the blow up

[info]frumiousb


Counting My Blessings

An exercise in positivity.


Book 132. The Journal of John Woolman and A Plea for the Poor
doris lessing
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Being thus fully convinced, and feeling an increasing desire to live in the spirit of peace, I have often been sorrowfully affected with thinking on the unquiet spirit in which wars are generally carried on, and with the miseries of many of my fellow-creatures engaged therein; some suddenly destroyed; some wounded, and after much pain remaining cripples; some deprived of all their outward substance and reduced to want; and some carried into captivity. Thinking often on these things, the use of hats and garments dyed with a dye hurtful to them, and wearing more clothes in summer than are useful, grew more uneasy to me, believing them to be customs which have not their foundation in pure wisdom. The apprehension of being singular from my beloved friends was a strait upon me, and thus I continued in the use of some things contrary to my judgment.
pgs. 130-131

The Journal of John Woolman is a book that I have heard about for years without having read. Woolman (1720-1772) was a travelling Quaker writer and preacher who gave up a prosperous life as a clerk/tailor to follow the demands of his conscience.

In the Journal Woolman shares the story that led him on his way. Very human, he wrestles with what it meant to follow his conscience when what his conscience demanded placed him at odds with his community. He was specifically concerned with the evils of slavery. While he spoke sympathetically of those who were unable to give up income connected to the slave trade, he tried to be the example the rest could follow. He became a quiet and important influence in the Quaker community, and one of the movers that brought so many Quakers to the abolitionist movement.

Interesting, compassionate and wise. And certainly just as relevant today to many of our moral issues. There's a startling image that will remain with me of a dignified man refusing to wear dyed clothes in Meeting, since most cloth was produced using slave labor.

Recommended for everyone, but is probably of particular relevance to those with an interest in the Abolitionist movement or Quaker history.

(The book is freely available in many online archives. I read the Citadel Press edition of the book, which contained a quite helpful introduction by Frederick B. Tolles.)

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Book 129. The White Tiger, Aravind Adiga
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I like this book more the farther I get away from it. Anyhow, there seems to be more I like about it as I look back. I was less enchanted as I read. Some of that may have been the weight of the Man Booker. Some of it is that the book may not be exactly what it seems. I don't know.

One of the nice things about The White Tiger is its simplicity. Given the story, it is kind of refreshing not to see Adiga working in bejeweled sentences full of intricate and exotic description. Sometimes it feels *too* simple-- as though he lets caricature stand in for characters. Perhaps as though he's made too simple of a parable out of something more complex?

But then again, I'm not sure that characters would be doing his story much of a service.

I can't decide. Too simple? Just right? Heck, I'll even own to the possibility that 90% of the thing is going over my head and the real answer is actually "too complex." Adiga may well be one of those writers where I need to read his second novel before I decide how to read this one. Is that awful of me?

The story of a man who escapes the Darkness, or is become Darkness, or serves the Darkness. Written as a letter to the Chinese Premier. (Many people seem to have problems with this choice of addressee, but I liked it. It is another sign of a changing world; the face of the poor turning away from the West when it comes to imagining future prosperity.)

I'd recommend it, even though I'm not sure about it. I *do* find it an odd choice for the Man Booker Prize. But maybe I'll feel differently later.

Books 126-128. 3 x late Georges Simenon novels
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Maigret and Monsieur Charles )

The Disappearance of Odile )

The Cat )

Book 124. Harriet the Spy, Louise Fitzhugh
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If, like me, you find yourself on a journey to reread the beloved books of your childhood then I have a warning for you: Beware Harriet the Spy!

As a child, I loved Harriet. I identified with Harriet. Heck, sadly for me, I even looked like Harriet. I haven't picked this book up at all as an adult. I don't know what I expected to find, but it wasn't this.

I am Ole Golly. I am a childless middle aged woman who is given to reading too much and who is blessed with a limited amount of affectionate patience. Seriously. It frightened me.

