tag:blogger.com,1999:blog-58266604925242930782024-03-14T01:48:08.696-07:00The Lit QuestOn the quest to be well-read...Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.comBlogger123125tag:blogger.com,1999:blog-5826660492524293078.post-76448409047524649362014-01-07T07:58:00.000-08:002014-01-07T07:58:39.661-08:00GileadWhile I'm on the theme of "Contemporary Classics," I'd like to mention another worthy novel. When I first read it, I did not fully appreciate the depth and insight of <i>Gilead </i>by Marilynne Robinson. It is written from the perspective of a dying man as he shares his reflections on life, which he would like to leave as a legacy for his young son. The narrator's voice is gentle and thoughtful, balancing his mistakes with his accomplishments and frequently pausing to reconsider his various life events. The big difference for me between my two readings of this text was the death of my own father. Before I experienced this loss, I breezed over the soft musings without grasping their depth. But after going through my own grief, I passionately clung to his reflections, and tears frequently glistened in my eyes as I nodded in understanding.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRbJI-FdSqmZAxeQa7FbC0ctQVViyDF7Hl_9BTldI_5hh4fEva_9ArGn27IA75fJscC4bGXQ9t_eKp-OVoJsKAazCM2PUEIbfpmGZ73jny20fQ9i7imX790xCEG0cWOelArK-sANalTcU/s1600/Gilead+Robinson.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRbJI-FdSqmZAxeQa7FbC0ctQVViyDF7Hl_9BTldI_5hh4fEva_9ArGn27IA75fJscC4bGXQ9t_eKp-OVoJsKAazCM2PUEIbfpmGZ73jny20fQ9i7imX790xCEG0cWOelArK-sANalTcU/s1600/Gilead+Robinson.jpg" height="200" width="121" /></a>The narrator of the book is John Ames, a reverend in small-town Iowa, who started a family very late in his life. He shares some early memories of his father and grandfather, who were both pastors as well, and the early tragedies he faced as a young man. In writing to his son, he expresses how his late marriage to the boy's mother was one of the greatest joys of his life, a relationship as unexpected and unique as it was satisfying and special. He also expresses many of his theological beliefs and doubts, recalling his past sermons and the years he spent shepherding the small church. Yet he does this without a touch of arrogance, instead emphasizing his flaws and jealousies in the spirit of transparent humanism.<br />
<br />
Somewhat unintentionally, Ames shifts his journal to recounting the story of his best friend's son, Jack Boughton. Ames has been involved in Jack's life since the day he was born, as he was named after the humble reverend. However, the relationship has been colored by jealousies, concerns, shames, and disappointments. Ames cares for Jack but doesn't know quite how to respond to him. He worries over Jack's influence on his own young family, but he also feels guilty for holding such worry. A bit reluctantly, Ames reveals Jack's "prodigal son" story piece by piece, filling it with his mixed emotions and personal struggles involved. Four years after publishing <i>Gilead</i>, Robinson wrote a companion novel called <i>Home</i>, which tells the story of Jack Boughton from a different perspective.<br />
<br />
The structure of this novel is not shaped around a fast-moving plot that demands your attention, which is probably why I missed so much of the inspiration of it in my first reading. But I do not mean to suggest that it is boring, for as I approached the book with new eyes in my second reading, I consumed the pages within just two days of first picking it up. The words nourished me, though they also reminded me of the sadness from which I had been moving away. Most significantly, however, they reminded me of the meaningful change that the sadness had instilled in me over the last two years.<br />
<br />
Thus, if you are looking for a page-turner, this might not be the best book for you. But if you have been through any kind of sorrow in your life - whether it was a death or a personal struggle - I think that Robinson's words will rise from the pages and speak into your heart. The narrator's unassuming tone allows for connection without self-importance, revealing just how universal so much of our human suffering can be. And the most hopeful, inspiring thing we can draw from our suffering is an acknowledgement of the beauty within it. All the imperfections and disappointments, the tragedies and mishaps, can contain a brilliant spark of beauty if we are only willing to look for it.<br />
<br />
<i>“Our dream of life will end as dreams do end, abruptly and completely, when the sun rises, when the light comes. And we will think, All that fear and all that grief were about nothing. But that cannot be true. I can’t believe we will forget our sorrows altogether. That would mean forgetting that we had lived, humanly speaking. Sorrow seems to me to be a great part of the substance of human life.”</i>Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com1tag:blogger.com,1999:blog-5826660492524293078.post-25893448264860030442014-01-02T12:23:00.004-08:002014-01-02T12:24:28.157-08:00The Elegance of the HedgehogHappy New Year! While I was wandering through <a href="http://thelitquest.blogspot.com/2012/11/manchester-by-book.html" target="_blank">my favorite bookstore</a>, the owner encouraged me to pick up a copy of <i>The Elegance of the Hedgehog</i> by Muriel Barbery. With a twinkle in his eye, he told me that he carefully observes people's reactions to this particular novel. He believed that it would elicit a strong reaction from readers and that he could evaluate their literary taste entirely by their reaction to this book. I was a little apprehensive as I began reading, but fortunately, I can truthfully say that I liked it. And since it was written in 2008, I will now happily add it to my "Contemporary Classics" list.<br />
<br />
<a href="http://rhapsodyinbooks.files.wordpress.com/2010/01/141-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://rhapsodyinbooks.files.wordpress.com/2010/01/141-3.jpg" width="128" /></a>The novel is about two kindred spirits - a middle aged concierge named Renee and a 12 year-old girl named Paloma. Both women are extremely intelligent, passionate about literary culture, and disenchanted with wealthy elitists. The chapters rotate between each woman's perspective, and readers discover countless parallels long before Renee and Paloma become friends. They each hide their intelligence from the world, believing that no one would understand or accept their true nature. Their unusual dynamic makes the story quite charming, but the wisdom embedded in the pages is what I believe makes it "classic." Thus, the easiest way for me to encourage discussion about this book is to draw from some of its best quotes.<br />
<br />
<i>“We are all prisoners of our own destiny, must confront it with the knowledge that there is no way out and, in our epilogue, must be the person we have always been deep inside, regardless of any illusions we may have nurtured in our lifetime.”</i><br />
<br />
When we first meet Renee, she has so fully accepted the social caste of her role as a hotel concierge that she discounts any possibility of change. She has shut everyone out of her life, burying herself instead in the world of books. Yet although books have extraordinary value, they cannot replace human connection. Yes, there are certain things that we must accept in this world, and it would be futile to fight against them. However, we should not allow our assumptions to suffocate the possibility of surprise. Instead, that knowledge can allow us to welcome the changes in our lives without fear or restraint, knowing that it will only add to the person we have always been and will continue to be. In my opinion, this is a big part of Barbery's message as Renee slowly opens up to the people who truly value her.<br />
<br />
<i>“We never look beyond our assumptions and, what’s worse, we have given up trying to meet others; we just meet ourselves. We don’t recognize each other because other people have become our permanent mirrors.”</i><br />
<br />
I think that this is a valuable insight from Paloma, but I also believe that it is too sweeping of a statement. Although we may have this tendency, we can make a conscious effort to see other people as they really are. Paloma shares Renee's despair, but she does not approach it with the same begrudging acceptance. Instead, she dramatically decides that she will commit suicide unless she can find a good reason to stay alive. Surrounded by shallowness, she craves intellectual depth and intimate connection, but fears that it is impossible to have both.<br />
<br />
<i>“Elsewhere the world may be blustering or sleeping, wars are fought, people live and die, some nations disintegrate, while others are born, soon to be swallowed up in turn – and in all this sound and fury, amidst eruptions and undertows, while the world goes its merry way, bursts into flames, tears itself apart and is reborn: human life continues to throb. So let us drink a cup of tea.”</i><br />
<br />
I love this concept; it's simple and elegant. Yes, the world is sometimes terrible and sometimes wonderful. In my personal experience, I find that it is vastly out of my control, and I just have to let go and accept that. Yet rather than viewing this as a frightening concept, I like the way it is presented here, with a peaceful acceptance and specific comfort. Let us band together with our friends in the ups and downs of life, and let us drink a cup of tea (or coffee!) as we deal with them.<br />
<br />
Finally, I want to be careful not to spoil the ending, but I just want to say that I found it to be profoundly beautiful. It did not go as I had expected, but the final musings are the ones that most resonated with me and wrapped me with a deep connection to the story itself. So I will now leave those words with you:<br />
<br />
