|
|
|
|
|
|
|
|
|
|
|
|
|
my rating |
|
|
|
|
|
|
|
![]() |
|
|
||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
4.29
| 97,417
| May 10, 2012
| May 07, 2013
|
it was amazing
| His whole career has been an education in hypocrisy. Eyes that once skewered him now kindle with simulated regard. Hands that would like to knock His whole career has been an education in hypocrisy. Eyes that once skewered him now kindle with simulated regard. Hands that would like to knock his hat off now reach out to take his hand, sometimes in a crushing grip. He has spun his enemies to face him, to join him: as in a dance. He means to spin them away again, so they look down the long cold vista of their years: so they feel the wind, the wind of exposed places, that cuts to the bone: so they bed down in ruins, and wake up cold.Be careful what you wish for. Henry VIII was pining for the younger-than-his-current-wife Anne Boleyn. After getting his heart’s desire, which required him to take on the Catholic Church, one might imagine him speaking to Thomas Cromwell as Ollie might have said to Laurel, “Well, here’s another nice mess you’ve gotten me into!” nicely demonstrating an inability to accept any responsibility for his own actions. Of course, AB had gotten her heart’s desire as well, a nifty crown, plenty of staff, and she gets to headline at the palace. But pride, and not popping out a male heir, goeth before the fall, and well, the girl should have known. I mean H8 was not exactly a model hubby to his first wife. Why would she think he’d be any more loyal to her? Time for the head of household to summon Mister Fixit. [image][image] Rafe Sadler and Stephen Gardiner Looking for advice on ridding yourself of unwanted household pests? Running low on funds for your comfortable lifestyle? Need the occasional hard thump to the torso to get the old ticker restarted? Need to re-direct your reproductive efforts towards a more masculine outcome? Need to fend off potential assaults by enemies foreign and domestic? Why, call Mister Fixit (Yes, yes, I know there were no phones in 16th Century England, so summon Mr. Fixit. OK? Happy now? Jeez, some people). Thomas Cromwell, a man of modest origins who had risen to the highest position in the land, that did not absolutely require aristocratic genes, had already demonstrated a penchant for getting things done, by whatever means necessary. And so continues the tale, in book 2 of Hilary Mantel’s trilogy about Tudor England. [image] Hilary Mantel The end of Wolf Hall (You read Wolf Hall, right? If you haven’t, stop reading this now, and go get a copy. Read that and when you are done, feel free to return. What are you waiting for? Go! Scat!) was H8’s marriage to AB. The quest had come to the desired conclusion, and now they’re gonna party like it’s 1533. Not only had H8 succeeded in flipping the bird (a falcon in this case – see the badges below) to the RC, but he was engaged in swiping their stuff as well. Pope? We doan need no steenking Pope. Cromwell was the guy who had done most of the fixing. So everything should be fine now, right? Not so fast. [image][image] Dueling Badges – Anne Boleyn’s and Catherine of Aragon’s - in case any are needed AB is getting very full of herself but not, unfortunately full of a male heir, and there are younger ladies-in-waiting, you know, waiting. H8 has an eye problem. It wanders uncontrollably, in this instance to young, demure Jane Seymour. Of course there is the pesky business of clearing that obstruction from the royal path, and Mister Fixit is called in (sorry, summoned) to make it go away. Luckily for him he has his fingers in many administrative pies (you washed those fingers before inserting, right?) and is not shy about using his inside knowledge to achieve his boss’s goals. Cromwell also has an excellent network of spies (little birds?) sprinkled throughout the realm. Combine the two, make much of what was probably idle gossip, add a dollop or three of spite and voila. For good measure, TC takes particular pleasure in focusing his skills on those who had done dirt to his mentor, Cardinal Wolsey, ticking off each one as they succumb to his devilry. (Like a certain Stark lass ticking off her list of future targets at bedtime) [image][image] The once and future – Catherine of Aragon and Jane Seymour Was AB guilty of the crimes of which she was accused? Probably not. But as long as the folks in charge can get the people with weapons to do their bidding it does not much matter. There is no law, really, only power. Legal processes are often mere window dressing to the underlying exercise of big fish eating smaller fish, and sometimes spitting them out. The fiction of legality keeps the mass of smaller fish from chomping their much larger tormenters to bits. Sort of like now. See, people? It’s all perfectly legal. Bring Up the Bodies is a masterful achievement, showing, step-by-step, how dark aims are orchestrated and achieved. In laying this out, Hilary Mantel also offers us a look at how the reins of power can be abused by the unscrupulous, and Thomas Cromwell is shown in his full unscrupulousness in this volume. He was gonna get these guys and when he saw his chance, he took it. Where Wolf Hall presented a more removed Cromwell, Bring Up the Bodies shows us Cromwell as more than a fixer, more than a technocrat. We get to see him as a monster, despite his supposed desire to make England more equitable for working people. H8 is shown much more as a spoiled psycho-child in this volume. (Musk? Trump?) Whatever his intelligence, whatever his accomplishments, what we see of Henry here is primarily his boorishness, his childishness. I want what I want and I do not care who gets hurt, or even killed, so I can have it. I was reminded of the great Twilight Zone episode It’s a Good Life. Mantel won a second Booker prize for this one, and it was well deserved. Not only do we get a very human look at a key period in Western history, but are blessed with Mantel’s amazing wit as manifested by her characters, and consideration of issues that transcend history, as well as a compelling episode of Survival: Tudor. It is an easier read than the first book, more engaging, if that is possible. If you have not seen the miniseries made from the combined volumes you really must. Hilary Mantel has brought out her best in Bring Up the Bodies, using her genius for historical fiction to make the old seem new again. You won’t lose your head if you don’t read this book, but you probably should. Review first posted – 5/22/15 Published– 5/8/2012 The final volume in the series, The Mirror and the Light, was releases in 2020, according to the latest intel. =============================EXTRA STUFF My review of Wolf Hall Links to the author’s personal, Twitter, Google + and FB pages Excellent radio interview with Mantel by Leonard Lopate A marvelous New Yorker magazine article looking at Mantel’s career Great material here in another New Yorker article, Invitation to a Beheading, by James Wood Why isn't Henry VIII fat and other Wolf Hall mysteries explained ...more |
Notes are private!