And you know what? The book is quite a bit darker than I remember. Alienation, bullying, lack of opportunity, class differences, sexism-- you name it, Harriet the Spy has got it. Which isn't to say it isn't funny and true, because it is. The best books for children are often pretty dark, so I guess it shouldn't be a surprise.

Very much recommended. Certainly as a reread, at least.

Book 123. Confessions, Saint Augustine
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But what do I love when I love my God? Not material beauty or beauty of a temporal order; not the brilliance of earthly light, so welcome to our eyes; not the sweet melody of harmony and song; not the fragrance of flowers, perfumes, and spices; not manna or honey; not limbs such as the body delights to embrace. It is not these that I love when I love my God. And yet, when I love him, it is true that I love a light of a certain kind, a voice, a perfume, a food, an embrace; but they are of the kind that I love in my inner self, when my soul is bathed in light that is not bound in space; when it listens to sound that never dies away; when it breathes fragrance that is not borne away in the wind; when it tastes food that is never consumed by the eating; when it clings to an embrace from which it is not severed by fulfilment of desire. This is what I love when I love my God.

But what is my God? I put my question to the earth. It answered, 'I am not God', and all things on earth declared the same. I asked the sea and the chasms of the deep and the living things that creep in them, but they answered, 'We are not your God. Seek what is above us.' I spoke to the winds that blow, and the whole air and all that lives in it replied, 'Anaximenes is wrong. I am not God.' I asked the sky, the sun, the moon, and the stars, but they told me, 'Neither are we the God whom you seek.' I spoke to all the things that are about me, all that can be admitted by the door of the senses, and I said, 'Since you are not my God, tell me about him. Tell me something of my God.' Clear and loud they answered, 'God is he who made us.' I asked these questions simply by gazing at these things, and that beauty was all the answer they gave.

Then I turned to myself and asked, 'Who are you?' 'A man,' I replied. But it is clear that I have both body and soul, the one the outer, the other the inner part of me. Which of these two ought I to have asked to help me find my God? With my bodily powers I had already tried to find him in earth and sky, as far as the sight of my eyes could reach, like an envoy sent upon a search. But my inner self is the better of the two, for it was to the inner part of me that my bodily senses brought their message. They delivered to their arbiter and judge the replies which they carried back from the sky and the earth and all that they contain, those replies which stated 'We are not God' and 'God is he who made us'. The inner part of man knows these things through the agency of the outer part. I, the inner man, know these things; I, the soul, know them through the senses of my body. I asked the whole mass of the universe about my God, and it replied, 'I am not God. God is he who made me.'

Surely everyone whose senses are not impaired is aware of the universe around him? Why, then, does it not give the same message to us all? The animals, both great and small, are aware of it, but they cannot inquire into its meanign because they are not guided by reason, which can sift the evidence relayed to them by their senses. Man, on the other hand, can question nature. He is able to catch sight of God's invisible nature through his creatures, but his love of these material things is too great. He becomes their slave, and slaves cannot be judges. Nor will the world supply an answer to those who question it, unless they also have the faculty to judge it. It does not answer in different language-- that is, it does not change its aspect-- according to whether a man merely looks at it or subjects it to inquiry while he looks. If it did, its appearance would be different in each case. Its aspect is the same in both cases, but to the man who merely looks it says nothing, while to the other it gives an answer. It would be nearer the truth to say that it gives an answer to all, but it is only understood by those who compare the message it gives them through their senses with the truth that is in themselves. For truth says to me, 'Your God is not heaven or earth or any kind of bodily thing.' We can tell this from the very nature of such things, for those who have eyes to see know that their bullk is less in the part than in the whole. And I know that my soul is the better part of me, because it animates the whole of my body. It gives it life, and this is something that no body can give to another body. But God is even more. He is the Life of the life of my soul.


translation by R.S. Pine-Coffin )

Book 122. The Terra-Cotta Dog, Andrea Camilleri
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Oh, I really enjoyed this! I feel as though I should build this review up in a more dramatic way, but it really is a simple reaction.