<i>“Maybe that’s what life is about: there’s a lot of despair, but also the odd moment of beauty, where time is no longer the same. It’s as if those strains of music created a sort of interlude in time, something suspended, an elsewhere that had come to us, an always within never.”</i>Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com4tag:blogger.com,1999:blog-5826660492524293078.post-71339023494025485362013-12-19T12:53:00.002-08:002013-12-19T12:53:58.246-08:00GerminalI placed <i>Germinal </i>by Emile Zola on my "To Read" list quite a while ago, inspired by a fellow book blogger. Yet for whatever reason, I felt no hurry or strong incentive to read it. As far as I know, none of my friends have read this novel, and it wasn't coming up in any conversations. I really didn't know much about it and had few expectations. But as it had been sitting patiently in my Kindle for such a long time, I finally decided to get to it. By the end of the first chapter, I was hooked, and I flew through the novel far more quickly than I anticipated, lapping up the rich details, volatile plot, and heart-wrenching emotion.<br />
<br />
<a href="http://ecx.images-amazon.com/images/I/51N2%2BfpAmFL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://ecx.images-amazon.com/images/I/51N2%2BfpAmFL.jpg" width="137" /></a>This is the story of a working-class community of miners living with and fighting against the cycles of poverty and oppression that consume them. We quickly become aware of this cycle, as low wages and frequent pregnancies wash over the people with the consistent and inescapable pull of the tide. The protagonist is Etienne, a young man who has fallen from his higher class position into this role as a miner. Despite their cultural differences, the miners eventually welcome Etienne into their community, recognizing that his hard work and earnest heart overshadow the traits he lacks. He moves in with the Maheu family, where he befriends their daughter Catherine, and falls in love with her amid a messy love triangle. Their sexual tension burns through the pages, offering a hint of innocent purity in the midst of rampant promiscuity.<br />
<br />
Throughout this process, the injustice of the miners' lifestyle pulses as the undercurrent of the story. We catch glimpses of the wealthy upper crust as they collect from the miners without investing a fraction of their effort. Even within the community, we see the families who have money take advantage of those who do not. We watch the miners suffer physical, mental, and sexual abuse in their gritty attempt to keep living. We observe traces of hope float in among them only to be blown out of their reach. Their crisis steadily builds upon their labored shoulders, as one breaking point leads to another. There is not one single event that pushes them into chaos, but a growing desperation forces out their other options. They're determined and rash, stubborn and hopeful, generous and terrible. Yet all of their emotions become painfully suffocated as their situation becomes increasingly dire.<br />
<br />
Zola was able to make the descriptions and emotions so raw and realistic because he immersed himself in a mining community to research it. The strength of this novel lies in its suffering people and their fierce desire to keep living despite the increasingly heart-breaking circumstances. Their struggle is at times clumsy and at times brilliant, and Zola manages to polish it off with the faint sound of hope ringing in the distance. <i>Germinal</i>'s revolutionary and desperate spirit is akin to other stories of French revolt, such as <a href="http://thelitquest.blogspot.com/2010/09/massive-undertaking.html" target="_blank">Les Miserables</a> and <a href="http://thelitquest.blogspot.com/2010/11/my-favorite-dickens.html" target="_blank">A Tale of Two Cities</a>. However, this novel was the 13th in a 20 volume series, though it has far outshone all of Zola's other writing since its original publication in 1885. If, like me, you were waiting for someone to give you an extra push to pick up this piece of wonderful French literature, I hope my brief discussion does the trick. You won't regret it.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com3tag:blogger.com,1999:blog-5826660492524293078.post-38785589714879763692013-11-05T11:31:00.002-08:002013-11-05T11:37:48.736-08:00Walden<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBPf4arZVmnhA0Kz9y775O5GdMGE6mJ3gb8XTRFpdnja-IPRfHfpWGx9mk9PkAgq1fCYL5_cEIIw8YGHgNxP5qvtqYvboW4oYzumXVKuaTO4gx7ZMRn14XqUDIwTjTCgP8ZSGv59Ikqx4/s1600/Walden+Book+thoreau.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBPf4arZVmnhA0Kz9y775O5GdMGE6mJ3gb8XTRFpdnja-IPRfHfpWGx9mk9PkAgq1fCYL5_cEIIw8YGHgNxP5qvtqYvboW4oYzumXVKuaTO4gx7ZMRn14XqUDIwTjTCgP8ZSGv59Ikqx4/s200/Walden+Book+thoreau.jpg" width="133" /></a><i>Walden</i>, by Henry David Thoreau, is one of those well-known texts we learn in school and quote regularly, especially as we long to "live deliberately." Yet although I was certainly familiar with this famous piece of work, I had never actually read it in its entirety. I took ownership of it, visiting Walden Pond itself and quoting my favorite lines, but I didn't realize that the excerpts I read in school were part of a much larger work. So when I finally sat down to read the book, I was immediately
intrigued and in complete agreement with his assessments. I felt inspired as Thoreau stressed the need to
escape the mundane routines and live more thoughtfully.
<br />
<br />
However, many passages were verbose, presenting themselves as diatribes rather than reflections. Other parts were so intimately detailed as to be excessive in description, tempting my eyes to skim the page quickly rather than capture every word. At times I smirked in my dissent with his views, inwardly chuckling at the pretentious nonsense he considered to be self-evident truths. And then suddenly a passage would strike me at my core, resounding deeply through my mind and body as I encountered it.
<br />
<br />
Allow me to give an example. I was working through his chapter on “The Ponds,” which is full of lavish descriptions of his most beloved landscape. However, I have seen this pond in person, and I am not nearly as impressed with its beauty as this chapter would indicate. It’s just a pond. You can see the whole thing quite easily in one glance, as it is not very large. It’s quiet and still, with no evidence of teeming life and movement within its waters. The woods surround it on all its edges except where we have now inserted a paved road. In the summer, it is full of people splashing and swimming in it, and the autumn offers some lovely fall colors around it. Nevertheless, it’s just a pond.
Yet to Thoreau’s eyes, this was the embodiment of heaven on earth. He had no trouble filling pages and pages with descriptions of it and sonnets dedicated to it. He would not have had to travel very far to reach the more beautiful coasts of Cape Ann or Cape Cod, which share the same borders but offer far more extravagant views. But nothing would have been able to surpass the quiet elegance of Walden Pond for Thoreau, and I have a feeling that no amount of persuasion could have convinced him to change his mind.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LRKOxKTD9sli2ykw9-o23lTAu8Xwi0o4vrn_GFWEHIasgNK8YN6-CojcGEFiqyhuuKkgAMGdg-BJK7yYZ31sfB3L8pI7vrUSjFXHyBokzHsMhjugC06q39u4rHcuA2CWIx6sQHEZzYM/s1600/DSC03144.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LRKOxKTD9sli2ykw9-o23lTAu8Xwi0o4vrn_GFWEHIasgNK8YN6-CojcGEFiqyhuuKkgAMGdg-BJK7yYZ31sfB3L8pI7vrUSjFXHyBokzHsMhjugC06q39u4rHcuA2CWIx6sQHEZzYM/s320/DSC03144.JPG" width="320" /></a></div>
<span style="font-size: x-small;"><i>(This is one of my personal photos of Walden Pond)</i></span><br />
<br />
I have seen some spectacular landscapes in the world, even within this past year. And yet reading <i>Walden</i> has brought me to wonder how they truly appear outside my biased viewpoint. When I return to the places I love the most, will they still contain all of their majesty in my eyes? Despite his lavish descriptions of the pond, Thoreau has one moment of self-awareness in this chapter, which struck me deeply. He wrote that despite the adjustments people had made around Walden Pond, “it is itself unchanged, the same water which my youthful eyes fell on; <i>all the change is in me</i>.”<br />
<br />
It's hard to fully explain why this line meant so much to me, particularly at the time I read it. When I find myself traveling in other parts of the world or returning to the places I already know well, I think it's incredibly healthy to recognize that all the change is in me. We have very little control over the circumstances in our lives, and we have to continually adjust ourselves in order to keep moving forward. During this process, we might have the tendency to see things differently, tinged with nostalgia or bitterness, joy or heartbreak. And while I think it is fine to prefer some locations over others, we must always remember that we are influenced by our own perspective. Wherever we go, we have to bring ourselves along. Thoreau's subtle insight broke through the screen I had unknowingly placed before my vision, helping me to appreciate my present situation but also look forward to the future ahead of me. Regardless of my next step, there has certainly already been a lot of change within me, and I will bring that with me as I move forward.<br />
<br />
There is so much wisdom in this beautiful piece of work. Thoreau says that each man ought to make his life worthy of a person’s deepest contemplation and live it earnestly. Reading this does remind me to “live deep and suck out all the marrow of life” so that when I die, I may know that I have truly lived. That is why I am here and that is what I must do.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com4tag:blogger.com,1999:blog-5826660492524293078.post-12443957999416441492013-11-01T14:49:00.001-07:002013-11-01T14:51:00.110-07:00Doctor ZhivagoBrilliant, it's just brilliant. I haven't written on this blog in a while, but I must process what I just read and take a moment to publicly sigh in appreciation of it. I love Russian literature, as you probably know by now, but I have largely focused on the 19th century. However, there is also a lot of wonderful work from the 20th century, such as <i>Doctor Zhivago</i> by Boris Pasternak, a Nobel Prize winner.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Ijcal_MlsAh5MAB8JsEpg5Xv1s79d1bDao8RPd8aqJTN7H6oc9ZCwXZL5bTADwNpg_sOx2jh7hLmQ0kLlkLcwEGA4jKOVg0XpA0BsTj46yDC14s5k-DLlhuMhywUsHC4TGXrj0kbD4M/s1600/zhivago+book.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1Ijcal_MlsAh5MAB8JsEpg5Xv1s79d1bDao8RPd8aqJTN7H6oc9ZCwXZL5bTADwNpg_sOx2jh7hLmQ0kLlkLcwEGA4jKOVg0XpA0BsTj46yDC14s5k-DLlhuMhywUsHC4TGXrj0kbD4M/s1600/zhivago+book.jpg" /></a>I feel like I have to tell you a little bit of Pasternak's story because it does help you appreciate this novel. Before <i>Doctor Zhivago</i>, Pasternak had only published poetry and gained a fairly significant following from his work. But during this time, he also quietly worked on his magnum opus, carefully crafting it for ten years. When he was finished, he sent it to some Russian publishers, but they refused to publish it due to the backlash they might receive. Ultimately, he handed his manuscript to an Italian publisher, famously telling him: "You are hereby invited to watch me face the firing squad." The book was an instant sensation across Europe, bringing him international attention as well as Russian persecution. When he was awarded the Nobel Prize for Literature, he was unable to attend the ceremony as he knew he would be denied reentry to his beloved country.<br />
