good for her age' but good in a further way: as she says, her body hasn't been ruined by having children. James is made to endures multiple, obnoxious, public displays of maternity where women with strollers travelling in hordes, talking louder than necessary, and pushing everyone who isn't a mom with a baby away while remaining wholly oblivious to the atmosphere of repulsion they create. These scenes seem to dominate parts of their world and serve as a constant reminder of their compulsive desire to defend their childless status. (A particular scene in a coffee shop was so real that I've shared it with friends; all of whom could commiserate with James' pain.) They both condemn the infuriating hypocrisy of fertile couples attitudes toward their capacity to both; have children and endlessly complain about them. (A privilege denied to Ana and James.) "It surprised Ana how often mothers played up their misery, as if she would find it comforting to pretend they would switch places with her."
Perhaps you can tell from my writing that I share many of Ana and James' points of view.
Ana recognizes she needs James as he is the embodiment of all the youth that was stolen from her own childhood. His refusal to grow up is the source of Ana's attachment and all that she finds contemptible. And then--quite out of nowhere--there is Finn. A two year old boy whose father died in a car crash that left his mother in a coma. Ana and James had forgotten that in case of the worst that they agreed to take guardianship of the boy.
While Finn, who is thrust in the middle of Ana and James' lives, is certainly the fulcrum of the story he is hardly the main character. In fact, figuring out who this book is about is a bit of a chore. Ana and James have built safe and comfortable lives for themselves; secure in the knowledge that Ana is infertile and adoption is a paperwork pipe dream; and then they have a child. Not even a new born where there is a learning curve to watch, observe and develop but a two year old who has somehow come to understand he'll never see his father again, and that mommy is indefinitely unavailable. James doesn't so much dive into fatherhood, rather he seems tailor made for it; a combination of desire and innate know-how. Ana regards Finn as a oddity between repulsion and at best a nuisance and she knows from the beginning that her indifference to Finn will prove a harbinger to some tumultuous event in her life.
"Ana rooted around for some feeling to match James's, but came up with only a causal affection for this boy, for all boys, a mild curiosity that didn't demand investigation. Hadn't there been a time when the sight of a pregnant woman had caused her to look away, yearning? Hadn't she hidden in that hotel room after the final miscarriage and wept? A chill crept over her body: She needed to find that person again, or James would be lost to her." Page 54
Finn changes every aspect of their relationship down to the smallest details that neither ever though they would have to consider. Ana's job keeps her working for extremely long hours, and James--while his heart is in the right place and his relationship with Finn is phenomenal--is a bit too irresponsible (and has a bit too much fun too often) to be the sole care taker of a toddler.
They grow apart; James is laid off; people on the periphery of their lives suddenly become very attractive; yet Finn remains: demanding and impossible to ignore.
While Ana remains on the sidelines of the novel's events (it's James who visits Finn's mom in the hospital multiple times a week, takes Finn to day care, bathes him and puts him to bed among others chores that come with having children) it's her conflicted feelings for Finn and James' eager, blind of acceptance of Finn, that leads Ana to pushing James away. It takes time, but Ana comes to realize what she deems a monstrous, and socially unacceptable truth: that she is a woman; she doesn't want children; and that there is nothing wrong with these fact coinciding. While they both act out and exercise detrimental steps in their relationship I felt there was an undercurrent of 'James is ruining this marriage,' that didn't sit well with me. Added to which Onstad's exploration of the male mindset, particularly in regards to sex, I found nothing short of bizarre, and a head-scratching source of entertainment that made me curious as to her source material or if the creation of James is just where her mind's imagination lead her.
There were a few near cliched extramarital affairs that I'd have rather seen avoided, with Ana'a subordinates taking interest in James personality and Ana's awkward--if not outright bad--flirting with the chaplain at her mother's nursing home. There are plenty of ways relationships can grow apart without introducing sex with other people (like having a two year old dropped into your life), but it seems readers like sex so authors throw work it in when possible. (It would be nice to see other routes explored.)
The scenarios, the story arch, background and particularly the characters were all portrayed with an intense visceral feeling that made me think, 'I know these people.' I was particularly happy at the book's conclusion when so many factors came into play in negatives ways that even in a work that is so contemporary the author was able to wrestle some simulacrum of 'happily ever after.' Reality and realism are all well and good, and certainly en vogue, but it's also nice from time-to-time to see an author indulge the idea that things can work out.
Last year Kim told me to read Everyone Has Everything and I'm sad I waited so long to do so. And while I certainly see myself putting this book in many peoples hands it will be the US edition set for release in June (in hopes of a better copy), as the Canadian edition I bought had enough typos to warrant mention. (It's amazing how obvious, lack of punctuation can detract from a story.) I don't come across works that discuss topics found in Everybody Has Everything very often and even if I did I doubt it would be done this well. There's an abrupt lack of sentimentality yet keen observations that manage to endear the reader to the narrative without eye rolling or coming across as an essay.
Save the date, June 23 2013, this is a book you want to read.
Children represent so much in today's society. They can be a problem, even the downfall of a particular person should they have too many or not raise them to societal norms of how a child 'should' be brought up. They can be the pride and joy or point of bragging for others. Society judges people with children and those without: are the parents married, single, divorced, are they a good or ideal parent; and while these questions and thoughts are raised in people's minds, they are very rarely--if ever--discussed. Everybody has Everything deals with what it means to be a parent and ultimately what it means to not want to be one. It is the most contemporary and honest piece of fiction I've come across in a long time dealing with a universal issue that mostly flies under the radar.