|
1
|
May 03, 2015
|
May 08, 2015
|
May 03, 2015
|
Paperback
| ||||||||||||||||||
0060004878
| 9780060004873
| 0060004878
| 3.91
| 25,256
| Oct 02, 2012
| Oct 02, 2012
|
it was amazing
|
The opening scene of Dennis Lehane’s Prohibition gangster tale, Live by Night has our hero, Joe Coughlin, on a tugboat, in the Gulf of Mexico, fitted
The opening scene of Dennis Lehane’s Prohibition gangster tale, Live by Night has our hero, Joe Coughlin, on a tugboat, in the Gulf of Mexico, fitted for a nice set of cement footwear, while a dozen or so of his least favorite people prepare to help him into a final swim. It is from this moment that we look back over the years to 1926 to find out how Joe came to be in such peril. The first thing we see is Joe and two other petty crooks robbing a speakeasy owned by a Boston gangster. During the course of the event a masked Joe meets Emma Gould in a scene that might someday define the career of some rising young actress. The Bartolo brothers relieved the card players of their weapons. The pistols made heavy thumps as they tossed them onto a nearby blackjack table, but the girl didn’t even flinch. In her eyes, firelights danced behind the gray. She stepped right up to his gun and said,” And what will the gentleman be having with his robbery this morning?”With images of young Lauren Bacall as the femme fatale dancing in my head, and only on page 5, I was totally hooked! [image] Dennis Lehane - image from his FB pages The book is a sequel to Lehane’s ambitious The Given Day, in which the name Coughlin also figured large, but there is no need to read the earlier work to appreciate this one. Lehane wanted to write a novel that echoed the mobster movies he grew up with. I’ve always absolutely loved the time period. It’s probably my favorite time period in American history. Anything between the two world wars, the clothes, and the cars, and tommyguns. Maybe it was too much exposure to 1920s,1930s gangster movies when I was a kid… It was certainly interesting to me to see the seeds and the growth of what we understand now as the Mafia. This was seen as the end of the independent operator decade. This was fun to look at.But he ran into a bit of interference after having written a few chapters. Boardwalk Empire machine-gunned onto the scene and that meant Lehane would have to focus on something other than whiskey as his substance Maguffin. Splitting his residence between Boston and Tampa, he had already become familiar with Ybor City, a part of Tampa which was a major entry point for prohibition era rum. The over-the-head lightbulb clicked on and it was off to the races. Rum instead of whiskey. And structurally, he decided to trace a reverse route. The rum entered through Florida and worked its way north. Joe Coughlin begins up north and heads south. Lehane found the era appealing for another reason. I mean everybody smoked and didn’t know it was bad for them. And it was a time where, I think, there was some sort of ignorance is bliss. You also had a time in which the entire country turned against the law of the land which had to make it fun. Think about how much fun it was to contact a friend and say we’re meeting at the speakeasy tonight. Here’s the password.Young Joe lands in a Boston jail, where he is befriended by a powerful mob boss, Thomaso Pescatore. Maso wants to leverage his access to Joe to get his dad, Thomas, Deputy Superintendent of the Boston Police, to take care of some things for him. Otherwise, well, he could not guarantee Joe’s safety. Joe becomes a Maso loyalist, demonstrates his value to this new boss and winds up being put in charge of Maso’s crime operation in Ybor City, Florida. That is where the bulk of the story takes place. [image] Ben Affleck as Joe Coughlin in the 2016 film - the film received a 35/42 - reviewer/audience rating on Rotten Tomatoes. This is not some mindless good-guys vs bad-guys shoot-em-up. Lehane is a serious writer and there are larger issues under his microscope here. One is the impact of parents, fathers in particular on their children. Despite his calm demeanor and tasteful trappings, Joe’s father, Thomas, is no paragon of virtue. While he may decry his youngest son’s path it is clear that the rotten apple has not fallen far from a rotten tree. Later in the novel a gangster of some perception and skill presents a son who has inherited all dad’s worst qualities, and none of his better ones. Joe must confront his own feelings about parenthood when he becomes a father. (this will no doubt be addressed in depth in Lehane’s next novel, which will feature Joe and his son in the 1940s) And the sins of another father are visited on his child in horrible ways. A closely related theme is the karma of violence What I have learned is that violence procreates. And the children your violence produces will return to you as savage, mindless things. You won’t recognize them as yours, but they’ll recognize you. They’ll mark you as deserving of their punishment.Lehane offers some thematic touchstones along the way. Thomas gives Joe a watch that has special meaning for him. It plays a role in saving Joe’s life, but also serves as a symbol for Joe eventually running out of time. A similar item is the appearance of a Florida panther, which may or may not actually be present at times, and is certainly a phantom at others, carrying concern about mortality. Joe struggles with his belief system. He is not a stone cold killer, which puts him at a disadvantage with the company he keeps. He feared this was all there was. Didn’t just fear it. Sitting in that ridiculous chair looking out the window at the yellow windows canted in the black water, he knew it. You didn’t die and go to a better place; this was the better place because you weren’t dead. Heaven wasn’t in the clouds; it was the air in your lungs.He inquires into the beliefs others have about a life beyond during his journey, and also wonders what might take his place if it turns out there is no god. “We’re not bad. Maybe we’re not good. I dunno. I just know we’re all scared.”America has a love-hate relationship with gangsters. On the one hand, we find appealing the image of the slick criminal getting over on, say, bankers. We see them not so much as bleak, soulless, bloody monsters but as outlaws. Joe struggles with the difference between being an outlaw, a romantic self-image, and a gangster, which, to Joe, is an acceptance that he is not a decent person after all. Another notion, about types of criminality, that comes into play a time or three has just a touch of contemporary resonance. “You, you buy into all this stuff about good guys and bad guys in the world. A loan shark breaks a guy’s leg for not paying his debt, a banker throws a guy out of his home for the same reason, and you think there’s a difference, like the banker’s just doing his job but the loan shark’s a criminal. I like the loan shark because he doesn’t pretend to be anything else, and I think the banker should be sitting where I’m sitting now. I’m not going to live some life where I pay my fucking taxes and fetch the boss a lemonade at the company picnic and buy life insurance. Get older, get fatter, so I can join a men’s club in Back Bay, smoke cigars with a bunch of assholes in a back room somewhere, talk about my squash game and my kid’s grades. Die at my desk, and they’ll already have scraped my name off the office door before the dirt’s hit the coffin”This view is reinforced in a conversation Joe has with a business partner. “We’re not our brother’s keeper, Joseph. In fact, it’s an insult to our brother to presume he can’t take care of himself.”This could be a bit of Ayn Rand pillow whisperings or a 2012 GOP talking point. Later, Joe is planning a gambling empire and notes again that criminality comes in various forms. what he saw, clearer than any clear he’d ever known, was that the rich would come in here for the dazzle and the elegance and the chance to risk it all against a rigged game, as rigged as the one they’d been running on the poor for centuries.Another passage made me think of the banality of evil in Nazi Germany. Joe was reminded, not for the first time, that for such a violent business, it was filled with a surprising number of regular guys—men who loved their wives, who took their children on Saturday afternoon outings, men who worked on their automobiles and told jokes at the neighborhood lunch counter and worried what their mothers thought of them and went to Church to ask god’s forgiveness for all the terrible things they had to render unto Caesar in order to put food on the table.In fact, one of the things I loved about this book is how many times a line or a passage summoned broader notions, or the scent of other classics. Here are a few: Working class men had sons. Successful men had heirs.The Live by Night motif can be taken a few ways, as living outside the law, as living freely, as in surviving in an id-rich world, on the edge. When Joe was a young crook his boss would say to him. “The people we service? They visit the night. But we live in it. They rent what we own.” In a concrete sense, living by night means criminality, but it could also imply a more generic sense of extremity. But what drives someone to such extremes? And how do the stories we tell about ourselves affect who we are? Something was getting lost in them, something that was starting to live by day, where the swells lived, where the insurance salesmen and the bankers lived, where the civic meetings were held and the little flags were waved at the Main Street parades, where you sold out the truth of yourself for the story of yourself. …the reality was, he liked the story of himself. Liked it better than the truth of himself. In the truth of himself, he was second class and grubby and always out of step. He still had his Boston accent and didn’t know how to dress right, and he thought too many thoughts that most people would find “funny.” The truth of himself was a scared little boy, mislaid by his parents like reading glasses on a Sunday afternoon, treated to random kindnesses by older brothers who came without notice and departed without warning. The truth of himself was a lonely boy in an empty house, waiting or someone to knock on his bedroom door and ask if he was ok.Maybe living by night is being in the dream instead of the reality. But for all his serious flaws, I found it was possible to relate to Joe, to root for him, even. And Lehane has populated his tale with a colorful array of supporting characters, in varying shades. There is not a lot here by way of damsels in distress. Lehane’s women are not exactly blushing flowers. From the iron-nerved Emma, to a wildly successful evangelical preacher, Loretta, to the elegant Graciela, the women are rich presences in the story. This is a result of the presence in Lehanes’s life, he says, of plenty of very tough women when he was growing up. On a gut level, it felt to me that a bit of Casablanca DNA seems to run through this story. In this world of low expectations, we can feel some empathy for Joe because he is no sociopath, even though he swims in a shiver of sharks. No, Joe is no Rick, and Emma and Loretta are no freedom fighters, (Graciela actually may be) but having established his dark roots, there is a feeling of potential for hope, for redemption, for maybe a chance to live by day, a desire to do the right thing, that gives the story poignancy. All the great lines certainly helped. I cannot think of a book I have read in recent memory that offered up so many. Ben Affleck is already in negotiations to write, direct and star in the movie. I am not sure I see him in this role, but this could be the beginning of a beautiful film. So tip back on your panama hat, make sure the ceiling fan is spinning fast enough to cool your sweat before it plunges under your collar, check that the safety for that piece under your jacket is switched on, light up one of those very special Cubans, hoist your Bacardi cocktail and settle back. You're in for a steamin’ good time. First Posted - October 12, 2012 Published - October 2, 2012 ==========In the summer of 2019 GR reduced the allowable review size by 25%, from 20,000 to 15,000 characters. In order to accommodate the text beyond that I have moved it to the comments section directly below, in what is now (March, 2021) Comment #9 [image] ...more |
Notes are private!