<br />
This story is an intimate portrayal of the Bolshevik Revolution. We know very little of the big picture but grasp the rumors and moments that Dr. Zhivago witnesses. There is something compelling and ingenious about this structure, even as it is irritating and confusing. It's written in pieces, cutting in and out of the story abruptly and erratically. Without an omniscient narrator, we have an opportunity to feel how the Russians must have felt during the revolution, unsure how each side was doing in its grueling struggle. They could only guess the progress based on whichever rumors reached their towns, carrying in conflicting stories about the various generals and leaders. Moreover, I couldn't tell whether Pasternak favored one side over the other, the White Army or the Red Army. Instead, I simply felt Zhivago's earnest desire for the conflict to end, regardless of which side of the revolution would receive credit for it. <br />
<br />
Another significant component of the novel is its wide spectrum of characters coming in and out of the text. Throughout his arduous journey, Zhivago meets a number of different people, some of whom only interact with him in a passing moment. He talks to people on the train, at the hospital, in labor camps, and at home. At times, Pasternak will devote a whole chapter to introduce a character and tell his story and then never mention that character again. I find this incredibly realistic, as we all have fleeting interactions with strangers every day. In <i>Doctor Zhivago</i>, Pasternak plays with the concept of "coincidence," bringing some of these strangers back into Zhivago's life in the most unexpected moments. I loved this, for I believe we are always connected with the people around us, whether or not we take the time to recognize it. Some scenes which should seem important pass quickly with little description, while other nominal scenes are drawn out with great detail. In presenting the story in this way, Pasternak is challenging the notion of which events are the most important in our lives. Are they the big occasions such as weddings and funerals? Or is it the everyday conversations and routines that have a greater impact on us?<br />
<br />
In between moments of the story, Pasternak tosses in insightful commentary of human nature, society, revolution, and struggle. I could pull out dozens of quotes that struck me and can stand on their own merit. He beautifully weaves in descriptions as well, making the landscape come alive through his pen. For example, the snow is an important component of the novel, appearing as a recurring motif alongside the characters. At times it represents the heavy, depressing emotions of the ongoing war. It powerfully crashes on the land and freezes everything in place. Yet in other scenes, the snow is a beautiful relief, glittering in the sun with hope and beauty for those who watch it. It reminds them of childhood play, building snow forts and snowmen. The snow interacts with the people as one of the characters, evoking various emotions, reflecting their current predicaments, and foreshadowing the future.<br />
<br />
I admit that it took some effort for me to get through this whole novel, as its unorthodox structure made it a little more difficult to move quickly through the text. However, I truly enjoyed every minute of it, feeling enriched by each page. I feel like Pasternak gave me an incredible understanding of the Bolshevik Revolution, and reading his novel allowed me to experience this piece of history in a realistic way. Thus, I highly recommend that you read it, as it is an informative, expansive, heartbreaking classic.<br />
<br />
For more on Russian literature, check out my lists below:<br />
<a href="http://thelitquest.blogspot.com/2010/10/great-russian-authors.html" target="_blank">Great Russian Authors of the 19th Century</a><br />
<a href="http://thelitquest.blogspot.com/2013/05/great-russian-authors-20th-century.html" target="_blank">Great Russian Authors of the 20th Century</a>Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com2tag:blogger.com,1999:blog-5826660492524293078.post-9238602258415840962013-06-18T01:35:00.004-07:002013-06-18T01:36:13.752-07:00The Beautiful and DamnedIn the publication of this novel, F Scott Fitzgerald managed to create a well-written and thoughtful piece of literature without a single redeeming character. Even up until the very last sentence, I was holding out hope that one of the characters would redeem himself by the end, but I received no such compensation. I think it would be difficult to finish this novel without feeling that it is a thoroughly depressing book, and it has taken me some time to sort out its value and insight amid this dark cloud.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-F3FYeXU1fK1hQjIpY6mRMr49c5z4YLwWuamCJcRqGyUUYebH-SoM3YmcpGFW0K2GDE0-uF5Y0faVo_Zc4pyXj0XUN6daFLJ509mTF3QNk2Zb0IQGGq9uJIr-jzUH75uT5qiNAu_2Xqo/s1600/beautiful+and+damned.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-F3FYeXU1fK1hQjIpY6mRMr49c5z4YLwWuamCJcRqGyUUYebH-SoM3YmcpGFW0K2GDE0-uF5Y0faVo_Zc4pyXj0XUN6daFLJ509mTF3QNk2Zb0IQGGq9uJIr-jzUH75uT5qiNAu_2Xqo/s200/beautiful+and+damned.png" width="150" /></a>Like the <i>Great Gatsby</i>, <i>The Beautiful and Damned</i> is set in New York City in the 1920s. In our collective imagination, we tend to nostalgically think of that period as a series of glamorous parties and raucous fun. Fitzgerald, however, challenged this perception in his novels by illuminating the darkness within the revelry. Anthony Patch and Gloria Gilbert are the embodiment of this idealized image and thus are both beautiful and ultimately damned. If this were a Russian novel, Anthony would represent the "superfluous man" - a person with no career, no generosity, and no productivity in his life. He constantly considers things he can do for a profession, toying with thoughts of becoming an author or a banker. He even enters the army for a period of time, with a brief opportunity to rise in the ranks of an officer. But like Oblomov who could hardly take a step beyond his couch, Anthony never makes an effort to move forward. Yet throughout the novel, Fitzgerald offers a number of hopeful suggestions for Anthony's self-actualization. He has so many opportunities to change and improve himself that it becomes maddening to watch his self-destruction by the end. Thus, I found him to be far more frustrating than any other "superfluous man" I have encountered, though his journey feels entirely (though depressingly) believable. I can't help but feel that Fitzgerald did a great service to Gatsby by killing him at the end rather leaving him to linger in his broken and meaningless life.<br />
<br />
Gloria's character is hardly better, as she fails to discover any deeper value beyond her appearance. As we all know, this is a temporary gift, and its departure creeps upon Gloria like a lurking shadow of inevitable doom. I could hardly feel sorry for Gloria in her relationship with Anthony, as they had both contributed to the demise of their marriage. Not even their friends offer glimpses of hope and goodness, as they either abandon the couple or immerse themselves in their own clouds of self-importance.<br />
<br />
So why should we bother with this novel? Why am I including it in my blog? Despite the negativity, there is a lot of truth that rings out from these pages. In a way, I feel like Fitzgerald showed courage to create a novel that lacked redemption. These stories exist in real life; not everything results in some hope or success. By creating these characters, I think Fitzgerald was giving his readers a warning, telling them to guard themselves against all the frivolous indulgence that led to the characters' damnation. There are things we can learn from their failures, lessons we can apply in our own lives. Anthony is full of excuses, but there might be some truth in his reflection: "I've often thought that if I hadn't got what I wanted, things might have been different with me. I might have found something in my mind and enjoyed putting it in circulation. I might have been content with the work of it, and had some sweet vanity out of the success."<br />
<br />
Many people have suggested that it is our failures which define us. When we face obstacles and challenges in our life, they can become opportunities to grow stronger and more independent than we would have become otherwise. Hemingway said that writers are forged by the injustices they experienced. Pasternak said that the downtrodden are enviable for having something to say about themselves. Perhaps Anthony did have the curse of getting everything he wanted. Perhaps he needed to experience failure so that he could learn to move beyond it. Perhaps we really are forged by the fire in our lives, though I do not remove personal responsibility to live well and deeply.<br />
<br />
