It's difficult to write about this book because it is almost impossible to relate the protagonist. Charlie, the narrator, is an unconventional teenag It's difficult to write about this book because it is almost impossible to relate the protagonist. Charlie, the narrator, is an unconventional teenage boy and by that, I mean seriously wacky. Like that stoned Bipolar guy who reads Allen Ginsberg in Philosophy 101, the one that broke down in the middle of a lecture because he had a sudden epiphany about the meaning of life. Yeah. And then I had to put up with his rambling about capitalism and Heidegger. (Yes I have a problem with liberal arts hipsters)
The story is set up with a way that you experience Charlie's change linguistically, and I'm thankful for that because for the first 50 pages it felt like Camus all over again (which ironically, is also featured in the novel). I assume I'm supposed to resonate with the characters, being a teenager, introvert, and passionate reader myself. However, you can't help but feel frustrated most of the time, the amount of time he spends crying for example, and his inability to just get over things, and the way he drags his sentences like this. The sympathy is inevitable but forced. The ending is slightly abrupt and certain themes would have been developed further.
One thing I love is how quiet it is consistently, even when the 'conflict' comes up you don't feel the need to chuck the book and yell at the author. It's like ambient music, best enjoyed in a particular mood but limited to that. There are too many coming of age novels that are completely epistolary but this is definitely not a teen cliche. Unless you count The Smiths and Catcher in the Rye. Goddamn it EVERYBODY picks Camus over Kafka. ...more
I liked the book. She didn't, but she lent it to me anyway. I offered her another chance to read it again, but she wReview in Elliot Perlman's style:
I liked the book. She didn't, but she lent it to me anyway. I offered her another chance to read it again, but she was always working. In fact, it is not too dramatic to say that I enjoyed the book immensely. But she never understood me. When I think about it now I realised that I have invented her image alone. When we first started we would read together. I didn't think she enjoyed her administration work. But now I think she takes comfort in it. I'll read the book again, without her. The hardcover version weights down my bag, and I can't carry it to the office without her noticing. She went through phases. A while ago she was fond of books with green covers. One night in bed, I asked if she could make me a cup of hot chocolate and she said she had to finish a book of poetry. Having turned the radio off, I wondered if she had ever woken up with an inexplicable panic inside her.
Before you start: Wow I can't believe I finally have a Nick Cave in my hand! I've been waiting for 2 months unReading Nick Cave is a lot like dating.
Before you start: Wow I can't believe I finally have a Nick Cave in my hand! I've been waiting for 2 months until I can physically see the book back on the shelf. Cave's such a talented musician and original poet (great open-mic by the way), this book can't possibly go wrong.
P. 1-20: what an exhilarating opening! The description is observant without being trivial, dialogue minimal and the characters more philosophical then what Camus and Sartre combined.
P. 20-60: ok....nothing much is happening, they appear to be on a road trip. But I'm sure Cave is just being reserved with his writing and his subtlety will sure lead to something dramatic later.
P. 61-100: They're still on the road. Hmm....
P. 101 - 130: Still driving *yawn* oh well, let's have more sex
P. 131 - 170: Do you want to do something this weekend? What do you have in mind? Nothing? Hmm...*long pause* Maybe I'll go rent some movies?
P. 171 - 220: Look, I'm tired of your pretentious attitude, WHY ARE YOU DOING THIS? WHAT HAVE YOU BECOME? DO YOU LOVE ME?
P. 221 - 250: ................
P. 251 - 270: Darling, I know you're trying to make it up by bringing in more crazy characters and David Lynch-ish surrealism. But no, it's too late, too late.
P. 271 - 278: Wait what? That's the end? What happened?
Sorry Nick, look, it's nobody's fault, we shouldn't blame each other. Somehow we've just drifted apart, these things happen you know. Maybe we're just not right for each other, I'm sure you'll find more a more suitable audience here on GR. It has been an unforgettable, albeit short journey and you have shown me how autobiography isn't the only thing a musician can write. The sex was good as well. So that's it I guess, I'll see you around.
I hope Nersesian didn't win an award for this book because to be honest, I can't be bothered to check his profile page. Thanks to the mediocrity of ThI hope Nersesian didn't win an award for this book because to be honest, I can't be bothered to check his profile page. Thanks to the mediocrity of The Fuck-Up, however, now I can enjoy whatever I plan on reading next, even if it's a Meg Cabot. ...more
If you started reading it and didn't like the language/format/setting/plot, dont bother. This is not the greatest book in the century, and hardly JameIf you started reading it and didn't like the language/format/setting/plot, dont bother. This is not the greatest book in the century, and hardly James Joyce, but it has the potential to make you cry, and the power to re-awake your anti-war spirit. ...more
The main plot from Tatia Rosenthal's $9.99 (2008) is technically adapted from several of the short stories here. I said technical because the attractiThe main plot from Tatia Rosenthal's $9.99 (2008) is technically adapted from several of the short stories here. I said technical because the attraction of Etgar Keret's short stories (besides being ridiculously good looking for a writer) is his ability to construct a fantasy that seems so palpable and possible, and as a result the film differs from it by taking another route into pure abstraction. 'hmm, all the characters and props are the same, but somehow I feel like I'm reading something completely new.' Another reason for that is Keret's extremely laconic style which tends to welcome different interpretation. Mies van der Rohe's Less is More principle applies to the stories both linguistically and conceptually. In order to appreciate The Nimrod Flipout, you really need to finish every single story in order to grasp the overall 'point' of it, if there even is one.
Anyway, I guess I'm slightly biased because the film made such a big impression on me. It's ironic since I can see how the stories are meant to be looked at for a few seconds then completely forgotten until one afternoon, stuck in traffic after work, out of nowhere you have an epiphany about the meaning of life - then you remember how Keret has wrote about it already. They are something you would eventually relate to in the long term, but right now just read and don't expect too much. ...more