|
1
|
Sep 29, 2012
|
Oct 07, 2012
|
Oct 03, 2012
|
Hardcover
| |||||||||||||||
0062065246
| 9780062065247
| 0062065246
| 3.98
| 118,279
| Oct 02, 2012
| Oct 02, 2012
|
it was amazing
|
The Round House is a knockout of a book. Louise Erdrich is one of the true deities in America's literary Olympus. With The Round House she has used he The Round House is a knockout of a book. Louise Erdrich is one of the true deities in America's literary Olympus. With The Round House she has used her mythic creative powers to give us a book that can be read as a page-turner about a terrible crime, the attempt to identify the criminal and take action, or as a rich, layered look at a culture in a place and time, and a lad coming of age within it, the tale imbued with telling details, a colorful palette of imagery and cultural significance. Or best of all, both. [image] Louise Erdrich - image from Elle Magazine The story opens with a father and son trying to remove invasive tree roots from the foundation of their home. This being Erdrich, you can figure that roots of one sort and another will figure in the story. Antone Bazil Coutts, known as Joe, is thirteen years old. His father, also Antone Bazil, is a judge with great reverence for the law. When Joe’s mother, Geraldine Coutts, is brutally beaten and raped she retreats into the security of solitude, not only to allow herself time to heal, but to try to protect her family, and others as well. The thrust of the story is the puzzle of who and why. Erdrich drops clues along the way like a seasoned writer of detective fiction. How we understand the world is informed by the stories we are told, the culture in which we are raised. Christians are raised on stories of magical abundance from a few loaves and fishes, reincarnation, angels, a sometimes communicative if often cranky, creator. A colorful local priest offers Christian teaching. Many of the Ojibwe we meet here have friends or relations who are believers. The Ojibwe have their legends too. Erdrich shows this by imbuing her tale with magical realism. Native lore is both told in stories and shown as living reality. This is a world in which the shadow of a passing crane becomes an angel on a bedroom wall, a world in which a twin feels the presence of a doppelganger, of her separated other, and in which the evil spirit, a wendiigoo, in a dark man, seeks to devour the spirits of others. Ghosts figure in the story. Joe sees one. His father reports having seen ghosts as well. Mooshum, Joe’s beloved grandfather, explains something about ghosts to Joe. Other characters also report seeing ghosts or having their own other-worldly experiences. We see the Ojibwe affiliating with and being protected by various animals. Joe seeks guidance by visiting his clan totem, herons. Another tale is told of an Ojibwe being saved by a turtle. And an old bison communicates with one young brave in a legend. In addition, family names include Larks and Coutts, and a town physician is Doctor Egge. I won’t ask which came first. We see the events in Hoopdance, North Dakota, through Joe's eyes. Joe has a group of pals, most importantly his studly bff, Cappy. They see things through a more contemporary lens, Star Trek: The New Generation (TNG), the series having begun less than a year prior. The boys’ use of TNG stories, lore in this context, offers them meaningful language with which to define elements of their world. Of particular interest is the episode called Skin of Evil . Don’t check it out until you are reading the book. The relevance will be immediately obvious. The boys’ banter and relationships give the feel of a Stephen King story, one of those in which he particularly shines at portraying young people. Together with Native beliefs and Christian teaching, we have an unusual trinity of primary interpretive influences. What is the Round House? We learn it's history and generation from Mooshum. It is a meeting place and is supposed to be a safe haven, a building the Ojibwe, one in particular, were told to construct by a spirit. Religious ceremonies, among other events, take place there. And yet it has been violated, just as tree roots attempted to insert themselves into the foundation of Joe's house. We learn the story of the building’s genesis, see it in benign contemporary use, and see it again, under less than benign circumstances. It is also situated in a location near where sundry jurisdictions intersect, Ojibwe, state, and federal, the perplexity of which figures in the tale. There is a cornucopia of riches in Erdrich's construction. Joe's father's respect for the law is almost religious, and is mirrored by the knowledge of and contempt for the law expressed by the baddie. Native lore is compared to that of classic Greece. There are plentiful references made here that inform the story. Classics like the Iliad, Shakespeare, Plato and more recently, Dune, which resonates, with a young man taking on adult responsibilities. Bazil refers to his Handbook of Federal Indian Law as his bible. This compares with the priest and his actual Bible and Mooshum, Joe’s grandfather, with his oral history and tribal spiritual beliefs. Is Bazil’s belief in the law any more magical than Father Travis’s belief in an eternal creator? Is Father Travis’s belief in a resurrected savior any more out there than believing that one can communicate with an elderly bison? Clothing is used to great effect as well. When one key character is in the hospital, two relations don his clothing as a way of feeling close to him. A woman with a dicey past is shown to full effect by the costume she dons. After an infection of the spirit, a woman says that some Ojibwe women “dressed me in a new ribbon dress they made. I started healing and felt even better.” And the counterpart, nakedness, is also revelatory. Hiding away permeates, from Geraldine hiding in her home and inside herself, to Nanabush, a character in a story, hiding inside the carcass of a dead bison, to the genesis of the Round House as a physical manifestation of the bison’s carcass, a safe place, a hideaway. Erdrich’s work is imbued, not only with Native American characters, but with a look at Native reality on the ground, the buildings, the legal challenges, the extended family relations, in addition her use of magical realism. We are told of Native encounters with bison, turtles and cranes. We are also shown how Native people have been treated by the American legal system. That Joe’s father has such long-term faith in the merits of the law is impressive, maybe inspirational and possibly sad. Her compelling story carries us along at a nice pace. We get to enjoy interesting travel companions on this journey, people we want to spend time with, particularly Joe, and while we are getting from here to there, (maybe on a shuttle craft?) we are treated to a fascinating look at things we might not have seen before, ideas we might not have encountered, history we might not have known. If you have read Erdrich before you know how good she is. If you have not read her before you are in for a treat. So if you get the urge to dash out and pick up a copy of The Round House all I can advise is make it so. You will definitely engage. PS – In case, for some reason, you do not want to jump to the provided link, here is a totally spoilerish bit on the TNG episode noted above. (view spoiler)[Skin of Evil is a Star Trek: New Generation story the boys refer to. In it a powerful, blob-like creature, torments several of the Enterprise crew, even killing one. An element of this being is that it feels terribly lonely, abandoned by its own kind. Here, Linden, our psycho killer, is the one who truly feels empty, which is ironic since he was the twin who was kept. His damaged sibling, Linda, has felt his presence all her life, and experiences emptiness, but never turned to such darkness. In the TNG episode, Armus, the baddy, was acting out of a feeling of abandonment. (Linden = wiindigoo = Armus) The twist here is that the child who was literally abandoned turned out to be a good person, while the one who was kept became a monster. (hide spoiler)] [image] [image] [image] [image] [image] [image] =============================EXTRA STUFF Links to the author’s personal and FB pages. Erdrich's personal site redirects to the site Birchbark Books. She owns the store. Other Louise Erdrich novels I have reviewed -----2021 - The Sentence -----2020 - The Night Watchman -----2017 - Future Home of the Living God -----2016 - LaRose -----2010 - Shadow Tag -----2008 - The Plague of Doves -----2005 - The Painted Drum Washington Post book review by Ron Charles, October 2, 2012 NPR interview with Erdrich re Round House 10/10/12 - TRH is nominated for a National Book Award 11/15/12 - And the Winner is... 1/16/13 - Cathy Dupont's review offers not only her insightful take on the book but several excellent links that enhance our appreciation for some of the core issues raised by Erdrich. Check it out. ...more |
Notes are private!
