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There are some books that are just easy to read, smooth and with nothing sticking out - they're interesting enough, the language is smooth, but there's nothing in them that demand concentration or is so gripping that you just have to keep reading. Th...moreThere are some books that are just easy to read, smooth and with nothing sticking out - they're interesting enough, the language is smooth, but there's nothing in them that demand concentration or is so gripping that you just have to keep reading. These are the sort of books I choose when I'm going to have short breaks or know I can be interrupted at any time, because I can put them down and pick them up again easily.
Franny and Zooey consist of two relatively short pieces about a brother and sister belonging to an eccentric family, the Glasses that I understand Salinger wrote about in other places. Franny, the sister, is going through one of those phases a lot of people do when they're young (she's college-aged) where she's discovered that most people around her are phony or hypocritical or just stupid, and is trying to get to something that feels more genuine and real to her by retreating to her parents' home and using a sort of religious short-cut from a book her two oldest brothers had. Zooey, the brother closest to her in age and himself influenced by the same brothers when he was young, is attempting to help her (after a great deal of prodding by his mother). I found the family fascinating, and the way they communicated with each other and the different relationships between them was what kept me reading, because Franny's problem by itself didn't interest me that much.(less)
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I had two problems with this book: it was too long (800 pages) and I got frustrated at all the things the author didn't do, that he only mentioned or didn't get to at all. Cohen writes about this great passionate affair between Solal and Ariane, and ...moreI had two problems with this book: it was too long (800 pages) and I got frustrated at all the things the author didn't do, that he only mentioned or didn't get to at all. Cohen writes about this great passionate affair between Solal and Ariane, and to make things interesting it's Europe in the 1930s, Solal is Jewish and Ariane is married and Protestant. During the book Solas loses his job and his French citizenship because he wanted the League of Nations, that he worked for, to help the Jews in Germany, and when Ariane leaves her husband he tries to kill himself, and she's shunned by her family and everyone she knew.
These things are only mentioned, sometimes long after they happened, because Solal and Ariane are trapped in this relationship where they can't leave each other and neither of them dares to show their true faces. Ariane is fixated on everything remaining beautiful and perfect, like it felt when they first fell in love, so the relationship is never allowed to really evolve and both of them do ridiculous things to keep up a facade. The feel of the book becomes claustrophobic, and the second half of the book details their attempts not to let the other know how bored they've become with each other, because they have no outside connections and nowhere to go. Solas tries to get his citizenship and his job back and fails, and never dares to tell Ariane what has happened and why they can't make friends with anyone. Ariane tries to entertain Solas with travels and romantic scenes and music and literature, which Solal only pretends to enjoy for her sake.
Both characters became very annoying after a while, but the one that I had the most problems with was Solal. He predicts how their affair is going to go from the start, and he sees how bored they've both become by the static nature of their relationship, but he never does anything to change it. He keeps this huge secret from Ariane, and then ridicules her by imagining how much happier she would be married to someone else and playing along with society's games when he's the one that made her leave her husband without giving her all the facts. Near the end, and I'm never quite sure how much is theatrics and how much he really feels, Araine confesses that she had a lover before him and Solal enacts these grand jealous scenes and tortures Ariane despite the fact that he's had a number of affairs both before and after her. He claims it's to keep her interested and that she subconsciously confessed to force him to these scenes, but then he makes a habit of reading her mind and predicting what she's going to say and feel. Solal also has a bad case of the Madonna/whore complex, where he feels that women are these higher creatures that shouldn't sully themselves with the animals that men are, and despises Ariane for wanting him to desire her and for dressing everything up to make this more romantic.
Ariane isn't perfect, she's a spoiled woman of good family, she doesn't deal well with things being less than perfect, and she runs away and abandons everyone without considering the consequences when Solal beckons, but I still feel sorry for her because it always feels to me that Solal is pulling her strings while she's kept in the dark.