I have heard that people believe this novel to be a fairly autobiographical account of Fitzgerald's marriage, and all I can say is that I hope this is not true. But even if it is true, I hope that we can learn from this example to consciously put meaning into our lives. It is our responsibility to "suck the marrow out of life" and determine how we can leave the world a little better than the way we found it. I don't think any of us want to end our lives in the way that Fitzgerald ended this novel.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com0tag:blogger.com,1999:blog-5826660492524293078.post-11199316421588214372013-05-16T07:55:00.001-07:002013-11-01T14:52:18.653-07:00Great Russian Authors, 20th CenturyOne of my earliest blog entries was a list of my favorite Russian authors from the 19th Century, called <a href="http://thelitquest.blogspot.com/2010/10/great-russian-authors.html" target="_blank">Great Russian Authors</a>. I have been surprised to see that this list has consistently been one of my top viewed posts, and the only one from my first year of blogging that maintains any attention. Thus, there seems to be a fair amount of interest from the book blogging community and others to learn more about Russian Literature. Because I am such a big fan, I am eager to share it with anyone who is intrigued by it as well. So now I would like to follow up and offer you a list of the great Russian authors from the 20th Century:<br />
<br />
1. <b>Mikhail Bulgakov</b> (1891 - 1940)<br />
Early in his career life, Bulgakov discovered his great passion and affinity for writing. He quickly abandoned his other pursuits and took on some high profile positions as a critic and a playwright. However, he generated a lot of backlash for his writing, and many of his works were censored and banned. His freedom was increasingly restricted, and in frustration he wrote his brilliant, biting satire, <a href="http://thelitquest.blogspot.com/2011/08/master-and-margarita.html" target="_blank">The Master and Marguerita</a>, in the last years of his life. Yet because of its daring content, it wasn't published until 26 years after his death.<br />
<br />
2. <b>Alexander Solzhenitsyn</b> (1918 - 2008)<br />
Perhaps the embodiment of 20th Century Russian literature, Solzhenitsyn revealed to the world the corrupt and violent nature of Soviet Russia. In 1945, he was sent to a Siberian labor camp for writing derogatory comments about Stalin in a letter. The 8 years he was imprisoned had a profound impact on his life and writing. <a href="http://thelitquest.blogspot.com/2011/08/great-novellas-one-day-in-life-of-ivan.html" target="_blank">One Day in the Life of Ivan Denisovich</a> spread through the West like wildfire, but it was just the beginning. In addition to many fictional pieces, he wrote countless articles and essays that have carried an immense impact on intellectual society. He was awarded the Nobel Prize in 1970, but he was exiled and stripped of his Russian citizenship until 1990.<br />
<br />
3. <b>Anna Akhmatova</b> (1889 - 1966)<br />
One of the few prominent female authors in her generation, Akhmatova is most renowned for her poetry. It is said that the women in Russia showered her with support and admiration, and the men were likewise complimentary. Yet after a period of notoriety, her work was banned and denounced in the 1920s. Although she escaped arrest, many of her friends were exiled and sent to labor camps. Her ex-husband was executed and her son was imprisoned. Nevertheless, she refused to leave her home country and continued writing poetry. As the years continued, the themes of her poems evolved from romance and beauty to suffering and lamentation.<br />
<br />
4. <b>Boris Pasternak</b> (1890 - 1960)<br />
Leo Tolstoy was actually a close friend of the Pasternak family, and his influence is embedded throughout Boris's life and writing. However, Pasternak's style is entirely his own; his perspective on the Bolshevik Revolution is brilliant, cutting, and totally unique. Despite great risk and suffering, Pasternak refused to leave Russia during the tumult. His name was added and removed from execution lists during the Great Purge. When Pasternak published <a href="http://thelitquest.blogspot.com/2013/11/doctor-zhivago.html" target="_blank">Dr. Zhivago</a> in 1956, he knew he was taking an enormous risk. When he was awarded the Nobel Prize in 1958, angry threats and demonstrations broke out in the Soviet Union. Because he would be refused re-entry if he left, he had to decline the acceptance of the award in Stockholm.<br />
<br />
5. <b>Vladimir Nabokov</b> (1899 - 1977)<br />
Unlike many of his contemporaries, Nabokov was born into great wealth and privilege. However, his family had to flee Russia and his father was ultimately murdered in 1922, a tragedy that irrevocably shook his life and later writing. Most of his early work was poetry, and he moved to the USA to work as a college professor in 1940. It was during his years in the US that he wrote <i>Lolita</i>, his most famous and enduring piece of work. With its success, he moved back to Europe and devoted himself to writing, though he was never able to surpass its literary acclaim.<br />
<br />
6. <b>Ayn Rand</b> (1905-1982)<br />
This may surprise you, but I want to add Rand to this list. She was born and raised in Russia, though she eventually became an American citizen and did all of her writing in the United States. She is a fabulously brilliant and inventive author, and her work was dedicated to philosophical reasoning and satire. Her first novel, <i>We the Living</i>, is the only one set in Russia with an overt message about her native land. However, her devotion to individualism, capitalism, and rationalism were undoubtedly affected by her years in the restrictive Soviet state. <a href="http://thelitquest.blogspot.com/2012/10/the-fountainhead.html" target="_blank">The Fountainhead</a> is my current favorite of her works, but I still have much more to read.<br />
<br />
7. <b>Joseph Brodsky</b> (1940-1996)<br />
Yet another Nobel Prize winner, Brodsky is most known for his poetry and essays. It kind of amazes me how many of these Russian authors were awarded the Nobel Prize for Literature during such a prohibitive regime. During his time in Russia, Brodsky was interrogated, thrown into mental institutions, arrested, sent to labor camp, and ultimately exiled. Today he is one of the most celebrated Russian poets, and he was mentored by Akhmatova. One poem I recommend was written in English near the end of his life, called "Bosnia Tune."<br />
<br />
Though I truly believe that the 19th Century was the Golden Age of Russian Literature, the authors I have listed are also brilliant and extremely praiseworthy. It is important to note that many of these writers produced their work in a time of strict censorship and at the risk of severe punishment. They are also highly influenced by the Russian authors who preceded them, and they frequently allude to 19th century literature in their work.<br />
<br />
If you are aware of another 20th century Russian author whom you believe deserves to be included in this list, please let me know in the comments! I would be thrilled to learn of another author and happy to give you credit for the suggestion.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com3tag:blogger.com,1999:blog-5826660492524293078.post-90027913058455279002013-04-30T12:08:00.000-07:002013-04-30T12:09:57.794-07:00The Age of InnocenceEdith Wharton has yet to disappoint me! I loved <a href="http://thelitquest.blogspot.com/2012/01/great-novellas-ethan-frome.html" target="_blank">Ethan Frome</a>, a beautiful tragedy about snowy New England that made quite an impression on me. So I was eager to read a full-length novel by Wharton, since <i>Ethan Frome</i> is really more of a novella. <i>The Age of Innocence</i> is rich with layers of relationships, social critique, and class divisions, as well as an abundance of character development.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNAxUUhy65gZaGN_UBcKuwH0j50JAex-ny3CfU04o9rYGJpeqDWFAqim_GTmuuIww99AGkhAuYAvKeEdfsdM2WU1qfcaK-HIZMimdWQEDA49Q_Tm8tfv41rP-ocWg9WWE8eJTbS5tsQg/s1600/age+of+innocence+book.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNAxUUhy65gZaGN_UBcKuwH0j50JAex-ny3CfU04o9rYGJpeqDWFAqim_GTmuuIww99AGkhAuYAvKeEdfsdM2WU1qfcaK-HIZMimdWQEDA49Q_Tm8tfv41rP-ocWg9WWE8eJTbS5tsQg/s200/age+of+innocence+book.jpg" width="125" /></a>The protagonist of the story is Newland Archer, who lives on the Upper East Side of New York City in the late 1800s. At the beginning of the novel, he is the embodiment of upper class society, making all of his life decisions to reflect the image of a beautiful, successful man. He has proposed to May Welland, often described as being the "Helen of Troy" in the room with her magnetic beauty. He is employed as a lawyer, though he exerts minimal effort in his position, as is proper in his circumstances. He is fluent in all the hidden codes and meanings within his society and has perfected them. Naturally, the plot must thicken, and so he falls in love with a woman who is deemed socially inappropriate in his society. <br />
<br />
In all honesty, if I were reading this plot summary, I would crinkle my nose and avoid the book. I mean, we've heard this story line a thousand times, haven't we? Star-crossed lovers from different social classes fall in love despite the disapproval of their families. Hell, that's even the plot of <i>Titanic</i>. However, Wharton brilliantly undercuts her novel with a subtle but throbbing critique. She uses her language brilliantly, with descriptions both humorous and tragic. Without stating it directly, she shows us the foolishness of their chatter, their clothing, their events, and their lives. Eventually, Newland's eyes are opened to the inane hypocrisy that we have been able to see all along, but he cannot escape it.<br />
<br />
While immersing themselves in Wharton's New York City, readers might be inclined to wonder about the frivolity in their own lives. How do we spend our time? How do we spend our money? What do we worry about? Why do we worry so much? I did not like this novel because I was captivated by the romantic relationship. In fact, their relationship is erratic at best, with few swells of joy and connection. Instead, I liked the social commentary and rich descriptions. I enjoyed watching each of the characters change, because several of them did experience drastic transitions in their attitudes, actions, and self-awareness. And the ending had all of the ambiguity of a good Henry James novel. Left in a climax of emotion, I stared at the book in my hands, willing it to give me a few more pages, with a sound of dismay escaping my lips. Yet for this reason, I couldn't imagine a better ending.<br />
<br />