|
1
|
Jul 17, 2012
|
Jul 17, 2012
|
Jul 17, 2012
|
Hardcover
| |||||||||||||||
0062124269
| 9780062124265
| 0062124269
| 3.81
| 96,534
| Nov 01, 2012
| Nov 06, 2012
|
it was amazing
|
In 2004 Barbara Kingsolver moved from Tucson, where she had lived since 1978, to southern Appalachia. This marked a return to her roots, migrating bac
In 2004 Barbara Kingsolver moved from Tucson, where she had lived since 1978, to southern Appalachia. This marked a return to her roots, migrating back to an ancestral place, like the butterflies in her latest novel, Flight Behavior might once have done. She must feel right at home there as she has written a wonderful book set in the fictional Appalachian town of Feathertown, Tennessee. The flight of the title refers not only to the arrival of hordes of butterflies, but flights of various sorts undertaken by her characters. [image] Barbara Kingsolver - image from Envirolit Like Moses, Dellarobia Turnbow climbs a mountain and sees a vision. Instead of a flaming bush she sees a flaming forest, alive with millions of Monarch butterflies. As with Moses, what she saw changed her life. Of course her motivation was a bit different. Big Mo was seeking guidance from God on how to lead his people. Dellarobia was leaving her husband and two kids to take up with her latest romantic entanglement, looking to fly rather than to lead. But visions have a way of changing people, or maybe enhancing them. Unearthly beauty had appeared to her, a vision of glory to stop her in the road. For her alone these orange boughs lifted, these long shadows became a brightness rising. It looked like the inside of joy, if a person could see that. A valley of lights, an ethereal wind. It had to mean something. She could save herself.Not really understanding what it was she had seen, Dell takes the event as a sign and changes her course. Change can be good. The novel opens with A certain feeling comes from throwing your good life away, and it is one part rapture.What is worth keeping and what should be tossed? In one’s life and in the wider world? We see this world through Dellarobia’s eyes. She makes a careful examination of her life, in an environment in which unexamined is the way to go. She is a bright woman of 27, married as a result of an adolescent mistake to a decent, if unimaginative man, with two kids, staying in a small house on her in-laws’ property, stuck in her world with not much to look forward to. An unseasonable season of rain (forty days worth, maybe?) has left the area soaked, even more impoverished and vulnerable than usual. The tree was intact, not cut or broken by the wind. What a waste. After maybe centuries of survival it had simply let go of the ground, the wide fist of its root mass ripped up and resting naked above a clay gash in the wooded mountainside. Like herself, it just seemed to have come loose from its station in life. After so much rain upon rain this was happening all over the county…But this new, winged, arrival has caused some excitement. One may wonder what millions of Monarch butterflies are doing gathering en masse in rural Tennessee. When word of the wondrous visitation gets out, interests of all sorts try to interpret its significance and some try bending the event to their own purposes. Some see simple beauty. Those with a churchy bent see the hand of God. Those of a scientific inclination seek to find out why the butterflies chose this place for their nest, without regard to a higher power, seeing an alarming disruption in nature. These critters are supposed to gather in Michoacan, in Mexico, right? What are they doing here? Some property owners look to make a little cash by leading visitors. Some are eager to see the butterflies gone, so they can cut and sell the lumber on that land. Eco-warriors seek to use the event as a tool for spreading their message. Kingsolver shows a wide range of perspectives on the event. She brings in the strong presence of a heavy-hitter scientist with an ironic, artsy name, Ovid Byron. He not only sets up shop to study the phenomenon, complete with a camper and crew, but sees Dellarobia’s intelligence and curiosity and encourages her, even hiring her to help with his project. Kingsolver got her masters and began her working life in biology, after all, not creative writing. It is clear that with her expertise as a biologist it is her scientist words Ovid speaks when explaining how the biology here works. And it is activist Kingsolver’s words he speaks when he takes on the media. Can it be a coincidence that when red-haired (University of Tennessee orange) Dell and African American Ovid Byron come together they match the Monarch coloration? The major underlying natural issue addressed here is global warming, how changes to the global environment can result in significant changes in peoples’ lives. The book opens with talk of the unnatural, relentless rain that has been watering remote Feathertown. What causes this? What happens when it rains so much? The same thing in Appalachia as has happened in places far away. Nothing good. It was surprising to learn that excessive rain can damage even the wool on living sheep. What happens when you are not where you should be? If you are a person, it might mean unhappiness, a feeling of frustration and failure. If you are, say, a species of butterfly, it might mean an absolute existential crisis and an attempt to survive by setting up shop in a new, not-yet-completely-destroyed location. Offering a local perspective is one of the primary elements of the novel. Barbara Kingsolver writes about places she knows. For the African setting of Poisonwood Bible, she drew on the time she had lived there with her family. But she was raised in Kentucky. And it is clear that she has a pretty good sense of the locals. Part of Kingsolver’s purpose here (we believe) is to offer up an image of what life is like for real people in Appalachia. In recent years ecologically sustainable development in environmentally endangered areas has shifted methodology. These days attempts are made to engage local residents, and give them a reason for becoming involved with and gaining from protection efforts. Simply trotting out experts and telling the locals to change their evil ways is not exactly effective. That dynamic is given a nice, if somewhat staged look. A straw man of a northeastern liberal bent descends on the town and starts handing out leaflets urging people to take the pledge. In this case that means promising to change a whole list of behaviors. Turns out that this list is mostly irrelevant to the locals. Things like “eat less meat” when the problem for so many here is to get enough. His list urges a promise to re-cycle, to people who shop for clothing at the second hand shop, and so on. It is a brilliant way of making it clear that it is worth actually knowing something about local life before preaching. It is a difficult life folks lead in Feathertown, a place in which the science teacher offers his students the option of shooting hoops instead of learning science, a place where a Christmas shopping trip is to the second hand store. What of the farmer unable to pay his mortgage unless he sells off wooded land to clear-cutters? What of the income lost because wool has been damaged by so much rain? Kingsolver points out the limitations on the lives of the locals, and how even those with abilities and dreams beyond what can be offered locally are confronted with roadblocks should they try to spread their wings. Her attention is not solely on the hardships of the place. There is also respect. She makes it very clear that even though they might not call it science, farmers practice an applied version, requiring as much scientific method as the search for a cancer cure. She points out the rugged beauty of a thing like hands-on sheep-shearing and clearly mourns its passing. Kingsolver actually raises sheep, so the craft may not be quite dead yet. Kingsolver offers a nice cast of characters, to whom she gives substance. Dell has a snarky sense of humor that I particularly enjoyed. Hubby, Cub, is a decent sort, and we get a sense of him, limitations and all. Their son, Preston, is the kind of kid most intelligent parents dream of, an eager, hungry learner. The scenes of Dellarobia’s with her bff, Dovey, are invigorating. And it is fascinating to see the change over time in the relationship Dell has with her mother-in-law, Hester, and in learning the secret that Hester has so carefully hidden. Kingsolver ingeniously counterpoints the nature events that define the story with the experiences of her characters. Dellarobia searches for the right place to be just as the butterflies do. There are parallels to the butterflies’ experience of having their homes washed away in floods. And, like the beautiful invaders, Dell must undergo a metamorphosis, gathering sustenance where she can find it, in order to wend her way to the next stage in her life. Sometimes reflection alters one’s view of a film, a piece of music or a book. On the first run through, I felt that at times the book was a bit preachy. Kingsolver does drag out disposable characters to make a point here and there. But the process of reviewing causes one to look closer and with that effort my appreciation for the book grew. Initially I was taken with some passing humor. While there certainly is humor here, much of it centered around the doings at a local church, some of which might resonate for viewers of GCB, this is a serious book, addressing serious matters. The humor leavens the tale, but this is about our world becoming unhinged and about people finding their way to their best places. Kingsolver offers a caring, nuanced look at life in Appalachia and raises our awareness of what real global warming looks like to actual people. If you haven’t already gotten your hands on this volume, fly to your bookstore before it is too late. Ok, OK, I know it is not on sale until November, but you can still flutter over to the bookstore or library and put in an order, or a hold. PS - For what it’s worth I see Amy Adams or maybe Jennifer Lawrence as Dellarobia, Lance Rettick as Ovid, Melissa Leo as Hester. PPS – I am not much taken with the cover design, at least the one on the ARE. It consists of hundreds of tear-shapes that do not much suggest flight to me, but rather leaves floating on a pond, or even reptile scales. What am I missing here? =============================EXTRA STUFF The author’s personal site Items of Interest -----From the Butterfly website, on the Michoacan habitat -----From the Texas Butterfly Ranch, on the reduction in the Monarchs’ travel numbers -----January 25, 2019 - NY Times - Are We Watching the End of the Monarch Butterfly? Reviews of other Kingsolver books -----The Poisonwood Bible -----The Lacuna -----Unsheltered ...more |
Notes are private!
