This is a very intricately woven book. In order to fully understand everything that is happening I think it is really necessary to discuss it with somThis is a very intricately woven book. In order to fully understand everything that is happening I think it is really necessary to discuss it with someone else as you read it....more
I found this book at a library sale, and ended up buying it because I like the way the first page read. Unlike many of the people who have reviewed thI found this book at a library sale, and ended up buying it because I like the way the first page read. Unlike many of the people who have reviewed this book I loved it from the beginning. Trudi's insight into the world is amazing, and while very mature for her age, with a slight mental leap, completely believable.
Ultimately this is a book about differences. When we begin the story, Trudi and her friend Georg are the outcasts, but as the plot progresses-- as the Nazi's gain more power and WWII begins-- who is and isn't an accepted part of the community continues to morph. What becomes important is how people deal with their relative societal acceptance, as well as how they treat those who have been deemed outcasts. With a satisfyingly ironic ending, it is immensely clear the author hopes this book will challenge our considerations of all those on the the periphery of society....more
This is a wonderfully written account of a stick of a girl who doesn't know who she is and how she becomes a woman who knows who she is and pursues heThis is a wonderfully written account of a stick of a girl who doesn't know who she is and how she becomes a woman who knows who she is and pursues her own happiness. Hurston moves well between well written prose and dialect, and creates a realistic environment for her heroine to grow and develop in. (yes, I just ended a sentence with a prep.) This is a wonderful feminist novel, and something I would give to junior high/high school girls to read (especially now that I've been coaching high school girls for three years).
Unfortunately, it's been a while since I read this book so I can no longer discuss it well in depth, but I highly recommend it to anyone, but especially those who appreciate books with emerging heroines. ...more
The Road amazes the reader, not only with its lyricism but also with the challenging nature of the text. Not because the prose proves difficult in andThe Road amazes the reader, not only with its lyricism but also with the challenging nature of the text. Not because the prose proves difficult in and of itself-- most of the book is rather simply written-- but because the images and emotions stirred up by the prose are so extraordinarly shattering. You'll be reading along, filled with the emptiness, the absolute starkness of the dystopia McCarthy has created, and suddenly an intricately brutal scene will stop you in your tracks. And you'll have to take a moment to recover, to return to the real world for just a little while in order to continue.
But, violence and pain don't only exist in this work for the sake of violence and pain. If they did, then it wouldn't be the great work of art that it is. With seemingly simplistic poeticism McCarthy creates a whole other world for us thoroughly and vividly. He manages to take several well-known literary themes/characters/subjects (constant wandering, Jesus figure, father/son relationship, love, hope, life in a dystopia) and completely change how we view them.
But, here's what I find most interesting, and what I would love to hear other people's thoughts on.
1) I love the way in which McCarthy takes the breakdown of civilization into everything, including speech. The ways in which he simplifies the language of the people-- the omission of apostrophes, the single syllabic style of talking-- really just emphasize everything these people have lost.
2) The use of "I". There are four or five instances where we hear "I" from the father. But, I think there is a chance, perhaps, that a couple of these (and I'm sorry I can't quote pages, I don't have my copy with me, but they are near the beginning of the book) could be metafictional. I'm referring to the passages that say, roughly, "please don't make me look at this anymore, I don't want to see what's going to happen." What if this isn't the father talking? What if this is the author, looking in, and saying, I know what's going to happen and I don't want to have to immerse myself in the pain of these characters, please take this away? Any comments on that would be welcome. ...more