I always do a bit of research before I write about the books I've read, so I have only just discovered that Edith Wharton earned a Pulitzer Prize for this novel. Moreover, this was the first time a woman had ever won a Pulitzer. I can't help but pause and appreciate this accomplishment, as well as the example she set for future female authors. This novel has all the wit and gossip of a Jane Austen novel, and yet it is stuffed with an undercurrent of irony and embedded social critique. I'm sure Wharton wanted to entertain her readers with this story, but I think she had more desire to pull the wool from before their eyes. By design, she didn't write it so that young girls could hold the romance in their hearts and dream of their own Newland Archer. On the other hand, she makes us aware of the decisions we make in our lives that set our path in motion and affect those around us. And she does it beautifully.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com0tag:blogger.com,1999:blog-5826660492524293078.post-43881440949365142952013-04-15T03:53:00.003-07:002013-04-15T03:59:22.198-07:00Green Hills of Africa“Your first seeing of a country is a very valuable one.<span style="mso-spacerun: yes;"> </span>Probably more valuable to yourself than to
any one else, is the hell of it.<span style="mso-spacerun: yes;"> </span>But you
ought to always write it to try to get it stated.<span style="mso-spacerun: yes;"> </span>No matter what you do with it.”<br />
<br />
This is one of the many great lines in Ernest Hemingway's nonfiction account of his time in Kenya, <i>Green Hills of Africa</i>. I am currently writing this to you from Nairobi, moving in on my third week in this beautiful country. I brought this book along with me, knowing that I wanted to save it for when I could see his descriptions with my own eyes and better grasp his message. It was the perfect setting to read this wonderful book, as it tossed in some words I'm learning in Swahili along with the descriptions of the people, animals, and landscape that I am likewise seeing.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTeAqtTQ2V2bQa2eau9NwEKKfjbu8xdUU63Qp2zm9FDlWUmQ3AHdnsnRwgJSnAIoV4LGixxb74BxF5iIEY5xM_0jJFiw0DTQb3x0AaxtP7xQlc_1JOgkVXhC5G56i2Amgz55MW5kEyIbk/s1600/green+hills+of+africa.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTeAqtTQ2V2bQa2eau9NwEKKfjbu8xdUU63Qp2zm9FDlWUmQ3AHdnsnRwgJSnAIoV4LGixxb74BxF5iIEY5xM_0jJFiw0DTQb3x0AaxtP7xQlc_1JOgkVXhC5G56i2Amgz55MW5kEyIbk/s200/green+hills+of+africa.jpg" width="128" /></a>At the beginning of the book, Hemingway says that he wrote <i>Green Hills of Africa</i> to see whether an "absolutely true book" could compete with a work of imagination. We are all familiar with his many fictional masterpieces - <i>A Farewell to Arms, The Old Man and the Sea, For Whom the Bell Tolls</i>, etc - but it is entirely different to read him in this book. In between his tales of hunting buffalo and rhinoceros, he shares the conversations he had with those in his traveling company. In many of these conversations, he discusses what makes a good writer and a bad one. He analyzes the breakdown between a true masterpiece and the "slop" that comes from hurry and/or arrogance. He specifically names a number of authors, many of whom were alive while he wrote, and labels their work as good or bad. Hemingway lived in what we may consider the "Golden Age" of writers, nestled in the community of ex-patriots in Paris. On a regular basis, he conversed with Gertrude Stein, F Scott Fitzgerald, James Joyce, and many others. For a literature lover like myself, it is a real treat to get some of this inside scoop.<br />
<br />
I also love this book because Hemingway truly loved Africa. Unlike many mzungu (white) writers of his generation, he really portrays each of the Africans as real people and unique individuals. He admires some of the Africans he met greatly, awed by their tracking skills and physical capabilities. Others annoy him to no end, to the point that he frequently dreams of punching them in the face. This is true of people anywhere, and I love that he doesn't blanket them in one description or stereotype. He enjoys learning Swahili until the words sound completely natural to him, as do the tribal marks and African traditions he often encounters. He loves the suspense and adventure of hunting wildlife, and he shares his embarrassing mistakes as well as his impressive accomplishments. He just loves Kenya:<br />
<br />
“I loved this country and I felt at home, and where a man
feels at home, outside of where he’s born, is where he’s meant to go.”<br />
<br />
I should note that this book does not touch on the tension in Africa, nor its problems and poverty. Hemingway's account is quite limited to his personal experience while on a long hunting journey. But I don't mind that he focuses on the beauty and adventure, because sometimes that aspect of Kenya gets lost somewhere in translation to the West. As a foreign mzungu, he could never grasp the complexities of this country and fairly identify them in a short novel. So in this case, I think it is better that he didn't even attempt to do that. Other novels, like <a href="http://thelitquest.blogspot.com/2011/07/things-fall-apart.html" target="_blank">Things Fall Apart</a>, are much better equipped to do it.<br />
<br />
Reading Hemingway's perspective on his time in Kenya inspires me to want to do the same thing. Here I am, seeing, hearing, tasting, smelling, and touching these wonderful sights. Here I am, carefully observing the people and surroundings I encounter. Here I am, witnessing the good and the bad together. Here I am, likewise falling in love with Kenya. I am forming my own perspective of this country, though I realize that I may not be forming an accurate one. But it is nevertheless unfolding before me, and it will contain value for me regardless of what I am able to do with it. This is one of those parts of my life in which real life is greater than fiction, and I want to hold on to that and make it last as long as possible. Like Hemingway, I ought to find a way to "get it stated."<br />
<br />
To my fellow readers, I do think you should check out this book, but I also think you should come see Kenya for yourselves.<br />
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>19</o:Words>
<o:Characters>111</o:Characters>
<o:Company>Free Methodist World Ministries Center</o:Company>
<o:Lines>1</o:Lines>
<o:Paragraphs>1</o:Paragraphs>
<o:CharactersWithSpaces>129</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:Cambria;
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
<o:p></o:p></div>
<!--EndFragment--></div>
<!--EndFragment-->Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com2tag:blogger.com,1999:blog-5826660492524293078.post-64813338474867040392013-03-30T12:16:00.000-07:002013-03-30T12:16:19.597-07:00Season of Migration to the NorthI will be traveling to Kenya in a few days, which will be my first trip to Africa. In preparation, I have been reading a lot of African literature, and <i>Season of Migration to the North</i> by Tayeb Salih was particularly beautiful, and I feel compelled to share it. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_tflGc25A2YTDYhWAoWv7RWHhXBZH5TC5YaRTNl9g9lHb_j0xsxFtyWXLKY-WPpPlig6i3pOOs9ElrDLUbubkV4jpB7BYMTMcH4Qnl9oJrmW0Zserg-sNE5G0ktz5rE7gSBfJ3d4g50/s1600/Season+of+Migration+to+the+North.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_tflGc25A2YTDYhWAoWv7RWHhXBZH5TC5YaRTNl9g9lHb_j0xsxFtyWXLKY-WPpPlig6i3pOOs9ElrDLUbubkV4jpB7BYMTMcH4Qnl9oJrmW0Zserg-sNE5G0ktz5rE7gSBfJ3d4g50/s1600/Season+of+Migration+to+the+North.jpg" /></a>Someone actually recommended this book to me a while ago, though I only recently read it. However, I am glad that I read it when I did, for I think I was able to better appreciate it. It is set in the Sudan, and I have been trying to learn more about this part of the world since one of my friends moved to South Sudan last year. He frequently writes about the cultural issues he encounters in his <a href="http://shaughnessyinsouthsudan.wordpress.com/" target="_blank">blog</a>, which I highly recommend. Over the summer, the New Yorker published an <a href="http://www.newyorker.com/reporting/2012/07/23/120723fa_fact_anderson" target="_blank">excellent article</a> about the South Sudan that I still think about at times, as it gave a very helpful history of this new country. But perhaps more significantly, it was a good time for me to read this as I have been preparing for my own trip. My best friend grew up in Africa and loves the continent, and I've been asking her to help me avoid being the kind of Western tourist she hates. <i>Season of Migration to the North</i> centers around the relationship that Africa has with the West and is incredibly insightful.<br />
<br />
The novel is a story within a story, set in a kind of metanarrative frame. The narrator is an unnamed man who returns to his hometown in the Sudan after spending several years of study in England. Then the story temporarily switches to the narration of Mustafa Sa'eed, who reluctantly (and drunkenly) shares his life story with the narrator. Like the narrator, Mustafa excelled in his village growing up and then spent a period of his life in England. This short encounter between the narrator and Mustafa changed the course of the narrator's life. He recognized many things about himself within Mustafa, and this realization immediately humbled him and threw him into contemplation.<br />
<br />
This is one of those novels that is not primarily about the plot. I could summarize the events that occurred, but that would not be an accurate portrayal of the story. Instead, this is about the difficulty two men experienced in trying to discern their identities as an English-educated natives of Sudan. As boys, they were taught that English was their key to success and the future. If they were intelligent, they needed to leave Africa in order to "better themselves" and thus become more Anglicized. Their fellow citizens would praise their efforts and celebrate their success, but <i>was it a lie</i>? This is the question with which the narrator must grapple. He writes:<br />
<br />
"Over there is like here, neither better nor worse. But I am from here, just as the date palm standing in the courtyard has grown in <i>our</i> house and not in anyone else's. The fact that they came into our land, I know not why, does that mean that we should poison our present and our future?"<br />