|
1
|
May 19, 2012
|
May 31, 2012
|
May 19, 2012
|
Hardcover
| |||||||||||||||
006218850X
| 9780062188502
| 006218850X
| 3.79
| 46,855
| Aug 21, 2012
| Aug 21, 2012
|
it was amazing
|
Let’s state it up front. This is a GREAT book. Not a pretty good book with some nice qualities, but a powerful, beautiful, thoughtful and incredibly m
Let’s state it up front. This is a GREAT book. Not a pretty good book with some nice qualities, but a powerful, beautiful, thoughtful and incredibly moving work of art that will be read for generations. The Orchardist is even more incredible for being a first novel, the best first I have read since Edgar Sawtelle. Yes, that good. Talmadge had lived forty years in the orchard without any exceptional event happening to him, barring inclement weather or some horticultural phenomenon. Nothing to speak of in the human realm, really. And then this happened.He had had a tough time of it. After the mining death of his father in 1857, when he was nine years old, his mother traveled with him and his sister, Elspeth, north and west until they found a suitable piece of land in what is now Washington State. There they set up a farm. Three years later mom passes, and Talmadge and his one-year-younger sister are left on their own to run it. Oh, and toss in a bout of smallpox that he manages to survive a few years later. A year after that, at the ripe old age of 17, his sister takes off. Some childhood. When we meet Talmadge he is well into middle age. One day while at the market with his produce, he spots two filthy teen-age girls stealing some of his apples and everything changes. [image] Amanda Coplin - image from Vol 1. Brooklyn Talmadge is a man who has lived most of his life alone. With the arrival of these girls he sees a chance to have what he always wanted, a family. But they are toting more than just hunger and the bulges in their young bellies. The girls had had a particularly difficult youth, orphaned very young, ill used after, and their fear makes it difficult for them to accept Talmadge as someone they can trust. They take up residence on his land. He takes care of them as much as they will allow. When the man from whom they are fleeing arrives, events take a very dark turn. The core story of the novel is Talmadge’s struggle to save one of these runaways from the darkness both without and within, what he gains, loses, experiences and learns. You will love him. He is a good, good man, trying his very best in extremely trying circumstances. He will spend the rest of his life trying to do right by the young lives that have been placed into his hands, despite their resistance. Maybe in doing this Talmadge is doing what he hoped someone would have done for his long-vanished sister. One of his charges travels a similar path, searching always for that connection to her lost one. He has two amazing friends. Clee is a mute Nez Perce who Talmadge has known since arriving, and Caroline Middey is a local healer, a sort of big sister for him. The depiction of Talmadge’s friendships with Clee and Caroline is rich and incredibly moving. Coplin has made many of her subsidiary characters come alive. The text is sewn with descriptions of small pieces of this verdant and sometimes harsh world. These passages glow, capturing the vibrant beauty of the land, the affection the residents have for it and the depth of their connection. Coplin has a gift for description. You can feel the warm sun on your skin, the breeze brushing past your cheek as it ripples fields of grass He did not articulate it as such, but he thought of the land as holding his sister—her living form, or her remains. He would keep it for her, then, untouched. All that space would conjure her, if not her physical form, then an apparition: she might visit him in dreams, and tell him what had gone wrong, why she had left him. Where did she exist if not on earth—was there such a place?—and did he want to know about it, if it existed? What was a place if not earthbound. His mind balked. He was giving her earth, to feed her in that place that was without it. An endless gift, a gesture that seemed right: and it need never be reciprocated, for it was a gift to himself as well, to be surrounded by land, by silence, and always—but how could this be, after so much time?—by the hope that she might step out of the trees, a woman now, but strangely the same, and reclaim her position in that place.The land itself is family. There are other manifestations of this connection between people and nature. The Nez Perce deal in horses and one of the girls becomes enamored of these animals the way Talmadge is bound to his orchard, seeing in the horses the same presence of a lost loved one that Talmadge sees in his land. Coplin, whose parents owned orchards in the Wenatchee County where her novel is set, knows of what she describes In my family, which is somewhat nontraditional (some of us are related by blood, some not) there is a history of domestic violence, and sexual and substance abuse. When I was growing up, only some of this was known to me—I sensed it without understanding what it was—but what was immediately before me, what was right in front of my face was the immense beauty of the landscape—orchards, wheat fields, forests—and people who did not hurt me, but loved me very much and were affectionate and kind. These elements—a child’s half knowledge of a painful family past, and sensitivity to the physical landscape—formed the book.There is such sadness here. We feel with Talmadge the loss of his sister, and it is hard not to choke up even when recalling this, long after having read the book. There is also the fire of hope that Talmadge guards, nurtures, that offers light by which to steer his course. He travels a hard road to find what he wants, needs, to give what he can, what he must. You cannot read this book without coming to feel for this man, and to admire the skill, and clearly love, with which he has been crafted. I thought of The Old Man and the Sea, except in this case the fish the old man is trying to bring home is a lost soul of a young woman, who is in danger of being consumed before he can get her to port. Coplin, though, says that her models were Faulkner and Toni Morrison. I leave it to those better versed than I to go into detail on those comparisons. There is beautiful mirroring in use here. Talmadge is searching for some peace, denied him as a child, while the young woman he wants to help is searching for a peace of her own, so long denied her by the guilt she feels for a decision taken when she was still young. Both Talmadge and his charge keep their thoughts and feelings to themselves. A scene in which horses are broken reminds a runaway of how people were broken in her earlier experience. Silences pervade in this remote place. Talmadge’s mother had preferred quiet to almost anything, and Talmadge acquired the trait. Clee, of course, does not actually speak at all, and we learn that Elspeth had difficulty speaking as well. The two runaways also speak little. There is an existential theme that permeates. Where does one’s self leave off and everything else begin? There was no wilderness to lose oneself inside. She touched her face in the dark: she had her self. But then, she thought, her self was nothing. She was nothing.Later A gentle wind, a kind of sighing, moved over the earth; and for a moment he felt as if his body had evaporatedAnd again when she was alone, when she was working, it was as if she forgot about herself. It seemed strange to state it this way but it was as if she had no outline, no body, even though the work was very physical. Where did her mind go? Her mind was steeped in the task at hand. At such times she felt a depth of kinship with the earth…There are events that take place towards the back end of this tale that some readers might find a bit of a stretch. Would this person go that far to achieve the desired end? Maybe, maybe not. But it did not detract from the whole for me. The Orchardist is not just a moving portrait of a remarkable man, but a look at how people relate to place. Not so long ago, I walked with my youngest through a particular stretch of Greenwich Village recalling events from a lifetime ago. This happened here. That happened there. An event took place in that building on the corner that changed my life. This is where I first set eyes on… I did this and such there. I told her that these streets and buildings held ghosts that called to me, “remember,” connections I cannot imagine abandoning for another locale. I get this connection to land, even if my orchard consists of wood and concrete structures and city streets rather than sylvan swaths, and bears a spectral fruit that only I can consume. I imagine most of us have similar experiences, history and place entwined in memory, sealed in, and maybe emerging from a particular patch of earth. Talmadge’s attachment is probably much more intense than many of ours, but it will resonate, I expect, for most. The Orchardist tells a sometimes harsh and more times beautiful story. You will care. Definitely have some tissues at the ready. This is a great one and you will not want to miss it. First posted - 2011 Published - August 21, 2012 [image] [image] [image] [image] [image] [image] =============================EXTRA STUFF Coplin's site does not really add much. The most recent update on her FB page is from November 2016 AC reading from the book A video interview with the author from "AM Northwest." Reading Group guide from LitLovers 8/17/12 - A review in the Washington Post should post a spoiler alert, but if that is not a problem for you the review is quite lovely. 8/23/12 - Another glowing review, this one from NPR's Jane Ciabattari, -A Lyrical Portrait Of Life And Death In The Orchard 3/7/13 - Amanda Coplin wins the Discover Great New Writers award for fiction from Barnes and Noble ...more |
Notes are private!