I'm at the beginning of the juncture in life when people ask about my plans to get married, settle down, have children. (Much like the characters in the book I resist the near homicidal urges that these insensitive questions instill; only asked by those selfish and pretentious enough to assume that you're not happy as you are, or rather, as they are.) I'm thirty-two years old, (my two and half year old nephew told me a few weeks ago that I was 'probably the oldest person ever') single, and have no children and just like everyone else in the world, people judge me based on this criteria. It was remarkably easy to read Everyone Has Everything and relate to the characters: I see parts of myself in some, my friends, and real life people I know in others. So much so, that I mentally renamed characters in the book with people I know from my own life.
Ana and James are married, successful, working professionals who are unable to conceive a child. Their status as 'married without children' is the single defining point of their relationship. They each bring a unique background and preconceived ideas as to what it means to be a parent to their marriage. After miscarriages and confirmation of Ana's 'inhospitable' womb they each get comfortable to the idea of marriage and life without children. Ana chides her pride concerning her looks; knowing she doesn't merely look 'good for her age' but good in a further way: as she says, her body hasn't been ruined by having children. James is made to endures multiple, obnoxious, public displays of maternity where women with strollers travelling in hordes, talking louder than necessary, and pushing everyone who isn't a mom with a baby away while remaining wholly oblivious to the atmosphere of repulsion they create. These scenes seem to dominate parts of their world and serve as a constant reminder of their compulsive desire to defend their childless status. (A particular scene in a coffee shop was so real that I've shared it with friends; all of whom could commiserate with James' pain.) They both condemn the infuriating hypocrisy of fertile couples attitudes toward their capacity to both; have children and endlessly complain about them. (A privilege denied to Ana and James.) "It surprised Ana how often mothers played up their misery, as if she would find it comforting to pretend they would switch places with her."
Perhaps you can tell from my writing that I share many of Ana and James' points of view.
Ana recognizes she needs James as he is the embodiment of all the youth that was stolen from her own childhood. His refusal to grow up is the source of Ana's attachment and all that she finds contemptible. And then--quite out of nowhere--there is Finn. A two year old boy whose father died in a car crash that left his mother in a coma. Ana and James had forgotten that in case of the worst that they agreed to take guardianship of the boy.
While Finn, who is thrust in the middle of Ana and James' lives, is certainly the fulcrum of the story he is hardly the main character. In fact, figuring out who this book is about is a bit of a chore. Ana and James have built safe and comfortable lives for themselves; secure in the knowledge that Ana is infertile and adoption is a paperwork pipe dream; and then they have a child. Not even a new born where there is a learning curve to watch, observe and develop but a two year old who has somehow come to understand he'll never see his father again, and that mommy is indefinitely unavailable. James doesn't so much dive into fatherhood, rather he seems tailor made for it; a combination of desire and innate know-how. Ana regards Finn as a oddity between repulsion and at best a nuisance and she knows from the beginning that her indifference to Finn will prove a harbinger to some tumultuous event in her life.
"Ana rooted around for some feeling to match James's, but came up with only a causal affection for this boy, for all boys, a mild curiosity that didn't demand investigation. Hadn't there been a time when the sight of a pregnant woman had caused her to look away, yearning? Hadn't she hidden in that hotel room after the final miscarriage and wept? A chill crept over her body: She needed to find that person again, or James would be lost to her." Page 54
Finn changes every aspect of their relationship down to the smallest details that neither ever though they would have to consider. Ana's job keeps her working for extremely long hours, and James--while his heart is in the right place and his relationship with Finn is phenomenal--is a bit too irresponsible (and has a bit too much fun too often) to be the sole care taker of a toddler.
They grow apart; James is laid off; people on the periphery of their lives suddenly become very attractive; yet Finn remains: demanding and impossible to ignore.
While Ana remains on the sidelines of the novel's events (it's James who visits Finn's mom in the hospital multiple times a week, takes Finn to day care, bathes him and puts him to bed among others chores that come with having children) it's her conflicted feelings for Finn and James' eager, blind of acceptance of Finn, that leads Ana to pushing James away. It takes time, but Ana comes to realize what she deems a monstrous, and socially unacceptable truth: that she is a woman; she doesn't want children; and that there is nothing wrong with these fact coinciding. While they both act out and exercise detrimental steps in their relationship I felt there was an undercurrent of 'James is ruining this marriage,' that didn't sit well with me. Added to which Onstad's exploration of the male mindset, particularly in regards to sex, I found nothing short of bizarre, and a head-scratching source of entertainment that made me curious as to her source material or if the creation of James is just where her mind's imagination lead her.
There were a few near cliched extramarital affairs that I'd have rather seen avoided, with Ana'a subordinates taking interest in James personality and Ana's awkward--if not outright bad--flirting with the chaplain at her mother's nursing home. There are plenty of ways relationships can grow apart without introducing sex with other people (like having a two year old dropped into your life), but it seems readers like sex so authors throw work it in when possible. (It would be nice to see other routes explored.)
The scenarios, the story arch, background and particularly the characters were all portrayed with an intense visceral feeling that made me think, 'I know these people.' I was particularly happy at the book's conclusion when so many factors came into play in negatives ways that even in a work that is so contemporary the author was able to wrestle some simulacrum of 'happily ever after.' Reality and realism are all well and good, and certainly en vogue, but it's also nice from time-to-time to see an author indulge the idea that things can work out.
Last year Kim told me to read Everyone Has Everything and I'm sad I waited so long to do so. And while I certainly see myself putting this book in many peoples hands it will be the US edition set for release in June (in hopes of a better copy), as the Canadian edition I bought had enough typos to warrant mention. (It's amazing how obvious, lack of punctuation can detract from a story.) I don't come across works that discuss topics found in Everybody Has Everything very often and even if I did I doubt it would be done this well. There's an abrupt lack of sentimentality yet keen observations that manage to endear the reader to the narrative without eye rolling or coming across as an essay.
Save the date, June 23 2013, this is a book you want to read.
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