My brother-in-law got me six of Stoddard's books for Christmas. My first impression was, Wow! Old books! And old leather too! I have to say somethingMy brother-in-law got me six of Stoddard's books for Christmas. My first impression was, Wow! Old books! And old leather too! I have to say something about the leather binding itself before I tell you why I adored this reading so much. These books are in *soft* leather, not the rock hard leather coverings we find at the local bookstores today. These books are softer, able to bend slightly forward and back in the likeness of a softcover book. I have to tell you, these books felt really, really good in my hands! And the leather binding has certainly held up remarkably well for over a century. Oh and I wasn't the only one who loved the feel of that lax leather binding either. I showed the book to a few of my friends and the moment they touched it they remarked on the same thing - they, too, loved the feel of the way the leather binding sort of gave in their hands. I don't mean to go on and on about the way an unopened book, of all things, feels but, seriously, I don't recall ever holding a book before that felt that wonderful. I'm just relieved I wasn't the only one.
Okay, moving on to what's *inside* this feel good book:
Normally I don't believe in writing a book blurb because even when told in one's own words, it's repetitious of the already existing one. However, this antique gem does not have one so I will tell you. Around the turn of the (20th) century, Stoddard traveled the world and wrote about his travels, sites, adventures and most importantly, the customs of the countries. He wrote 15 books in all on his travels, each book devoted to at least one country, sometimes two. That they are titled "Lectures" is a great injustice to what's inside. I don't know about you but when I see a book with lecture in the title, it brings to mind a dry textbook-like read. Boy was I pleasantly surprised!
After years of being a "one book woman" kind of girl, I decided to experiment with the art of two-timing...two-timing books, that is: Take one book with me to work and keep another one home. (Get it? Ideally there would be no awkward moments where the two books would be in the same room together.) Stoddard's book was my "at home" book and fresh from reading Amy Tan's "The Kitchen God's Wife", where the vast majority of its story was set in China during WWII, I figured it would be an ideal time to try Stoddard's lecture on Japan and China. That way I could go even deeper in learning about the Chinese culture, customs and sites.
The first two-thirds of the book was devoted to Japan (Japan was in two lectures; China, only one). The closest I am able to come to having an "issue" with this read was that the Japanese coastline wasn't even seen until page 23. Prior to that, he started in Vancouver, Canada for his voyage,then he summarized his journey by ship to Japan. He did mention a nasty storm that took over during this time (this was approximately 10 years before Titanic, so I'm not exactly sure how small this "ship" was but according to the illustration and photograph, "The Empress Of Japan" had only two smokestacks) and he described it as hell. But finally, from page 23 and onwards, I was treated to page after page of fascinating people and customs of the Orient. Oh and by the way, there are photos and illustrations on every single page so at least those first 23 pages pass by quickly.
Trust me, reading this book will make you feel as though you are walking alongside Stoddard in another time, experiencing the ways of life in other lands that are so different from our own. A part of me felt a sense of sadness as well, partly because of the beautiful and ancient sites (even in 1902, they were ancient) he described so well and included pictures of what he was looking at, I couldn't help but wonder if they survived WWII - and partly because I know how much Japan has grown since 1902, how modern they are today, how they have adopted so much of the Western culture as their own, a lot of these old ways have disappeared. And perhaps some of these shrines have fallen to decay and/or neglect. I don't know about you, whoever you are that's reading this, but I can speak for myself when I say that the reason that I love learning about other people's cultures so much is entirely due to the fascinating differences between us and them. It's about what a differing community does with the very same life that has been given to all of us and their manner of interpreting that life from an entirely different perspective. Of course I'm all in favor of every life progressing for the better. I just prefer that they hold fast to that part of them that makes them so unique as they do so because in my opinion, what makes our world so beautiful and interesting are our NOT our similarities, but our differences! I will go to my grave saying that.
I think the greatest strength where this book is concerned is, like I said earlier, that Stoddard writes in such a way that you feel you are journeying beside him. He thoroughly captured the feeling of walking through Japan and China a century ago, experiencing for the first time, things like the "jinrikisha", the "kago", and "obis". He reports on these things and others as if seeing them for the very first time and goes to great lengths in describing them. (As well as plenty of photos and/or illustrations.) When he described the jinrikisha, for example, and accompanied it with a photograph, I laughed out loud. So many of the things he describes, we have all grown up knowing about them, at least; we simply may not have known what they were called. Then I thought about it. This was a time before television, cartoons, "talkies", even! I, as well as anyone else who has never been to Japan have always "known of" these things entirely due to TV. So once that thought dawned on me, I realized Stoddard was very likely addressing an audience that would have no way of knowing of such contraptions, unless, of course, they visited Japan, too. With that thought dawning on me, it certainly heightened my reading experience, like I was learning TWO cultures simultaneously: the old Orient and also the cultures and customs of a century ago.