I loved the setting in Sicily. I liked the plot. I liked the character of Inspector Montalbano. I am very pleased that I have another one of these sitting on my bookshelf. I am very close to delighted that the reviews suggest that this is not Camilleri's best-- I have other good things in store!

No quarrels. Just recommendations.

Book 114. The Dragons of Babel, Michael Swanwick
the blow up
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A lot to say about this book. It returns to the world of The Iron Dragon's Daughter. This is a happy thing for me, since that is and remains one of my favorite fantasy novels. I wish I had more adjectives to convey "dark" and "original". Those words are overused, aren't they? But they apply here, both of them.

The story, as is usual for Swanwick, weaves together a number of plot threads. Think of it more as a rope with many strands than as a single clear plot line. There's something about power and how it corrupts, and something else about the pros and cons of terrorism. There are magical creatures of many kinds, all inventive and lovingly detailed. There's a lost king plot too-- but I would wager it is different than you have seen that old chestnut cooked before.

There is some chaos here with all these elements cooked together. I didn't mind it at all-- I was carried along by the energy of the book itself. If you like your fantasy very neat and simple, this may not appeal to you. Also be aware that the only "young" part of this book is the original age of the main character-- I would not mistake either this or The Iron Dragon's Daughter for young adult reading. At least not typical young adult reading; I suspect that there would be rather too much adult for many parents here.

Book 105. A Russian Diary, Anna Politkovskaya
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One alarming note was that some of the participants imagine that Putin is being misled, that he hasn't been given the true picture. The Tsar is a good Tsar, but the boyars are bad men. An old, old Russian story.
pg. 139
On 7 October 2006, the journalist Anna Politkovskaya was assassinated. She was shot dead in the elevator of her apartment building in an apparent contract killing. It is very important, I think, to bear this ending in mind while you read A Russian Diary.

Politkovskaya is not objective. This is not a personal diary. You will not find charming anecdotes about her personal life interspersed among the political commentary. She often sounds like that friend you had at college who would not stop ranting about her conspiracy theories and the fact that the world is going to heck in a handbasket. Except that she ends up dead for her ideas. A good reminder not to confuse Russia with the West.

Politkovskaya is angry, passionate. She refuses to stop caring. She refuses to be objective, because objectivity comes too close to numbness. This is a partial book (in several senses)-- think of it as an act of witness. She writes her rage at what Russia has become day by day.

She is very smart, and often funny-- albeit in a dark way. I had the feeling I would like her. And I hate how her story ended. It isn't an easy book to read. I still think as many as possible *should* read it. Decide for yourself.

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Book 104. Perfect Circle, Sean Stewart
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I think I have said this before. Several times before, even. Sean Stewart is a *wonderful* writer. His characters have great sensitivity and depth. His humor is subtle, but effective.

I have not always found his plotting skills were as good as the rest of the package. I thought the first few books I read by him were slight and a little bit easy to forget. Then I read Mockingbird, and it was an astonishing novel. Everything good combined to be something great-- I still really recommend it.

Perfect Circle is not, to my mind, quite as good as Mockingbird, but it is awfully close. Ostensibly about ghosts (at least according to the cover), it is more about a man trying to fix his life in the face of unusual talents and the usual handicaps. There was something about the plot that reminded me oddly of Douglas Coupland's novels. I suspect neither author would appreciate the comparison, but there you go.

When I look back on the book, I find the ending has melted away from my memory. I can discover it back again quickly. Still, there is something a little unfinished about the ending which makes it slightly less strong than Mockingbird. At least for me.

Meet William "Dead" Kennedy and find out for yourself.

Book 103. Lectures in America, Gertrude Stein
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Sentences and paragraphs. Sentences are not emotional but paragraphs are. I can say that as often as I like and it always remains as it is, something that is.