|
1
|
Apr 09, 2012
|
Apr 15, 2012
|
Apr 09, 2012
|
Hardcover
| |||||||||||||||
0060885599
| 9780060885595
| 0060885599
| 3.79
| 30,647
| May 01, 2012
| May 01, 2012
|
it was amazing
|
It is early in the latest Iraq war. SPC Billy Lynn, a 19-year-old, silver-star-recipient and bona fide war hero, is about to be honored at the Dallas
It is early in the latest Iraq war. SPC Billy Lynn, a 19-year-old, silver-star-recipient and bona fide war hero, is about to be honored at the Dallas Cowboys’ Thanksgiving home game, along with seven other members of Bravo company, for bravery in a battle that had the benefit of a Fox news crew with plenty of film. He is also the window through which we get a hard look at the reality of millennial America. That Ben Fountain succeeds so well in making Billy work both as a character in his own right and a literary mechanism speaks to the extraordinary talent on display. [image] Ben Fountain - image from Texas Monthly - Photograph by Randal Ford Billy has killed enemy combatants and has lost close friends. He has endured a difficult family life in which his wheelchair-bound father sought refuge from his disappointments in alcohol and bitterness. His maturity emerges when he ponders larger philosophical questions or sees through some of the shallowness and hypocrisy around him. But he is also an innocent, a virgin in many ways. Billy’s innocence displays when he is smitten with one of the Cowboy cheerleaders. He is looking for people to believe in, to trust, to admire, to help him figure out how the world works. One of the men he most admired died in his arms. Another is with him on the tour, Sergeant Dime, 24, a smart, tough soldier equipped with a highly refined bullshit detector. At the stadium Billy, seriously wanting to find out how things work in the world, wanders from adult to adult like a lost chick asking “are you my mother?” This dichotomy makes sense in a young man who has seen so much. We expect him to be uneven. [image] Joe Alwyn as Billy - image from Collider The story takes place in a single day, following Bravo from their arrival at Texas Stadium to their departure at day’s end. The half-time festivities, of which they are a part, include multiple marching bands, firefight-level pyrotechnics and a performance by Destiny’s Child. Bravo is accompanied by a military minder, a corporate escort and a Hollywood producer who is trying to put together a major film about their exploits. There are violent roadies, Cowboy cheerleaders, football players of questionable moral makeup, obnoxious fans, corporate lizards and lots and lots of people who thank Bravo for their service. Alcohol will be consumed. Weed will be smoked. Sex will be had. You will, on occasion, laugh out loud. [image] From the film - image from Flix66 Siting the story in Texas is no accident. America’s team hosts America’s heroes. Dubyah has sent these boys around the country to boost morale, and more importantly, political and popular support. Theirs is a PR-for-the-war tour. They hate our freedoms? Yo, they hate our actual guts. Billy suspects his fellow Americans secretly know better, but something in the land is stuck on teenage drama, on extravagant theatrics of ravaged innocence and soothing mud wallows of self-justifying pity.But the soldiers know that they are mere pawns: “Everybody supports the troops,” [Sergeant] Dime woofs, “Support the troops, support the troops, hell yeah we’re so fucking PROUD of our troops, but when it comes to actual money? Like somebody might have to come out of pocket for the troops? Then all the sudden we’re on everybody’s tight-ass budget. Talk is cheap. I got that, but gimme a break. Talk is cheap but money screams.This is not a cheery depiction of America. Warts are on display, maybe on the Jumbotron along with videos of Bravo in battle, and ads for everything. It is the nation in microcosm, with the soldiers just another prop pumping up the consumer to buy product, whether that be deodorant, sex or a nifty new war. [image] Garrett Hedlund as Sergeant Dime - image from CinemaBlend By creating a relatable character in Billy Lynn, and casting a smart, analytical eye over the world he portrays, Ben Fountain has succeeded in producing a brilliant book. This is not only a sharp look at America and its values, considering, among other things, the origins of the Bible, how Hollywood is like the court of Louis the Sun King, sporting events as ads for ads, elements of spectacle as catalysts for tribal violence, fear as the mother of all emotion, and profiteering in war. It offers as well recognition of innocence and optimism in this everyman, a character who, despite having stared into the abyss, still nurtures very American dreams of a rosy future, if only he can survive long enough to pursue it. UPDATES 5/7/12 - Janet Maslin's great review in the NY Times 10/10/12 - Billy is nominated for a National Book Award - Hooah! 1/16/13 - Billy is named a finalist for the New York Book Critics Circle Award for fiction. 2/4/13 - This is more of a PS than an actual update: Billy Lynn popped into my mind, on a very big screen, during the Superbowl last night. It was not a stretch to see in the NFL's use of Sandy Hook survivors a cynical attempt to associate themselves with warm and fuzzy, America and apple pie, just as was done with Bravo Company in the novel--that Beyonce, and even Destiny's Child performed added resonance to the association with Ben Fountain's magnificent book--all the while promoting a sport that celebrates violence. The irony, or is it rank hypocrisy, was gag-worthy. 3/1/13 - Billy wins the National Book Critics Circle 2012 award for fiction ...more |
Notes are private!