Just to clarify, I actually finished reading this book a week earlier than the date says. But I found so much in this book that was share-worthy that I felt a huge obligation to go back to the beginning and quote some of my favorite parts. If you're interested in a little "preview" of how this book reads, you need only check the countless status updates and also follow through under my comments, where there wasn't enough room for statuses and so I continued in the first six comments. They are all direct quotes from the book itself with little [asides in brackets that are mine]. I cannot stress enough what a great addition Stoddard's books will make to your library if you can ever find these books. Especially for anyone who finds history and/or culture as fascinating as I do; for you, especially, it will be absolutely priceless!
I stopped quoting the book (except for ONE part towards the end) when Stoddard left Japan for China. He loved Japan as much as he hated China. In fact, at the very end, as he was leaving China, (he never used the "hate" word exactly) he admitted he was relieved to be gone. I understand, considering how more than once, he was faced with danger. However, I must say that I can see why the citizens of China would have angst toward "the foriegn devils". Overall, I'm referring to China's war with England in 1841. That piece of history covered three pages in this book. Now, China refers to that as The Opium War. From China's perspective, told to Stoddard: England, which would not allow opium in its own country, decided to push massive bulks of it onto China and make it a major trade route (*force* a country into selling opium - WHAT??!) Well, the Chinese commission was understandably outraged at such a notion and wanted no such poison in its own country, either, but England was determined to force it on China nonetheless. So, China pulled a Boston Tea Party, seized "twenty-one thousand" chests of opium and threw it all into the river (killing scores of fish in the process, no doubt!) England retaliated with war, won the war and China was forced to pay England "twenty-one million" and give up Hong-Kong and open five new ports for trade. To my English "cousins", I still love you guys, but to your ancestors I have to use my modern tongue and say: You Wrong For That!
Now, with that "Opium War" history being so recent at the time, knowing there were people still around at then who would have remembered what went down and more importantly, *why* it went down, wouldn't you behave sourly to outsiders? Can you really blame them for referring to them as "foreign devils"? I know I would feel distrustful of outsiders if I were in their shoes. Unfortunately, this angst did not give Stoddard a very good impression of China.
Of course, not all of his negative impressions could be blamed entirely on the results of the Opium War. For example, there was one custom he explained that made my flesh crawl and once again, feel grateful that I was born in USA. I am referring now to stunting the Chinese girl's feet to the point where, by the time she has reached womanhood, her feet look more like hooves than human feet. It is a long and painful process that begins when she is only six years old, binding the toes and bringing them further and further back over time with the goal of the toes meeting the heels. The feet break over and over again as she matures to the point where it stunts growth. When the feet are bare...you should just see the photographs and illustrations! They are painful just to look at! There's a permanent swelling at the top of the foot and a very marked crease from the arch to the ankle. To my understanding, this custom has gone, or is going extinct. To that, I say thank God! Because this is NOT the "unique and beautiful differences" I was referring to earlier. This is a custom I can certainly live without.
Stoddard also referred to the severe over-crowding. He had my sympathy there, because large crowds freak me out, too. Yet at the same time, I couldn't help but wonder what he would have said had he lived to see the way China would work later to control its population.
He also mentioned how every single grave (even more graves than its vast population, naturally) was sacred and that the Chinamen refuse to have even one grave of their ancestors' disturbed, even if relocating the graves would benefit the living. Stoddard swore that it was for this reason - their worship of the dead over the living - was the reason China could not make any progress, or at least better its people: Too much land devoted to the dead with not enough to go around for the living.
This book was 336 pages long. I know that between everything I shared and this review (the longest review I have ever written in my entire life!) I may have given the impression that I shared practically everything in it. Not so! Believe me, I shared only the highlights. Between this review and all the quotes I've shared (and if you read only ONE of my quotes, I strongly recommend you read comment #6: China's impression of the European culture. If you've ever wondered if other cultures may find ours as strange/taboo as we do theirs, comment #6 is your chance to see ourselves through China's eyes and also have a great laugh in the process!) I hope I have encouraged someone out there to be on the look-out for Stoddard's Lectures. Believe me, you won't regret adding these books to your library. But be forewarned, I only own six of these books. There are 15 in all, so there are nine more I am trying desperately to find. Woe to you if I find them first - for I fully intend to snatch them up!
This book should serve as the blueprint for how *all* ghost stories should be written. At least one of the main characters should be the restless spirThis book should serve as the blueprint for how *all* ghost stories should be written. At least one of the main characters should be the restless spirit in question and at least show glimpses of how they once lived. Part of the thrill of any quality ghost fiction should be watching the path of the spirit's untimely death as its former existence is slowly revealed. The ghost should be a mysterious creature that doesn't communicate easily with the living character's conscious state of mind; otherwise we are left with Casper The Friendly Ghost or Nearly Headless Nick from the Harry Potter series (and no, I am not knocking Potter - I love Harry Potter). How believable is any spirit that can walk and talk with you and really, the only difference between you, the living and he/she, the dead is that the spirit can pass through walls? How much mystery and suspense is wiped right out of that novel when the spirit is about to talk with, touch or simply enteract with the living character at any time? If you ask me that's when a novel ceases to deliver a spine tingling, suspenseful adventure and reads more like a run of the mill story about two friends/frenemies and the only difference in characters is that you can see through one of them - and don't sell me that overdone You're-The-Only-One-Who-Can-See-And-Hear-Me crap.