I said I found this out first in listening to Basket my dog drinking. And anybody listening to any dog's drinking will see what I mean.
pg. 223
This book is an old friend. As a student, I wrote my thesis on Stein, and spent many hours examining these texts for insight into her writing. Lectures in America is among the most lucid of her prose work; perhaps I should say it is among the most easily accessible of her books in general.

I never owned the book, however, which meant I was delighted when I found this Virago Press edition. Prefaced by Wendy Steiner, it was very fine to have a chance to revisit the work. I remembered it very well indeed. Familiarity meant instead of struggling with her unique style, I was able to dive right in to the sections which I had neglected in college. For instance, I spent a lot more time with her section on "Pictures" than I had in the past.

Lectures in America is a body of essays written for her lecture tour of the states following the unexpected success in 1933 of The Autobiography of Alice B. Toklas. The tour attracted large and enthusiastic audiences, and Random House brought this book out, hoping to ride the wave. Alas, the Lectures did not sell well, and slipped into being the property of academics and the odd Stein fan in the wild.

The book consists of the following sections:
  • What Is English Literature
  • Pictures
  • Plays
  • The Gradual Making of the Making of Americans
  • Portraits and Repetition
  • Poetry and Grammar
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Book 101. Sister Carrie, Theodore Dreiser
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I read An American Tragedy many years ago. I do not remember very much about it. I remember that it moved me, but that I forgot it quickly. Sister Carrie is my second book by Dreiser.

I was dreading the book, at least a little bit. It seems to be universally damned with faint praise. I have heard readers describe the prose as awkward and overblown. I remember a Salon column snarking about it some years ago. I have heard that Dreiser's prose improved with the other novels, and have been told that it was possible to skip Carrie. And so on.

I loved it. That's a little bit lacking in nuance-- there *were* places that I got the criticism. At times I might have wished for other pacing. It has little flaws in the execution, and I suspect that you have to be able to swallow Dreiser's overall style. He's not lithe and little and zippy. His writing is sort of like a hoop skirt-- elegant from some angles, ponderous from others, not really very practical all around.

This said, I have rarely read a novel that treats so very well with character in time and place. Caroline Meeber is the kind of woman I find utterly unsympathetic. Her literary heirs generally fill me with irritation and vague revulsion, no matter how sympathetically portrayed. You know what I mean-- the lovely young animal, the woman who wants but doesn't think, the actress. Dreiser does a remarkable thing. He doesn't really make her sympathetic, exactly, but he makes her understandable. He makes a type of person who rarely seems human very human indeed. And a product of her time. The book is as much about the fragility of success in the early industrial era as it is about the individuals involved. Carrie comes through the mill unhappy but unscathed. George Hurstwood breaks himself in the traps of the time, forgetting that by serving the wealthy he does not actually become invincible. Terrible and true.

I believe that the strength with character in the text outweighs any flaws in the prose style. Perhaps I will be less impressed with a later reading, but right now, I would recommend it.

(Sister Carrie has an odd publishing background, by the way. There are several published versions of the book. I read the Penguin Classics unexpurgated version, and it seems to make a real difference if you get the earlier published versions which Dreiser self-censored in order to get the book printed. If in doubt, take a quick look--not enough to spoil your ending!-- at the last few pages. If it ends with Carrie, you've got a bowdlerized edition. If it ends with Hurstwood, you've got one of the unexpurgated or repaired editions. I found the foreword of my edition by Alfred Kazin helpful in understanding the publishing history.)

Book 94. Ship of Destiny, Robin Hobb
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I really enjoyed this series )

Book 92. The Gammage Cup, Carol Kendall
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A Novel of the Minnipins

B. got really sick of this book by the time I was done reading it-- I kept poking him to read passages out loud. This has a specific context. Since my husband is Dutch and I live in the Netherlands The Gammage Cup has some particular resonances. Most particularly, one of the things that I *always* choke on here is the (in my opinion) neurotic insistence that All Houses Should Look Just Like All Other Houses-- in the name of harmony. An acquaintance of ours was involved with a long-standing battle with the city since he repainted his house its original historical color, but it turned out not to be in the list of approved colors and oh-- it was just so incredibly ridiculous. He had to change the color, in the end, history be damned.