|
1
|
Jan 09, 2012
|
Jan 09, 2012
|
Jan 09, 2012
|
Hardcover
| |||||||||||||||
0061692042
| 9780061692048
| 0061692042
| 3.52
| 27,279
| Jun 2012
| May 22, 2012
|
it was amazing
|
**spoiler alert** Pulitzer Prize winner Richard Ford’s latest novel begins: First, I’ll tell about the robbery our parents committed. Then about the mu**spoiler alert** Pulitzer Prize winner Richard Ford’s latest novel begins: First, I’ll tell about the robbery our parents committed. Then about the murders, which happened laterReally, could anyone read those lines and not want to see what follows? Ford gently but steadily builds tension from the opening sentence, when we know murders are coming, to the event itself. In the meantime we come to care about our narrator, Dell Parsons, and have a rooting interest in how he will fare once it does. [image] Richard Ford - Image from Columbia University Part One of the novel takes us through events up to and including the robbery, after which Dell and his twin sister, Berner, are all but abandoned in their home in Great Falls, Montana. Surely a town name with some resonance. Berner takes off, leaving Dell to await rescue by a friend of their mother’s. In Part Two, this woman offers Dell her gentle strength en route to a remote Saskatchewan backwater where she delivers him to her brother, Arthur, a charismatic person with a history of violence, the biggest fish in a small, local pond, a king, in a way. Part Two is the meat of the book, the part that Ford began writing twenty years ago. Part One was written more recently, a mechanism for getting Dell across the border. How much of who we are, who we become, is determined by where we find ourselves? Is it the physical events of life that are the most significant? Is it how we feel, what we remember? There is much here about crossing of lines, whether geographic boundaries or behavioral limits. Once certain boundaries have been crossed, can one ever go home again? Can one ever grow down? What can any of us do if we misunderstand the world? Dell struggles to understand as much as he can, knowing that his father’s misunderstanding of the world he found on his return from World War II contributed to his demise. A peripatetic life certainly did not help. Does such motion seek or escape? Canada is a coming of age tale. Dell is an introspective, analytical fifteen-year-old, with a penchant for chess and an interest in bee-keeping. He walks us through his thoughts as he tries not only to adapt to life, which seems bent on buffeting him from place to place, but specifically, as he tries to figure out this latest home in which he finds himself. On a broader landscape, he tries to make sense of the world as a whole, attempting to suss out the rules for living his parents never got around to teaching him, learning to discern moral differences and make decisions based on that understanding. One specific image stood out for me, Dell discovering the rusting remnants of a defunct carnival. What an outstanding way to represent the end of innocence! In addition to immersing us in the events of his fifteen-year-old life, Dell speaks to us from the vantage point of a mature adult. So we know, at the very least, that he survives. But we do not know in what shape or situation. Knowing this alters our concern level. If we know that Dell will survive his ordeal, there is that much less to be concerned about on his behalf. It removes us a bit from the action and lets us ponder Dell’s world the way he does. But Ford does not let us float too far above the events and lose our affection for a kid just trying to figure things out. He is a decent sort and we want him to be ok. My exposure to Richard Ford is slim, having only read The Sportswriter previously. But it seems that Ford is working in familiar, comfortable themes. Examining one’s life, coping with expectations, reasonable and not, figuring out how to live in the world, all told in beautiful language. The physical world plays a larger role in this book, a landscape Ford mines for bleak, if dramatic resonance. There are stark, wide open spaces that mirror the open, still-forming character of young Dell and also serve to reinforce the harshness, the remoteness of his dark protector. Local wildlife is usually shown either as potential targets for hunters or in other battles for survival. …we saw a big coyote in the road with a rabbit in its mouth. It paused and looked at our car approaching, then walked into the tall wheat out of sight. We saw what our father said was a golden eagle, poised in the perfectly blue sky, being thwarted by crows wanting to drive it away. We saw three magpies pecking a snake as it hurried to get across the pavementPeople are gonna die. The beautiful, spare writing reminded me of Kent Haruf (Plainsong and Eventide) and David Malouf (An Imaginary Life, The Conversations at Curlow Creek). There is a softness to the text. Many years ago, while driving north on the Henry Hudson Parkway in the Bronx, I saw a vision that has haunted my dreams ever since, a car heading southbound on the other side of the divider, with traffic, but gliding by on its roof. There was no sound associated with this, no crashing, screeching, horn-blowing. Ford’s writing reminds me of this. Serious things are going on, but without the noise. The even tone makes the darkness, the challenge, somehow more effective. Always on the lookout for signposts (maybe too much) I found some items that led me nowhere, but they were probably not really signs anyway. Arthur Remlinger’s assistant, Charlie Quarters, clearly has homosexual tendencies, but nothing much is made of this other than the discomfort it entails for Dell. Naming seemed like it might offer some insight. Dell’s family name is Parsons. One of the cops who arrest his parents is named Bishop. And the Lutheran church across the street from their house crosses the stage for a scene or two, but that thread peters out. One might take the name of the town in which Dell finds himself, Partreau, which means plateau, and see in this a high place from which Dell gets to observe and learn from those around him, perhaps a reinforcement of Dell’s intellectual approach, above, in a way. It might just be a counterpoint to a character whose name means valley. Or it could just be a place name toting no symbolic value. Don’t know. Ford’s selection of Saskatchewan was not specific. When he was asked why he chose to send Dell there, he said, "he had to go somewhere." Ford had never been to Saskatchewan when he set his story there. None of that matters. Canada is an outstanding work of literature, a beautiful, stark book, and an absolute must read. PS I can’t help but imagine Terence Malik going to town on this one. Please, oh please. Also, I came across a lovely interview with Ford from early 2011, before he had finished writing the book. A significant portion of the 54 minute audio recording addresses Canada. UPDATES 6/26/2012 - Stephen Colbert did a wonderful short interview with Ford. In which we learn, among other things, why he keep his manuscripts in the freezer. Canada was awarded the Andrew Carnegie Medal for Excellence in Fiction for 2013 ...more |
Notes are private!
|
1
|
Dec 22, 2011
|
Dec 28, 2011
|
Dec 22, 2011
|
Hardcover
| |||||||||||||||
0062107135
| 9780062107138
| 0062107135
| 3.84
| 7,014
| Jan 03, 2012
| Jan 03, 2012
|
it was amazing
|
Thrity Umrigar is the internationally renowned author of The Space Between Us, an impressive tale of class and family in India. In the World We Found,
Thrity Umrigar is the internationally renowned author of The Space Between Us, an impressive tale of class and family in India. In the World We Found, she widens her domain while still writing about caste, class, religion, relationships between women and the need to make difficult choices in life. Amraiti, Kavita, Laleh, and Nishta were close friends in college back in 1970s Bombay (Umrigar’s birthplace). The world in which they lived was vibrant and dangerous. With great optimism that they could effect meaningful change and make their world a far better place, they were bound to each other, sharing politics, demonstrations, idealism, and mutual affection. [image] Thrity Umrigar - image from The Daily at Case Western Reserve Decades passed and their lives changed. One married an American and is living in the States. One is still in the closet, but getting closer to opening the door. One is married to a very successful businessman, and struggles to cope with her youthful idealism in a realistic world. And one is caught in a stifling marriage, hidden beneath a burkah. When now-American Amraiti learns that she has terminal cancer, and seeks to gather her friends together one last time, this offers the friends the prodding they need to examine the lives they have led, reconnect with each other and consider where they want to go in the years ahead. The World We Found is a long-view coming of age tale, (coming of middle age?) not the usual metamorphosis from child to adult but the arrival at a certain place much later in life from the place inhabited, in a time long past, by young adults. Here in the 21st century, four middle-aged women trace their passage from there to here. They look at the events that shaped their lives, the decisions they made, and the values they held then in light of decades of experience. Does who we are remain the same? One character says that “misery was the connective tissue that bonded humans to each other.” There was certainly that with these four, but there was more. If difficulty was an element in the friends’ bond what happens when that challenge is overcome, sidestepped, or forgotten? What happens when a friendship is no longer nourished? Can it be revived? Umrigar uses a very wide stage for her characters. There is particular attention to religious pogroms in India, in both the 20th and 21st centuries. One character visits Czechoslovakia before the fall of the Berlin Wall and what she sees changes her life, and the lives of those around her. We see Amraiti and her family living in the USA. Both men and women are injured in Indian street violence, but the victims are targeted for different reasons and choose far different solutions. Spiritual directions are portrayed, from Hindu to Islam to Parsi to atheism I was very pleased to see that Umrigar paid attention to her male characters as well. The Muslim man, Iqbal, who wants his wife to wear the burkha is not portrayed as a wild-eyed fanatic, but has a very heart-rending story that explains a lot about who he became, and why he espouses what most of us consider extreme views. The successful business man is shown not only as someone who can cope in the world of money, but as someone who uses his skills for helping others as well, someone who is caring, and who has a spiritual life. People here, male and female, are confronted with difficult situations and are challenged to make moral choices. Umrigar has offered some images of times that will not be familiar to most western readers. That certainly adds to our appreciation of the complexity of Indian history. But mostly, she has offered an outstanding group of well-developed, interesting characters. You will care about what decisions they make. You will want to know more about what happens to their lives after their page-bound tales end. Umrigar also promotes the idea that our lives are worth examining. Socrates would be pleased. The World We Found finds a great writer at the top of her game. You will find this world one worth exploring. Reviews of other books by Thrity Umrigar -----The Space Between Us - 2008 -----The Weight of Heaven - 2009 -----Everybody’s Son - 2016 -----The Secrets Between Us - 2018 -----Honor - 2022 ...more |
Notes are private!
