Cloud Atlas by David Mitchell is divided into 6 separate stories that encompass 6 distinct genres told in 6 distinct writing styles. Its designation aCloud Atlas by David Mitchell is divided into 6 separate stories that encompass 6 distinct genres told in 6 distinct writing styles. Its designation as a novel, despite some ham-fisted echoes of one story within another, is really up for debate. It is also one of those post-modern “experiments” that self-reflexively defends itself against its critics.
So, before the reader can decry that the thriller section, entitled “Half-Lives: The First Luisa Rey Mystery,” is sub-par Crichton and Grisham, another character remarks that the very text you have just read is written in “neat little chapteroids, doubtless with one eye on the Hollywood screenplay.” But, I guess my question is: if a character knows the writing is hackneyed and clichéd, and by proxy, Mitchell, the author, knows he is riffing on the supermarket checkout potboilers, does that make it anymore pleasurable for me to read 98 pages of this stuff?
And, before one gets too hung up on the weaknesses of any one particular section, the polymath Mitchell has already moved on to another literary form and voice: a journal echoing Melville’s later name-checked Typee, epistles rife with Victorian turns of phrase, a biography of a “veddy, veddy” British cad, an interview with a “fabricant” right out of Dick’s Blade Runner, and so on and so on, around the bookstore we go…
By the time I reached the novel’s center, a post-apocalyptic vignette told in a created patois mimicking slave narratives, I became ever more sure that Mitchell was great at literary gamesmanship, but he was very poor at holding the attention of a reader like myself who usually embraces a challenge. I love the post-modern trickery and difficult allusions of someone like Delillo, but in contrast, Mitchell’s experimentation comes off as a masturbatory exercise in search of engaging character and narrative. Maybe the fact that I’m not a fan of some of the authors and genres that Mitchell so openly uses as ventriloquist dummies only exacerbated my frustrations.
So, where do I come down on this one? The sheer audacity and scope of the novel is awe-inspiring at times. Several times I wondered, how could someone write this? (Of course, maybe a more apt question would be, why did someone want to?). And I was engaged by the end by its exploration of oppression and the power of storytelling to record facts and fictions alike—themes that are really more clearly delineated (even didactic) by the novel’s close than I initially suspected they would be. And, I probably wouldn’t dissuade another adventurous reader from picking this novel up. But, boy, it sure is a slog…
Being as it is near impossible to gauge the narrative strength of “A Christmas Carol”—the basic story and its many film and animated adaptations so inBeing as it is near impossible to gauge the narrative strength of “A Christmas Carol”—the basic story and its many film and animated adaptations so ingrained in our culture—I still can’t help myself from wondering if “The Cricket on the Hearth” would not be an even more beloved holiday staple if only more people knew of it. “Cricket” was, after all, more beloved in Dickens’s own time. The narrative twists and beautifully written passages give ample reason why a 19th Century readership, if not even a 20th and 21st century one, would prefer it. Of course, how many people are even thinking of Dickens’s knotty sentences and didactic moralizing in his original “Carol” text when they claim to love the book? Aren’t they usually just thinking of Alastair Sim or Mickey Mouse?
The real dud out of these first three of Dickens’s five holiday novellas is definitely “The Chimes,” another supernatural holiday story about the mistreatment of the poor, this time at New Year’s Eve. However, instead of Ebenezer Scrooge, one of literature’s most villainous of characters who is in due need of his comeuppance, Dickens’s New Year's goblins pile their heartbreak upon the seemingly good-hearted and undeserving Toby “Trotty” Veck. Clearly an attempt by Dickens to try to cash in again on the earlier success of “Carol.” ...more
Vowell describes Americans as “fun-loving dopes” and admits that she has come to appreciate her “one dumb-ass little passion” of Pop-A-Shot arcade basVowell describes Americans as “fun-loving dopes” and admits that she has come to appreciate her “one dumb-ass little passion” of Pop-A-Shot arcade basketball precisely because it has “no point at all.” And, while such an ethic can provide for a breezy and intermittently smirk-inducing read, the inclusion of some essays in this collection for seemingly “no point at all” (toss-offs on Tom Cruise, former Dallas cowboy coach Tom Landry, and New German Cinema particularly read like non-sequiturs) starts to make the columns of Maureen O’Dowd almost look like probing and restrained editorials by comparison.
Luckily, for both Vowell and her readers, her deft handling of topics like the commodification of natural and historical sites, our growing divide from our parents and distinguished figures of the past (the great “The First Thanksgiving”), and our national want to create an unvarnished historical record of our country (the two standout pieces, “California as an Island” and the titular, “The Partly Cloudy Patriot”) add some much needed heft to this hit-or-miss collection, in the end warranting a few hours of your time to weed out the gems.
Choice line: “A person keen on all things French is called a Francophile. One who has a thing for England is called an Anglophile. An admirer of Germany in the 1930s and ‘40s is called Pat Buchanan.”...more
Much has been made by historians of literature, and in the preface of this very edition, of the importance Guy de Mau4-Star rating for Pierre et Jean.