Anyhow, one of the big points of The Gammage Cup is that things that look different are Not Evil. Part of the basic premise is that there is a little town with a few rebels in it, and these rebels do Shocking Things. One of the Shocking Things is that they keep insisting on painting their door the wrong color. For which they are exiled. This part of my review probably doesn't help anyone, but if I had a million dollars I would have this book translated into Dutch with brightly colored illustrations and pass it out to all school age children for free.

This is one of those children's classics that I never read as a child, and at the urging of an online acquaintance got around to doing so now. It is a Newbery Honor Book and deserves to be one. Muggles, Gummy, and Walter have aged well since the book's release in 1959. I'm really glad that I got to know them here.

Perhaps not a perfect book-- the lurking menace wasn't very well fleshed out, and at times Kendall was a *bit* too heavy-handed with her message. Still, probably worth reading for grown-ups and younger readers alike. Enjoy.

Book 90. He Who Fears the Wolf, Karin Fossum
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This is my third book by Karin Fossum and my admiration for her work grows with every book that I read. It feels as though she is continually slicing up the mystery genre to find a new and unexpected way to explore the darker sides of people-- a fresh way to examine loss. In this novel, she uses a mad suspect, a murdered old woman, a hapless bank robber and the moody Inspector Sejer to paint her picture.

If I had to rank them, I'd say that Calling Out for You is still my favorite. I fought He Who Fears the Wolf just a little bit since I wasn't that interested in the interplay between Errki and his kidnapper. It wasn't bad, but it just didn't spark my sympathy and engagement as fully as the rest of the book.

Still, I'd recommend everything that I have read by her to date.

Book 88. Imaro, Charles Saunders
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I believe that I first read about Imaro via [info]marthawells, so thanks for that. When a writer I really admire recommends another writer as really worth admiring, it generally sends me looking for the wishlist button. (Or even a paper and pen.)

Imaro is really worth reading, even if these kinds of fantasy/adventure tales are not your cup of tea. They aren't really mine, but I liked this book. I hear it compared to the Tarzan books quite a bit, but I would actually say that it reminded me more of the John Carter/Mars novels. That may simply be because I like Barsoom and was never really able to dive into Tarzan. In any case, Imaro is a book in a similar genre-- using African myth and legend to tell the story of an above-average hero who is somehow unable to find a safe home even as he conquers his enemies and grows in strength and skills. These kind of books seem to be less character-driven and more built around the idea of a central superior character whose traits give him the perspective to interact with all the exceptional elements of the world around him. Imaro is just that little bit stronger for the fact that Saunders also gave his character some depth. There's something of the Clint Eastwood cowboy in Imaro-- always alone, always haunted by violence, always set apart from his peers.

This book is really a collection of short stories which are woven together in a narrative. As noted in other reviews, some elements of the book have been altered since their original publication 30 years ago.

I enjoyed it, and I also enjoyed something different from this type of book than the typical golden age white adventurer lost in savage lands. Imaro is special in that the project is in itself important. I can imagine that this is a much needed book for parents of young children with an African heritage. Finally a view on African myth and history that tells a different story than the usual exotic perspective.

I was sorry to read that Nightshade Books, who brought Imaro back into print, stopped publishing the series with the second book. I do have to say that I wasn't terribly impressed with the quality of the book itself-- the pages were starting to fall out before I was halfway through the book. I have no idea if this is typical of Nightshade or not. The introduction was by Charles De Lint.

Recommended.