<br />
It is important to note that Salih does not unequivocally praise Africa and curse the West. Rather, he highlights a number of unpleasant aspects of the Sudanese culture and shows some of its tragedy, and this blends with the challenges of post-colonialism. There is a balance between the problems in both lands, as well as the difficulty these two men faced in trying to live between two worlds. Mustafa often seems to be almost sociopathic in his lack of emotions, but there also seems to be a sensitivity in his self-analysis. The narrator tries to resist the problems of the people around him, but he cannot disentangle himself from them. As a reader, I felt increasing emotional distance from the story and its characters until a few shocking moments would instantly draw me back in. The ending is the perfect example of this building numbness that switches to a cry of emotion, and I felt this ebb and flow throughout the entire story.<br />
<br />
In many ways, I felt that this was actually a book of poetry. Not only are the two main characters poets, but the language itself is beautifully written. I could pull out quote after quote that can stand on its own merits, without the surrounding text. There are countless beautiful passages of description that don't technically add to the plot but build upon the force of the narrative. I am already compelled to re-read these passages to make sure that they stick with me and do not fade away. <br />
<br />
Finally, I want to remind myself of these lessons on a personally applicable level. I want to conscientiously enter Africa with the perspective that it is its own entity rather than a comparison of what I know in the West. I want to avoid my tourist eyes and switch to a thoughtful observer. I want to let Africa show me its culture without me imposing my own on it. Is this possible? Perhaps not. Perhaps it would be a lie for me to assume such observational ability for a short trip. However, I feel it is my duty to do this as best as I can and to at least be consciously aware of its healthy/unhealthy entanglement with the West.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com1tag:blogger.com,1999:blog-5826660492524293078.post-68603810731119179632013-03-24T14:24:00.004-07:002013-03-25T07:55:45.018-07:00RIP Chinua AchebeTwo days ago, an amazing writer of our generation died: Chinua Achebe. Strangely enough, I first heard his name as I was reading an Art History textbook. The authors were discussing African art and culture, and they listed Achebe as an immovable fixture in the 20th and 21st century culture. It is not often that literature is mentioned in these art textbooks, and this struck me on two levels: 1. This author must be incredibly important and talented to be referenced; and 2. Why had I never heard of him before??<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVjc4jGCT55FwVyUJ3adRBuu_4ONoioUOcrhKFZI48GcyqYTELNZIfea7r2Xs6JMzjz_G9wcnwU5xpg0-Ta_EB_ytPAp__0yiVhPx_E7U0sR-FMKNLVRNLFF83Rrpfuir7a1VpOnlBow/s1600/chinua-achebe1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVjc4jGCT55FwVyUJ3adRBuu_4ONoioUOcrhKFZI48GcyqYTELNZIfea7r2Xs6JMzjz_G9wcnwU5xpg0-Ta_EB_ytPAp__0yiVhPx_E7U0sR-FMKNLVRNLFF83Rrpfuir7a1VpOnlBow/s400/chinua-achebe1.jpg" width="400" /></a></div>
<br />
I quickly corrected this and picked up a copy of <i>Things Fall Apart</i>, which is often referred to as one of Africa's greatest novels. I remember reading it with interest, but I found the ending to be so profound that it thundered through me. I couldn't move for a few moments as I considered his final words and looked through my own heart. Somehow, Achebe managed to challenge his readers and moralize them without lecturing or condemning them. He spoke from his heart as an African, but it is important not to limit his eulogy in those terms. From what I understand, he was torn in his sense of identity, and I believe you can feel that in his writing. He recognized the beauty and the darkness in his life and his world, and he did not strive to reveal one more than the other. But his talent was so evident in his writing that he put African literature on an international stage, just as Gabriel Garcia Marquez did for the Latin Americans and Tolstoy did for the Russians. I do believe Achebe will be immortalized in Classic Literature, and righty so. Thus, I wanted to take a moment today to honor this great author, one who lived and wrote during my lifetime, and whose works I greatly enjoy and will treasure.<br />
<br />
The <i>New Yorker</i> published a wonderful article about Achebe, which you can <a href="http://www.newyorker.com/online/blogs/books/2013/03/postscript-chinua-achebe-1930-2013.html" target="_blank">read here</a>.<br />
<br />
You can also read my <a href="http://thelitquest.blogspot.com/2011/07/things-fall-apart.html" target="_blank">full review</a> of <i>Things Fall Apart</i> in an earlier blog entry.<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com1tag:blogger.com,1999:blog-5826660492524293078.post-44727970743387603302013-03-11T13:18:00.000-07:002013-03-11T13:21:50.085-07:00Life of PiI've been torn about whether or not to promote this book ever since I first read it, and the current movie version has now pushed me over the edge. I originally thought I might add this to my "Contemporary Lit" series since it was published in 2001. However, I've been wrestling with whether it really contains the depth I require in order to assert that a book ought to have "Classic Literature" status. Yes, I realize that I am being too hard on myself and my guidelines. If I like a book, I should just write about it, shouldn't I?<br />
<br />
Well, no. If I want to be true to my original intention for this blog, it was to advocate for great literature. The literature I have written about is the literature which has most shaped me, moved me, challenged me, and impacted me. I have read every page of <a href="http://thelitquest.blogspot.com/p/list-of-my-reviews.html" target="_blank">these books</a>, and I believe they are largely responsible for forming who I am. Some of them were a struggle and others were a breeze; all of them were intensely satisfying. I write about these books because I want you to read them too. I want you to grow in your desire to invest in truly great literature and not just the flippantly entertaining pieces. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjBw89-khhBlRtjvpaej9s0PJcgonwRFyTHndpWNoP45LlTa9Btf0H_mqQjpSfX8YdDfUQdAlAz4hrrJBQK5VVXhKWHq9TQ8aZdobR8cjCRereHq6_tdCZ9YEui7Rwizm5-EbVLDFi-k/s1600/life+of+pi+novel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjBw89-khhBlRtjvpaej9s0PJcgonwRFyTHndpWNoP45LlTa9Btf0H_mqQjpSfX8YdDfUQdAlAz4hrrJBQK5VVXhKWHq9TQ8aZdobR8cjCRereHq6_tdCZ9YEui7Rwizm5-EbVLDFi-k/s200/life+of+pi+novel.jpg" width="131" /></a>Now here I am, writing about <i>Life of Pi </i>by Yann Martel. If it weren't for the last few pages, I don't think I would be doing this. The entire novel is an enjoyable read, and I don't want to negate the value of reading simply for pleasure. I'm not quite so pretentious that I scorn such books or never indulge in them myself. Yet in order for me to write about it on my blog, I needed it to be more. And the twist at the end made me realize that it really was.<br />
<br />
I don't think I can talk about this without slipping some spoilers, so *<i>please stop reading*</i> if you don't want to ruin something for yourself. I usually avoid spoilers, but this ending is so critical for understanding the depth of the story that I cannot neglect it in my discussion. For the majority of the novel, we are taken on a journey of magical realism and fantasy, as a young boy is stranded at sea with wild animals from his family's zoo. In particular, we read about Richard Parker, the regal Bengal tiger which Ang Lee's movie <b>amazingly </b>brings to life.* We learn that Richard Parker is neither tame nor vicious, and Pi spends months trying to connect with this animal passenger who unexpectedly joined him. Yet most of all, this story is about survival against enormous odds as Pi and Richard Parker float in the Pacific Ocean for 227 days.<br />
<br />
In the final chapters, two Japanese colleagues visit Pi in the hospital in order to investigate the cause of the shipwreck. They listen to Pi's story and submit a report to the Maritime Department. After telling them all about Richard Parker and the story we just read, Pi eventually gives them a second story, which has a number of obvious parallels. This second story is far more tragic than the first; it's heart-wrenching and gory and shocking. It changes everything. Suddenly, the whole story takes on new meaning and interpretation, and it's tempting to immediately re-read the book in order to fully appreciate that. <br />
<br />
I think that my favorite thing about this novel is that it illustrates the power of <i>story</i>. I have long believed that there is a power in narrative and fiction, and that it can teach us things we wouldn't truly be able to understand otherwise. It opens doors to our hearts and minds and allows us to access feelings and messages that we need to receive. Martel beautifully reveals this with a compelling force of imagination and deeper meaning.<br />
<br />
So at first, I felt that this was an adventure story but not necessarily a truly great work. But I am challenged by Pi's words at the end:<br />
<br />
<i>"I know what you want. You want a story that won't surprise you. That will confirm what you
already know. That won't make you see higher or further or differently. You want a flat story. An
immobile story. You want dry, yeastless factuality."</i><br />
<br />
Perhaps that is what I wanted, and perhaps I nearly missed the greater story. Perhaps my stubborn attachment to Classic Literature is inadvertently blocking me from some wonderfully imaginative pieces. And you know what? <i>Life of Pi</i> is a marvelous novel, fully deserving of its acclaim.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAefP3o5s32PCXf9TTR5GqUzO8IZiiiDV7XCr0dlx8RiKGfiOetAsj8ufJZZ_y0-cpV49HUyfmcnELtafXqT61EV10t8rczaZJPfYbX86KK_awqv_9rpUFbWGTUkpkODaBeJs7yHiCS24/s1600/life+of+pi+movie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAefP3o5s32PCXf9TTR5GqUzO8IZiiiDV7XCr0dlx8RiKGfiOetAsj8ufJZZ_y0-cpV49HUyfmcnELtafXqT61EV10t8rczaZJPfYbX86KK_awqv_9rpUFbWGTUkpkODaBeJs7yHiCS24/s320/life+of+pi+movie.jpg" width="320" /></a></div>
