Briefly: This is definitely NOT a novel informed by the “show, don’t tell” school of writing. Lessing tells, and tells, and tells, and tells. Like a 3
Briefly: This is definitely NOT a novel informed by the “show, don’t tell” school of writing. Lessing tells, and tells, and tells, and tells. Like a 300+ page polysyndetonic description of a train wreck (and MQ’s life is a train wreck from slow start to slightly sped up finish) but without the coordinating conjunctions. Any favorable characters are only implied (Joss Cohen, Andrew Matthews, Joss’ uncle) and remain largely undeveloped—perhaps, the next four volumes will make more/better use of them (four volumes, FOUR volumes!) Martha is a mess—readers might remain hopeful, but their hopes, unfortunately, won’t be realized until one of the other four volumes (FOUR volumes!) If Lessing’s intention was to emphasize the slow, laborious, painful, perpetually unrealized maturation of a young woman, then she accomplishes that, minus the maturation of the young woman.
On the plus side, she does have a fantastic sense of Place, and on occasion, provides a wonderful paragraph or sentence that I almost cared enough to underline for inclusion. Operative word: Almost. Mostly, I just wanted this one behind me. That said, I’ve ordered and expect to read A Proper Marriage.
Still reading? Cheeses! I know what you want to know. No doubt in my mind. You want to know if if I’m padding my Read list to get current on my 2013 goal. Man, the audacity, some people think they’re entitled to know everything. So, with regard to the matter of catching up to my goal, all I will tell you is
With a title like The Immoralist, you might expect something along the lines of Sade. You’d be way off base. Instead, this novel is more subtle, moreWith a title like The Immoralist, you might expect something along the lines of Sade. You’d be way off base. Instead, this novel is more subtle, more like Death in Venice, complete with its themes of a septic environment, tuberculosis, and, perhaps, pederasty. The protagonist, Michel, is captivated by healthy and strikingly handsome boys and young men, and of those young men, he is attracted to those who are most rugged and handsome, with their own secrets, or the most dissolute.
At best, or at worst, this is the story of a turn-of-the-century bisexual, not a gay man. To his credit, he nurses and cares for an ailing wife in the same manner that she tended him during his own bout with dangerous illness, and then slinks off to join the company he prefers at night while she rests. In many ways, Michel is rather the stereotype of the predatory gay man who leads a secretive existence—an existence that one is decreasingly likely to encounter other than in the most dangerous of environments, or among those men whose circumstances compel them to a double-life hidden from family, or among the religious. Michel never acknowledges sex with males (men or boys—the only admitted encounters are with his wife and the female lover of a boy who he admired earlier, and that, while the boy was present). It is, however, suggested by the female lover that he does prefer boys.
Rather slow-moving (like the wearisome travels of Michel and his wife when one or the other were ailing); the sex, other than that mentioned above, is, at most, implicit. The story is told in the first-person, as a story within a frame. Well worth the brief time it takes to read. ...more
The Sound and the Fury is one for the committed reader; someone who really wants to read it. I sympathize with students who are assigned this incredibThe Sound and the Fury is one for the committed reader; someone who really wants to read it. I sympathize with students who are assigned this incredible novel.
It’s demanding; it can be hard to read; it's one of which Barthes might suggest be read for “the pleasure of the text.” Approached in the right way, The Sound and the Fury lends itself to being read at its own pace. If allowed, where the stream-of-consciousness passages occur, the reader would be well-advised to slowdown, let the passages reveal their pace, and once that pace is found, those seemingly disjointed, troublesome passages proceed as clearly and with the same rhythm as the rest of the more straightforward sections. Given a fair chance, this classic can prove to be as enjoyable as any other novel you’ll encounter. ...more
As I Lay Dying is one of those titles that all readers of literary fiction get to sooner or later—for good reasons. Not only is it one of Faulkner’sAs I Lay Dying is one of those titles that all readers of literary fiction get to sooner or later—for good reasons. Not only is it one of Faulkner’s most accessible titles, it is also very quickly read and less dark than some of his other work; some of the novel’s developments are, however, told with black comedy/gallows humor.
As there are plenty of title summaries available here, I’m not going to bore readers with another one. I would, however, like to speak to some of the negative criticism this title receives—if that dissuades some readers, so be it; better to not attempt a title than to be disappointed by one—and, yes, I do realize the possibility of running off a potential reader who might otherwise like a title; all I can do is hope that I don’t do that. If nothing else, I might prevent a couple one-star ratings and reviews of the ‘boring’ or ‘confusing’ or ‘hated it’ varieties. Those reviews always strike me as shoving a big extended middle finger into the faces of readers who do like a particular work.
Multiple narrators can be confusing—learning numerous characters at the same time, especially at the beginning of novel often is. In this case, it seems to me, helpful to remember that Faulkner isn’t introducing a family—he’s introducing members of a family—and what better way to do that than letting each tell his or her own version of the story. By that I mean, these are individual stories (narratives) about individuals; they describe how each family member sees him- or herself, how each sees their relatives, and how others, outside the family, see each and all of them. Collectively the narratives present the family and the novel. An aside, in As I Lay Dying, eyes matter—each character sees and is seen; all those descriptions of eyes are there for a reason.
Stream of consciousness is another aspect of Faulkner novels that some readers often find hard to understand. Creating a certain kind of confusion is often part of how the device works. Imagine, if you will, looking inside the head of another person—imagine being able to see his or her thoughts. Would you really expect those thoughts to be linear, punctuated, all neatly organized and processed? Wouldn’t those thoughts more likely assume something of the shape or form of those of young Vardaman whose thoughts run one into another, unpunctuated, unorganized? Remember something else when you encounter this sort of writing—sometimes it’s a way to slow the reader down, force a little more attention in a particular direction.
Faulkner is (in)famous for challenging use of punctuation, syntax, and grammar—his style. He’s not afraid to use dialect, contrived words, or send you to the dictionary. This is not sloppy writing, or careless writing; he does what he does for a reason. The questions that should arise when reading Faulkner (or anyone else, e.g. Cormac McCarthy—considered my some to be the heir of Faulkner’s style), is what is the author doing here and why? What does this sort of writing lend to the understanding of the story? Should I have paid more attention in rhetoric class? Why the hell did I not have a rhetoric class and how can I learn more about it? In the hands of an accomplished author, like Faulkner, it ALL matters.
Enjoy the book; have fun with it, as I think that was his intention.