Book 87. Journey into the Whirlwind, Eugenia Semyonovna Ginzburg
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(trans. Paul Stevenson)
At dawn some sparrows, who had evidently not heard that this was not a pleasure resort and that Popov, the prison governor, had categorically forbidden all contact between birds and prisoners, perched boldly on the edge of the wooden screen, their tails fluttering comically. With joyful voices they ushered in the grandest month of the year. It was the morning of August 1, 1937.
pg. 169

This book is many things: a compelling read about survival under terrible circumstances, a glimpse into the madness of Stalinist Russia, a view on how an atmosphere of political terror can be created, a journal of an extreme prison experience.

Ginzburg was (and apparently remained) a loyal and blameless communist, but in 1937 was arrested with the charge of belonging to a terrorist organization. The incident that sparked the accusation was that Ginzburg, a writer and academic, had failed to denounce a Professor Elvov who had made some doctrinal errors in a chapter that he had written in a history of the Bolshevik party. She had failed to point out the errors in a review of the book. (This arrest was part of the political madness that followed the murder of Sergei Kirov.) She was separated from her family. Her husband was also arrested, and later died in his captivity. She was allowed no contact with her two sons. One (Vasily Aksyonov, the writer) was allowed to rejoin her in Siberian exile 11 years later, while the other died of starvation in the Siege of Leningrad. She was not rehabilitated politically and allowed to return from exile until 1955.

I expected the book to be depressing, and it is. Man's inhumanity to man, etc. What I expected less was how inspiring it was also able to be-- the way that humans can find strength and grace from things as simple as a sparrow singing outside the window, memorized poetry, an odd book placed in the prison. One of the most moving anecdotes from the book involves the way that Ginzburg wrote poetry while in prison. With only one sheet of paper available to her, she wrote until the page was full then memorized the text and erased the page to begin again. The spirit, unable to be completely broken.

Highly recommended, both from the historical and human perspective.

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Book 81. The Prime of Life Simone de Beauvoir (trans. Peter Green)
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When I undertook to write about myself I found that I had embarked upon a somewhat rash adventure, easier begun than left off. I had long wanted to set down the story of my first twenty years; nor did I ever foget the distress signals which my adolescent self sent out to the older woman who was afterwards to absorb me, body and soul. Nothing, I feared, would survive of that girl, not so much as a pinch of ashes. I begged her successor to recall my youthful ghosts, one day, from the limbo to which it had been consigned. Perhaps the only reason for writing my books was to make the fulfillment of this long-standing prayer possible.
pg. 5

Simone de Beauvoir is one of my favorite writers, and her books are always to be savored. This is the second volume of her autobiography, and covers her life as she leaves home and school until just the end of the war. If Memoirs of a Dutiful Daughter was a record of her formative years, then this could be seen as a woman and a writer coming into her own.

As a reading experience, it isn't quite as engaging as Memoirs of a Dutiful Daughter-- at least not initially. (Although, as I recall, I had some trouble getting into that book at first as well.) In these autobiographical efforts, de Beauvoir has a habit of minutely examining the past and her memory of how it all fit together. It makes sense with her project, and is part of what makes it rich. However, it can also make it challenging to read-- particularly when dealing with topics that are already as complex as philosophical and political development.

What I most took away from the book was the way that Beauvoir struggled with her vocation, and how she compared herself to Sartre in that sense. She says many times in many ways that unlike Sartre she saw her life as her goal and not her work and writing. She spends a lot of time examining what that meant in terms of how quickly she developed her novels. It's a question that I struggle with myself, and I found it quite rich to watch Beauvoir working it out during her young adult period.

Recommended, particularly if you have any particular interest in de Beauvoir as a writer and thinker, but I would naturally start with the first volume and not here. I read the edition with the translation by Peter Green, and while I cannot evaluate the quality of the translation, I at least did not trip over the text.

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Book 80. Calling Out For You (The Indian Bride), Karin Fossum
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strong enough to support its open-endedness )

Book 76. The Girl with the Dragon Tattoo, Stieg Larsson
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I was curious to see that this book seems to have inspired quite a few mixed reviews. Which in turn inspires me to cover a few warning points for the potential reader:

1.
It isn't the most fast-paced of mysteries. The story knits together several quite divergent themes and it requires quite a bit of back story to accomplish its task. I enjoyed it, but if you prefer your thrillers/mysteries taut or want all your information revealed through dialogue, then this is most likely not the book for you.