<br />
*Ang Lee's recent movie is a true masterpiece of cinematography. Moreover, it is extremely faithful to the book and an excellent representation of the original novel. I definitely recommend it!Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com2tag:blogger.com,1999:blog-5826660492524293078.post-79141359108681543712013-03-03T14:50:00.003-08:002013-03-03T14:53:12.544-08:00Guest Blog: Jane Austen Overview<i>Thus far, I've only had one guest blogger on my site, but I want to bring this back and share some new perspectives. So now I will turn it over to my good friend, Abigail Solberg...</i><br />
<div>
<br /></div>
<div>
<!--[if gte mso 9]><xml>
<o:DocumentProperties>
<o:Revision>0</o:Revision>
<o:TotalTime>0</o:TotalTime>
<o:Pages>1</o:Pages>
<o:Words>1175</o:Words>
<o:Characters>6702</o:Characters>
<o:Company>Free Methodist World Ministries Center</o:Company>
<o:Lines>55</o:Lines>
<o:Paragraphs>15</o:Paragraphs>
<o:CharactersWithSpaces>7862</o:CharactersWithSpaces>
<o:Version>14.0</o:Version>
</o:DocumentProperties>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:Calibri;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
“It is a truth universally acknowledged that a wealthy man
must be in want of a wife.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ah, the sentence that almost everyone who has ever visited a
library or cracked open a book has heard once before.<span style="mso-spacerun: yes;"> </span>I mean, honestly, I didn’t even have to look
at the book to make sure I got it accurately.<span style="mso-spacerun: yes;">
</span>As you can probably already deduce, this is not Amy writing. There will
be too few intelligent words and many more (failed?) attempts at wittiness than
what you've grown to know and love about Amy's blog. Sorry, hate to disappoint,
but I'm not Amy. I didn't graduate after studying in the Oxford library, just a
few dark-wood-tables-and-massive-aisles-with-ladders-and-books away from Anna
Popplewell.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is Abi, and this is what I believe to be one of Amy’s
first guest blog posts! If you like what you read, you can try to follow me on
my blog, <a href="http://theabicomplex.blogspot.com/" target="_blank">The Abi Complex</a>, but seeing as I haven't written in as many months as
Paula Deen denied having T2 Diabetes, it might be a waste of time to sign up. But
feel free to check it out!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As for how Amy and I know each other, that is a story that
dates back nearly 6 years! It all started in the summer of ’07 when I got an
e-mail while I was in Romania from some Indiana girl claiming to be my freshman
roommate. She told me that her colors for her side of the room were blue and
brown, AND (since picking the colors of your room seemed to me to be the most
important part of preparing for college), I safely assumed that I would not
like her.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What I learned within the first month of school was that me
and my pink comforter would find her to be one of my closest friends through
all four years. We would watch football together, talk about classes and guys, debate over movie choices, drink coffee AND talk about literature. I
found Amy to be one of the only people who could excite me about reading a
book! The passion that would fly across her face as she swore to me that I
would love some book made me so excited to read it. We started a tradition,
where every holiday we would give each other a new book to read that we had
already read and loved.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thanks to Amy, I have been exposed to <i style="mso-bidi-font-style: normal;">The Bell Jar, The Four Feathers, Captain Corelli’s Mandolin, Moby Dick</i>,
and more.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Unfortunately for her, my selections have been on the girly
side. Because I knew that she liked <i style="mso-bidi-font-style: normal;">Uncle
Tom's Cabin,</i> I thought for some reason that the perfect first book to give
her would be <i style="mso-bidi-font-style: normal;">Mansfield Park</i> by Jane
Austen… because the movie version (which I'd seen more recently than reading
the book) included a side story about the father mistreating his African
slaves. Unfortunately, that is not in the book, and was probably the WORST book
to give her to introduce her to Jane Austen.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Epic. Fail.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is the one author that Amy and I have constantly
disagreed on: “Jane Austin never writes about anything important. It’s just a
bunch of lazy conversations that don’t amount to much of anything.” This is not
a direct quote from her, but it is the reader’s digest version of our many
conversations on the topic. So, because I will most likely not be able to post
about this author again on her site, I will comment on Austen’s work as a
whole, rather than one specific book - trying to spit out everything that I can
before Amy catches on and kicks me out!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So let’s leave that lengthy introduction and get to the best
part: Jane Austen.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s think about this for a moment. What other author has
had all of his or her works turned into movies, has had a film made about her
life AND a film about a book club based on reading her works?! There is just no
way that anyone can deny the impact she has had on the world.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I firmly believe that any woman who meets the following
qualifications will benefit/enjoy reading one or all of Austen’s novels:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1. If you think you would like the Bronte sisters’ books
better if they were just a touch happier.<o:p></o:p></div>
<div class="MsoNormal">
2. If you enjoy talking with your girlfriends for hours
about minute details of someone else's relationship status as well as your own
and those you read in the magazines.<o:p></o:p></div>
<div class="MsoNormal">
3. If you are a sucker for everyone in a novel getting
exactly what they deserve (which for the heroine, always means the love of her
life).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will in no way deny Austen’s running theme in her stories.
Nor will I try to argue that these are good novels based on a plot with an
ending that can’t be deduced after the first chapter or copious amounts of
action! What I will say is, you know that Austen’s novels are good because most
women can read them and feel entirely engrossed even without these aspects.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think there are 3 main things that reading an Austen novel
offers:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
1. <b>It illuminates one’s character and shows how it really looks
in the light of day. </b><o:p></o:p></div>
<div class="MsoNormal">
Example 1: <i style="mso-bidi-font-style: normal;">Persuasion</i>
- The character who pretends to be her friend, but advises her against an
imprudent match.<o:p></o:p></div>
<div class="MsoNormal">
Example 2: <i style="mso-bidi-font-style: normal;">Pride &
Prejudice</i> - Momma Bennett, oh hell, the entire Bennett family - other than
Jane and Elizabeth, of course.<o:p></o:p></div>
<div class="MsoNormal">
Example 3: <i style="mso-bidi-font-style: normal;">Emma</i> -
Unfortunately, Emma. Though you love her anyway, because you can see where her
heart is… or you just see her as a pet that you can pity and love and secretly
want to be - but not exactly respect.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
2. <b>It offers relief from an unfair world ruled not by right,
wrong and karma, but by shades of gray, people you know, and frustrating
circumstances.</b><o:p></o:p></div>
<div class="MsoNormal">
Example 1: <i style="mso-bidi-font-style: normal;">Mansfield
Park</i> - The brother and sister, who end up in relationships as shallow as
the puddle on the floor of my bathroom when I step out from the shower.<o:p></o:p></div>
<div class="MsoNormal">
Example 2: <i style="mso-bidi-font-style: normal;">Persuasion</i>
- Captain Wentworth, of course.<o:p></o:p></div>
<div class="MsoNormal">
Example 3: <i style="mso-bidi-font-style: normal;">Pride &
Prejudice</i> - Lydia Bennet marrying a whore. Need I say more?<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
3. <b>It’s a chatty kathy’s heaven - Tons of gossip rolled up
into one nicely bound or Kindled copy.</b><o:p></o:p></div>
<div class="MsoNormal">
Example 1: <i style="mso-bidi-font-style: normal;">Sense &
Sensibility</i> – Mrs. Jennings<o:p></o:p></div>
<div class="MsoNormal">
Example 2: <i style="mso-bidi-font-style: normal;">Emma</i> -
That’s a hot bed of information<o:p></o:p></div>
<div class="MsoNormal">
Example 3: <i style="mso-bidi-font-style: normal;">Northanger
Abbey</i> - Probably the least accurate gossip of all of them<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now the degree to which I like Austen is somewhat inexplicable,
but let me end this post with some opinions by other writers you may admire and
see if they can sway your opinion! These all come from a book titled <i style="mso-bidi-font-style: normal;">A Truth Universally Acknowledged: 33 Great
Writers on Why We Read Jane Austen</i>. (See! You know she has to be great if
there are books out there trying to explain why!)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Harold Bloom</b>: “We
read Austen because she seems to know us better than we know ourselves, and she
seems to know us so intimately for the simple reason that she helped determine
who we are both as readers and as human beings.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">James Collins</b>: "Her
ironies swirl and drop like the cast of a fly fisherman. This rhythmic motion
seems to me ideal for both accepting and rejecting the ways of the wretched
world while maintaining balance."<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Amy Bloom</b>: “Jane
Austen is, for me, the best writer for anyone who believes in love more than in
romance, and who cares more for the private than the public. She understands
that men and women have to grow up in order to deserve and achieve great love,