Despite all of these problems, I enjoyed parts of the book - the author was very good about describing the kind of feeling you get when you're first in love, how nothing that isn't connected to the person you love feels real, how anticipation is almost better than the real thing, and the stupid things you do and say while in this state of mind. There are also interesting things in the second half of the book, where Solal from time to time has to face the rising antisemitism that is everywhere around him, and that he's somewhat protected from because he's rich and because he doesn't look or dress like a stereotypical Jew. It's still in isolation though, because he never makes any attempt to connect with either his family or any other Jewish people. All in all, an interesting book in parts.(less)
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This review has been hidden because it contains spoilers. To view it,
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I read this books years ago, and all I couldn't remember much about it except that it wasn't very interesting. Since I reread The Moonstone last year and enjoyed it, I thought I should give this another try. I like books that give different perspecti...moreI read this books years ago, and all I couldn't remember much about it except that it wasn't very interesting. Since I reread The Moonstone last year and enjoyed it, I thought I should give this another try. I like books that give different perspectives and include letters, diaries and other documents since it's interesting to see what happened from different angles and try to figure out what really happened.
The problem with The Woman in White, to me, is that there isn't much mystery about what happens. I made the mistake to read the short introduction that spoiled me for the switch between Laura and Anne Catherick, so I knew that was coming. The villains were very obvious and there was no doubt about who was responsible for what happened, and why. Since Marian rescued Laura fairly easily, there was no suspense there, and so it was with moderate interest that I followed Walter's attempts to prove Laura's true identity. The only thing that was left to explain was how the switch was made in detail, and what Sir Percival was so desperate to hide about his past. I really couldn't remember anything from last time I read the book, so that came as a surprise, but if it was meant to cement Sir Percival's status as a villain it failed for me. He wasn't a very nice man, and he had done a lot of bad things, but faking his parents' wedding notice so he could inherit despite the fact that he was illegitimate really wasn't a problem for me and something I could have seen myself doing in the same situation, since the rules against divorce and children born outside wedlock inheriting seems like bad things to me.
I think the biggest problem I had with the book was the character of Walter Hartright. He's the first person you're introduced to, and the one who does most of the explaining and the acting, and everything else, even Marian's diary, fells like it's just there to fill in the blanks for the parts of the tale where he can't tell us what happens. This made the book less interesting for me because, first of all, Walter isn't a very compelling character, and second, this wasn't his story to tell. The persons most involved and most affected by what happens, the center of the book, are Anne Catherick and Laura Fairlie, and neither of them ever gets the chance to tell their story. I can understand that it's easier to show things through Walter's perspective since he comes from the outside and csn give us an entry point into the situation, and since in Victorian times he was the one that could actually actively solve the mystery, but I wish Collins had written the book in such a way that poor Laura could have had some agency herself. She spends the first part of the book being protected, and the second part she needs to be taken care of since she's not herself after her time at the mad-house, and the things she does and the decisions she makes are being dictated to her by her father (posthumously), Sir Percival, Marian or Walter. This perspetive on Laura is because the major part of the story are being told by Marian and Walter and they both want to protect and take care of her and so she's never allowed to take responsibility for herself.
I also spent a large part of the book being distracted by trying to remember all the books I could remember that have a pair of women, sisters, friends or antagonists, where there is one older and one younger woman and the older is: dark-haired or darker, more sensible or intelligent, practical, more outgoing, not as pretty or has some other problem that makes her less attractive or appropriate, and the younger is: blonde or light-haired, naive or easily influenced, shy or easily upset or has a tendency to nerves or headaches or other complaints, needs to be taken care of or protected. When it comes to these women the hero of the book always picks the younger one, even though most the time the older woman is the more interesting and active of them, and usually some other male character is interested in her but the interest is not returned, and so it's the younger one that gets the traditional happy ending. There's Scott's Ivanhoe, with Rebecca and Rowena, Cooper's The Last of the Mohicans, and then there's Austen's Sense and Sensibility who at least lets Elinor have her happy ending. I'm sure there are more examples out there but these are the ones that I came up with that were written in the nineteenth century.(less)
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" I've started rereading Wilkie Collins' The Woman in White because I read it years ago and couldn't really remember anything about it except that I did...moreI've started rereading Wilkie Collins' The Woman in White because I read it years ago and couldn't really remember anything about it except that I didn't like it. Since I've seen people here saying they enjoyed it I thought I should give it a second chance.(less)"
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" Finished Brett Easton Ellis' Less Than Zero a few days ago. Not bad, but didn't work for me."
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