2.
One of the themes that Larsson develops clearly has to do with sexuality, power imbalance, and violence. Personally, I think that he treats the subject very well. Some good things-- women over 35 have charisma, and a sex life, and attract lovers. A wonderful change from the persistent trope that matches the hero in his late 40s with the super scientist/astronaut/top academic who just happens to be a permanent 32.

There are also relationships depicted between younger women (early 20s) and older men. Unusually for me, I appreciated the way that this is handled. Particularly with the character of Lisbeth Salander you see the power imbalances and problems that these relationships can bring. It's also very hard to disconnect the "good" relationship that she has with an older man from the abusive ones that she experiences. I think that the tension is deliberate, and very smart. This said, there are images here that could be read in a variety of ways and that could potentially be triggering for a reader. Some scenes are quite explicit, and very disturbing.

3.
This is a book in translation, and that always loses something. Reg Keeland seems to have done a good job (at least a Swedish friend of mine thinks so) but there is a kind of inevitable flattening of dialogue that is difficult to avoid. It will read differently than a book by a native English writer.

*****

I really enjoyed the book and am looking forward to both reading the sequel and seeing the film. It kept me well entranced for several days. I'd recommend it-- bearing the caveats above in mind.

Book 75. 2666, Roberto Bolaño
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When did it all begin? He thought. When did I go under? A dark, vaguely familiar Aztec lake. The nightmare. How do I get away? How do I take control? And the questions kept coming: Was getting away what he really wanted? Did he really want to leave it all behind? And he also thought: the pain doesn't matter anymore. And also: maybe it all began with my mother's death. And also: the pain doesn't matter, as long as it doesn't get any worse, as long as it isn't unbearable. And also: fuck, it hurts, fuck, it hurts. Pay it no mind, pay it no mind. And all around him, ghosts.
pg. 231

translated by Natasha Wimmer

I've been sitting here in front of the computer for some time now, trying to find something smart to say about this book. And failing.

Let's start with the basics. 898 pages. This is a posthumous work-- Bolaño died after he had given the first draft of the eventual book to his publisher. So an unfinished work-- or at least unpolished. This said, I've only read one other work by Bolaño, but that one was finished/polished and that experience doesn't give me the expectation that 2666 would ever have been more resolved. It might have been cleaner, perhaps. But I have the feeling that the loose ends are what they should have been.

2666 is divided into five sections: The Part About the Critics; The Part About Amalfitano; The Part About Fate; The Part About the Crimes; The Part About Archimboldi. The first part is very nearly funny. Parts three and four are everything except funny. The last part is the most curious, and probably the place where most people (me included?) got lost. The subjects? Academics, history, atrocity, rape, memory, documentation and the border between art and violence. Quite a different book than Distant Star, the other book that I've read by Bolaño, but the themes are similar-- as though this were a longer meditation.

I don't know how a book manages to be dislocating, distancing and passionately despairing all at the same time. I suppose this is the best use of the long form that I have seen, in that sense. It seems a waste of time to call this an amazing accomplishment. But this is what it is. I was nearly fully absorbed in it, even when the droning list of crimes started to feel like 120 Days of Sodom. Can be very hard to read in places-- the narrative voice teaching us a lesson that no matter how you repeat outrage, you cannot completely desensitize yourself. But on the other hand, if death is repeated over and over again, it becomes something else-- elements in a play? A fairly horrible way to use the events in Ciudad Juárez (Santa Teresa), but this is the world where writers behave like military men. And vice versa.

Smart. Desperate-- as though he wasn't finally able to see any light at the end of the tunnel, even with all the tenderness and family love in the world. But then again I have the feeling that if I were to read it again, then I might come out in a different place altogether.

Read it.

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