Much has been made by historians of literature, and in the preface of this very edition, of the importance Guy de Maupassant’s “Pierre et Jean” plays in the shift in French literature from the traditional realist novel to a newfound concern with the interiority of characters. However, it is equally important to note that such a distinction is not only of academic interest, but it is also what makes this short novel, from a writer more famed for his short stories, remain so exciting and vital for modern readers.
Maupassant sets up a fascinating dialectic between two brothers, the elder Pierre, representing rationality triumphing over emotion, and his younger and more cherished sibling, Jean, representing the dominance of heart over the mind. Pierre can be spiteful, selfish, and lazy, but de Maupassant deviously makes him introspective and aware of his failings. The more he wrestles to become a better man, and the more de Maupassant hints that he may not be the only one to blame for his venomous feelings, the more readers are lured into identifying with him. One particularly striking passage dramatizes the violently oscillating thoughts within Pierre’s own mind juxtaposed against the raging breakwaters in the beautifully realized environs of the port of Le Havre.
The even shorter ‘novelette,’ “The Roque Girl,” is of note for its deft use of the elements of detective fiction and for the shocking description of, and the attendant prurient interest of the local townspeople in, the rape and murder of a young girl.
Other notably strong stories included here are “Mouche,” “Shepherd’s Leap,” “On the Water,” and “In the Fields.”
NOTE ON THIS EDITION: Many of the short stories noted in the preface and the short de Maupassant bio of this edition as being his most famous and lasting works are omitted here, because, according to scholar Francis Steegmuller, they have been published innumerable times elsewhere. I would think one or two, namely “The Necklace” or “Boule de Suif,” would be included. ...more
Bret Easton Ellis has always adopted two distinct personae as an author—that of the lurid purveyor of ultra violence and base sexual appetites set outBret Easton Ellis has always adopted two distinct personae as an author—that of the lurid purveyor of ultra violence and base sexual appetites set out to shock a bourgeois critical establishment that dares to question his literary mettle, or the closet moralist who wags his finger at the involvement of his characters, and the attendant interest of his fans, in said behavior.
Interestingly enough, it is these same warring impulses that put Ellis in a real narrative predicament in Imperial Bedrooms, a sequel written for the 25th Anniversary of his first novel, Less Than Zero. Does he force his narrator, Clay, to undergo a moral catharsis and risk scorn from his fans and critics alike for attempting to humanize the hollow, affectless character remembered from the earlier novel, or does he remain true to the moral turpitude and relentless vacuity of Zero and risk simply repeating the very narrative that he is supposedly continuing?
After reading Imperial Bedrooms, I think that I can answer the latter question with a certain degree of certainty: Ellis is not afraid of repetition. Where I may see narrative stasis, Ellis likely sees thematic unity with his earlier work.
As stated, this is a literal sequel that features most of the same characters, in mostly the same emotional states, from Less than Zero. One short interlude Clay spends with two teenage prostitutes—one male, one female—would be better suited to Patrick Bateman of American Psycho fame. The conspiracy murder plot echoes the equally aimless and unresolved terrorist plot of Glamorama. The threatening phone calls and texts, along with the meta-narrative that includes Ellis himself as a character in the novel, are brought in part and parcel from his last disappointment, 2005’s Lunar Park. The only thing missing from Imperial Bedrooms, other than the kitchen sink, may be the literal vampire from the interconnected vignettes of The Informers (although Clay has written a screenplay for a movie similarly named The Listeners).
Equal parts Hollywood satire, Raymond Chandler noir parody, and a mixtape of Ellis himself, Imperial Bedrooms can’t help but feel like a muddled toss-off—in fact, at a mere 170 pages, and sporting margins wide enough to fit your thumbs in, it is hard to even call it a novel. However, if there is interest to be found here, it is in trying to decide where Clay stands at the narrative’s end in relation to the question I posed at the outset: is he a reformed hedonist, or, as David Bowie might say, is our Major Tom now just “hitting an all time low”?
In the best passages of the novel, Clay reveals a newfound vulnerability as he becomes involved with Rain Turner, an aspiring starlet who is trying to net a role in the film being made from his screenplay (if his sway as a producer trumps his insignificance as a mere writer is never fully revealed). And while the commentary on the fetishization of youth and beauty in Hollywood is stale and clichéd, the scenes where Clay tries to perfect an intimate, monogamous relationship with Rain after decades of destroying any chance he has ever had at one stand as some of the most emotionally resonant Ellis has ever written.
However, as the novel’s climax seems to hint, as much as Clay may feign a wanting of love and commitment, glimmers of hope in the world of Ellis quickly fade. Clay may have to confront the fact that the moral darkness of his peers and his L.A. can never match the darkness within, the darkness that he hides from the ones he claims to love, and that he struggles to hide from himself. So, as to the verdict on Clay’s moral rehabilitation: like the intended genre of the novel, and the success of the novel as a sequel to the seminal Zero, Ellis pitches it somewhere down the middle. How appropriate for this most moral of carnival barkers. ...more