Beth Gutcheon has delivered the ideal ghost story. My only complaint (though certainly not with her!) is that I cannot find another ghost story quite like this one. Most other writers seem to prefer Casper The Friendly Ghost or its variant, Casper The Demonic Entity...but both versions are able to walk/talk/touch you at any time while having that really cool ability to pass through walls! It makes me wish that Gutcheon wrote more ghost stories because at least that way I'd have more than a meager handful of quality ghost fiction. (Christopher Pike's Remember Me, told entirely through the dead girl's perspective, was another "good one", BTW, though I was strongly opposed to his two sequels; if you ask me it should have ended at the first book - not that book 2: Oh goodie, I'm dead but I get to live again inside the body of someone who tried to kill herself! No, you're dead, you do NOT get to "live" again.)
More Than You Know combines two time periods, the Depression era which is "present day" in the story and (glimpses of the spirit's life) the mid to late 1800s, in alternate chapters like "two stories in one book" except the lives in the alternate time periods connect with each other. I understand that some were put off by this alternate present day and past but for me it just intensified my involvement in the story. From the very start I was curious about what life events molded this spirit into the restless and malignant entity it became in death - and let me tell you, that was one scary ghost! Why is it so hateful? Why is its despair and rage so powerful that the living characters, in mere seconds of seeing it right before it fades (that's how spirit apparitions should be shown in a ghost story, BTW, in brief flashes that fade as quickly as they appear) can literally feel it rolling off the entity in waves, as though its only substance is comprised of evil energy? Gutcheon did not disappoint! I got to witness the spirit's life unravel with each flashback, bit by bit, alternate chapter by alternate chapter and if you pay attention the spirit's life will also carry with it a parable. Gutcheon does not spoon feed the spirit's motive but she shows you enough that you can draw your own conclusions and once you do that, you will hunger for someone else to read this book just so that you can discuss it with another person (preferably a living one)....more
This is, without a single lingering doubt, my favorite playwright. His satires on how he views the world never cease to make me laugh first and then tThis is, without a single lingering doubt, my favorite playwright. His satires on how he views the world never cease to make me laugh first and then think later. Yes, in that order. I know some critics have complained about his (to put it in Durang's own words) "dot-dot-dot endings" but for me that's always the part where I stop laughing and start thinking. In the duration of his plays I am too busy laughing to think of any underlining meaning but once it ends and my humor is switched off, exasperated half at wanting *more!* and half at, like his critics, wishing he had given his characters a little more closure I start to analyze what has really been said throughout the play. In this volume there is a foreward and/or afterward where Durang tells you what inspired the concept for each play. This is good for anyone who either wants more clarity for a certain play or simply wants a sort of "behind-the-scenes" view of a master playwrite's ideas and where do they come from?
Durang specializes in parodies of our modern times. Most often our life's mini-stories don't get wrapped up neatly into the either-or categories of Happy vs. Tragic endings. We may often think we have arrived at a happy or tragic ending when in fact, since life goes on, those so-called happy or sad endings are really just beginnings for a brand new "mini-story" in our life. Like life the characters' lives simply go on long after the curtain falls and it's up to us, his audience to fill in the blanks.
I could go on and on about what makes Chris Durang so special to me but I think I've covered the main ideas and anyway, I'm not a fan of book reviews that rival the length of the actual book. So instead I will leave you with a suggestion:
I can confirm that this particular book is a fantastic ice breaker at parties. Even if no one has even heard of this playwright, you say? - Oh, *especially* if no one has heard of this playwright! (cue in the mwhahaha moment) I am going to use Beyond Therapy in this example because it was the one I chose at my own party years ago (but feel free to choose from any of his collected plays; any one of them are sure to entertain your guests to the n-th degree). Choose the funniest woman at your party (though not the one overly inclined to laugh or otherwise she will be laughing too hard when she reads her lines for anyone to make out heads or tails of what she's saying) and assign her the leading female role - trust me, her little added on "asides" as the script gets increasingly ridiculous will add a whole new level of humor! Then choose the most gentle mannered man at your party and assign him the role of the woman's psychologist. All other parts can be handed out at random or you can let your two "actors" assume multiple roles (I only had two "actors" at my party while everyone else sat back and laughed) and of course, no one has to "bodily" act out anything, just read the lines and "half-mime" the interactions without touching. Then sit back and prepare to be entertained......more
I have one word for why I loved this book so much: Diarmit! Okay so he was a whack job extraordinare and a killer but hey it's fiction so I had no quaI have one word for why I loved this book so much: Diarmit! Okay so he was a whack job extraordinare and a killer but hey it's fiction so I had no qualms whatsoever in laughing at the man who remains the funniest antagonist I have ever read. The main characters were interesting as well but I always looked forward to returning to Diarmit and his red (Conal's) clothes versus the other (Diarmit's) clothes debacle. You'll just have to read it to find out what I mean and if you have a sense of humor you will laugh at Diarmit too....more