|
1
|
Jul 30, 2011
|
Aug 04, 2011
|
Jul 26, 2011
|
Paperback
| |||||||||||||||
3.70
| 12,105
| Feb 22, 2012
| Apr 10, 2012
|
it was amazing
| Brightness never stayed long here. Laurel had learned the true of that as a child. The parakeets had flown over the cove like a dense green cloud, Brightness never stayed long here. Laurel had learned the true of that as a child. The parakeets had flown over the cove like a dense green cloud, but they'd never paused in their passing, never circled or landed. Instead the birds went over the cove the same way they would a deep murky pond. But one time it was full moon, the few minutes when enough light sifted in for the parakeets to see the orchard and its shriveled fruit. The flock curved back, low enough that Laurel could hear them calling we we we as they bunched above the orchard and began swirling downward. One by one the birds sleeved the orchard limbs in green and orange and yellow. Laurel had been in the cornfield with Hank. She should have run into the orchard right then and chased them away. But she'd just stood watching as two dozen birds pecked and hopped and preened among the branches. It was like their bodies had knit together and lifted the whole cove skyward into the sun's full light.The Cove, a remote locale in North Carolina, is a cursed place, or so everyone seems to think. The story opens in the 1950s when a man from the TVA comes by, preparing the area for flooding as part of a dam project. That the elders he encounters think burying the cove under tons of water is a good idea offers a first indication of trouble. When the man, trying for a drink in a well near some abandoned buildings at the site, brings up murky water covering a skull, we have our ending point. How we get there is the tale. [image] Ron Rash - image from HarperCollins Rash is a master at setting a mood, a rather dark one here, and he keeps the wires of tension zinging, so you know something bad is gonna go down, but the green light of possibility keeps flapping by, keeping hope alive. That makes The Cove, incredibly rich with imagery and atmosphere, a page-turner of a different sort. This is clearly not an action adventure thriller where the fate of the planet is at stake, but Rash’s ability to portray place and to offer characters that are so richly drawn, so engaging, is such that we keep flying through his tale in order to see whether their world can be saved, or is doomed by a faceless fate. World War I is almost done. Twenty-something Laurel and her brother, Hank, have survived their parents and are trying to make a living on the troubled property the locals call “The Cove.” The air grew dank and dark and even darker as she passed through a stand of hemlocks. Toadstools and witch hazel sprouted on the trail edge, farther down nightshade and then baneberry whose poisonous fruit looked like doll's eyes.Uh oh. Hank had served in WW I, but left a hand behind. Still, he is hale and hearty otherwise, works very hard on their farm and plans to marry. Laurel is doing her washing when she hears the song of a single parakeet. The cove may be the last habitat of this now-extinct bird. What is unusual about what Laurel hears is that parakeets do not appear individually, but only in flocks. She follows the sound and spies a bedraggled young man, calmly making remarkably avian music on his flute. Birds figure prominently in Rash’s beautiful tale. He offers us much information about the Carolina Parakeet, how they behave and how, at least in part, they have come to be as scarce as they are. Unwillingness to leave a fallen comrade behind enters into this, with obvious foreboding. The flutist, Walter, is inspired by the birds, in a possibly magical way, and sees that the cove has more to offer than darkness. The next afternoon he came to a brook and followed it. By then he had begun to feel feverish. A music he'd never heard before rose from the stream. The notes had colors as well as sounds, bright threads woven into the water's flow. Some of that bright water splashed up on the bank. It was green and shimmering and he scooped it up into his palm and it became a feather.Who Walter turns out to be is central to the story, but some might regard it as spoiler material to say too much here, so I am putting that at the bottom of this review for any who might wish to take a look. For now we can get by with the rather obvious intel that Boy with flute meets Girl with purple birthmark and limited prospects. The why of her prospects is a major element. Seems the locals are a superstitious lot. They really do believe the cove is cursed and Laurel’s prominent birthmark labels her in their eyes as personally cursed at least and maybe something much worse. Her intelligence does not matter much to such people. (Reminds me a lot of right-wing talk radio and Tea Party sorts) A group of local women go out of their way to shun Laurel. An image from [Laurel’s] childhood came to her. A hawk had grabbed a baby chick and then lost its grip. The biddy was hurt and bleeding and the other biddies began pecking it. Because that was what biddies did, she’d learned that day. They found one of their own sick or injured and took turns pecking it to death.Epitomizing the dangerous ignorance of the arrogant unknowing is Chauncey, draft dodger of the venal, connected sort, (clearly he had other priorities during The Great War) eager to make political hay and more than happy to whip up some anti-German xenophobia in the service of that cause. He tries to get a local language professor fired for talking with Germans, while fantasizing about his own political future. Chauncey plays a central role when his dark deeds yield trouble beyond his control. Hope and danger, light and dark, good and evil, sanity versus superstition. If Rash were a painter his canvasses would be in the Met. The Cove is so different from his masterpiece, Serena, yet displays the same power, the same delicate skill. Serena told a large tale in big splashes of color, bright reds and blues. The Cove tells its story in small images, and a palette that stays mostly on the dark side with healthy dollops of green to signal the possibilities of life and love. Serena might take up an entire wall, while The Cove would fit in among several in a room. But you would find yourself coming back to look at it again and again, appreciating this, then noticing that. Ron Rash is one of our best writers and The Cove is top-notch work. Where Serena was large, The Cove is a much smaller canvas, but just as satisfying. Personally I would put Rash himself in that other collection, the one in the American Museum of Natural History, in the Hall of Minerals and Gems. Can music, hard work and life overcome darkness, venality and ignorance? The journey to The Cove is a trip worth taking, with a Shakespearean climax that will leave you quivering. Now as for Walter. His character is based on an actual event from the war. A German cruise ship, The Vaterland, had the misfortune of being docked in Hoboken when war broke out. The German crew was stranded. When the USA declared war, long after, many German civilians who had been working on the Vaterland and the dozens of others from stranded German ships were interned, some in North Carolina. This is the camp from which Walter escapes, as detailed in chapter 3. And, obviously, as a German national in the USA during World War I, particularly as an escapee from an internment camp, he needed to lay low, being at rather high risk. UPDATES April 1, 2012 - Janet Maslin's wonderful review in the NY Times June 6, 2017 - I was alerted by GR friend Linda to the following from April 2017 - WCU's Ron Rash wins Guggenheim Fellowship - Rash deserves all the recognition there is, he is a national treasure. May 30, 2014 - Salon@615 - Rash offers introductory material, then reads from the book, followed by a Q&A - video 55:01 ...more |
Notes are private!
|
1
|
Jul 26, 2011
|
Jul 26, 2011
|
Jul 26, 2011
|
Hardcover
|
![Loading trans](https://s.gr-assets.com/assets/loading-trans-ced157046184c3bc7c180ffbfc6825a4.gif)
9 of 9 loaded