that some suffering is necessary (that mewling about it in your memoir or on a
talk show will not help at all), and that people who mistake the desirable
object for the one necessary and essential love will get what they deserve.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And probably my favorite, <b style="mso-bidi-font-weight: normal;">Benjamin Nugent</b>, writer of <i style="mso-bidi-font-style: normal;">American
Nerd: The Story of My People</i>: “Young nerds should read Austen because
she’ll force them to hear dissonant notes in their own speech they might
otherwise miss, and open their eyes to defeats and victories they otherwise
wouldn’t even have noticed. Like almost all worthwhile adolescent experience,
it can be depressing, but it can also feel like waking up.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now, I hope that I have done enough justice to this author
in as short a blog post as possible, as there will most likely not be another
chance. AND now, all you readers, please comment and further beg Amy to read
through at least 3 more Austen novels before making up her mind!!!<o:p></o:p></div>
<!--EndFragment--></div>
Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com2tag:blogger.com,1999:blog-5826660492524293078.post-58570482417628594232013-03-01T13:01:00.001-08:002013-03-01T13:01:46.863-08:00I Capture the CastleWell, I completely missed the month of February, but that was because I was out of the country for most of it. So I want to start out March on the right foot and share a great book with you! I'm excited to bring attention to this delightful novel by Dodie Smith, called <i>I Capture the Castle</i>. I had never heard of this treasure until I was browsing my favorite bookstore, <a href="http://thelitquest.blogspot.com/2012/11/manchester-by-book.html" target="_blank">Manchester by the Book</a>, and the owner insisted that I push it to the top of my reading list. I am so glad I listened to him because I really enjoyed reading this book.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUNGGeGZkAC4vTH42S5zIeMp4qmoSXbXJExqBt7kPQckOG-sqRfXYQzlbNGty6v1DX5pA7lF9G4n8PMi3UNhUW8FEsuQzHWGJh0pOJdTL78itv1CM7XRcmsnnikeF4hJxpNx0BFe_a-E/s1600/I+capture+the+castle.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUNGGeGZkAC4vTH42S5zIeMp4qmoSXbXJExqBt7kPQckOG-sqRfXYQzlbNGty6v1DX5pA7lF9G4n8PMi3UNhUW8FEsuQzHWGJh0pOJdTL78itv1CM7XRcmsnnikeF4hJxpNx0BFe_a-E/s200/I+capture+the+castle.jpg" width="137" /></a>Published in 1948, <i>I Capture the Castle</i> was Smith's first novel. She later became famous for penning the original 101 Dalmatians story, which I'm sure all of you know well. But this particular novel is a treasure in its own right and truly an enjoyable read. It is written as the pages of a young girl's diary, filled with longing, insecurity, excitement, and extremely poignant observation. At times, the narration reminds me of <i>To Kill a Mockingbird</i> and <i>A Tree Grows in Brooklyn</i> - two books with young but wise female protagonists. In fact, some of the observations are so astute and insightful that it doesn't seem likely to have come from such a young girl. But that doesn't bother me because the book and the character are so enjoyable.<br />
<br />
Cassandra Mortmain is the middle child of a poor family who lives in a dilapidated English castle. Years before the story begins, her father had gained international acclaim for writing a novel called <i>Jacob Wrestling</i>, but he eventually sent his family into poverty by not writing or working after its publication. Thus, writing and literature are very important themes in the story, offering critique and praise for both. Her father's story is basically a mystery; we hardly get any details about the story or her father for that matter. But everyone else seems to have read it, and they all have theories and interpretations in their analysis of it. According to the other characters, his book was written in a modern style, kind of like James Joyce with its layers and complexities. Yet this clashes with the actual novel, <i>I Capture the Castle</i>, which is written in a very traditional style. I wonder what Smith was saying with this. Does she wish she could write like Joyce or is she presenting hers as the preferable writing style?<br />
<br />
Moreover, it's interesting to me that we get to hear from the author himself, who hardly seems capable of writing something apparently so ingenious. He never offers an explanation of his text; the best we get is an analysis from his son. Cassandra herself admits that she never understands it. It makes me wonder whether we, as readers, tend to overly praise books, giving them more meaning than the author originally intended. I never hesitate to analyze a book, criticizing or lauding it for dozens of minute influences and details I detect. I've done just that to the 70 or so books I've already discussed in this very blog. What would their authors think of my assessments? I can't help but wonder...<br />
<br />
Writing in general is an important theme, as Cassandra writes in her diary as a discipline, hoping to become a better writer and effectively express her feelings. She frequently indicates that she has had to force herself to write about recent events, and I think she is hoping to embody her father's most praised talent. Her sister is a big fan of Jane Austen novels, so much so that she has almost lost sight of reality in her fantasy world. In some ways, the plot of this novel is very similar to those in Austen's stories: two poor sisters who meet two wealthy brothers and pursue them in courtship. Perhaps I'm biased, but I think that the commentary Cassandra offers and the occasional resistance she shows add a unique dimension to the typical storyline. However, I admit that I groaned when I saw a few cliches play out as one could easily predict.<br />
<br />
So why did I enjoy reading this so much? I should pause and consider this for a moment. I typically am not drawn into this kind of plot and these characters. I am more emotionally invested in the dark stories, the conflicted and tormented characters or the devastating change of events. But I really did like this, and that may just be a testament to Smith's writing skill. I wanted to hear from her characters and see what would happen, even if they didn't magnetize me as powerfully as some novels have done. Yes, I was intrigued by her father's novel, but I was more intrigued by Cassandra herself. So maybe I should simply stop analyzing her and just encourage the rest of you to read this for yourself. Enjoy.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com9tag:blogger.com,1999:blog-5826660492524293078.post-17422844685560108022013-01-24T09:23:00.000-08:002013-01-24T09:49:15.579-08:00The Name of the RoseWell, I've been saying that I would read Umberto Eco for over a year now, and I've finally done it. I read <i>The Name of the Rose</i>, though I'm too embarrassed to confess how long it took me to complete this task. My friend Andrew, whose recommendations I always take with eagerness, loves Eco and wrote a great post for me about the author. Please do yourselves a favor and <a href="http://thelitquest.blogspot.com/2012/01/guest-blog-umberto-eco-overview.html" target="_blank">read it here</a>; it's a brilliant analysis. <br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9z0aNEJuH2XNHc7GoBb_ExqndmjYCpJEmLWxFwhNTtOM7go27z0g6Ss2CrJ8p3ZTdhvfcQtewHKruHZ2iCRHaSki5kpZKJunwMcwTE3BWdPE14IJKWTpQCRrnEcoTHOk1LipTcDk6fcY/s1600/Name+of+the+Rose+cover.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9z0aNEJuH2XNHc7GoBb_ExqndmjYCpJEmLWxFwhNTtOM7go27z0g6Ss2CrJ8p3ZTdhvfcQtewHKruHZ2iCRHaSki5kpZKJunwMcwTE3BWdPE14IJKWTpQCRrnEcoTHOk1LipTcDk6fcY/s200/Name+of+the+Rose+cover.png" width="134" /></a>Before I really get started, I think it might help if I gave a quick summary. <i>The Name of the Rose</i> was published in 1980, so it just barely misses my criteria for "Contemporary Fiction." The story is about a group of monks in the 1300s, and several are mysteriously killed at an Italian monastery. The protagonist is William of Baskerville, who is modeled on Sherlock Holmes in more than just his name. With logical reasoning and astute observation, William quickly pieces together confusing circumstances and stuns those who witness it. Adso, the narrator of the story, acts as the "Dr. Watson" for William and assists him in his investigation. The story follows a fairly typical mystery plot, and I was able to successfully detect the culprit based on the formula I've developed after reading way too many Agatha Christie novels.<br />
<br />
However, the standard plot formula is surprisingly subverted at the very end, challenging the modern emphasis on structure and instead promoting postmodern fragmentation. All along, we are led to believe that there is a complex and intricate pattern, but Eco challenges it with his ending. This stimulates a fascinating conversation about analysis and meaning. I believe this is why William was modeled so obviously on Holmes, to emphasize this sudden contrast. The Modernist philosophy depended heavily upon Reason, but was that really a secure foundation? Can Reason actually be trusted? <br />
<br />
Another fascinating component of Eco's novel is that it is embedded and overflowing with historical, literary, and philosophical allusions. I am very unfamiliar with the world of monks in the 14th century, so this was all new information for me. We learn about the various factions within the monks, the important figures, and a whole lot of Latin phrases. In addition, the story coincides with the Inquisition, and several of the monks share their encounters with it. Ubertino of Casale, an actual historical figure, appears in the story as a refugee hidden in the monastery. According to historical legend, Ubertino disappeared from record and was never heard of again after he was exiled for heresy. William appears to have great respect for Ubertino and disdain for the Inquisition. Eventually, the Inquisition comes directly to the monastery, and William and Adso are forced to watch a man get battered by an onslaught of unfounded accusation. Throughout the novel, this an underlying critique of dogma in favor of tolerance is an interesting and modern perspective. <br />
<br />
As I continue to think about it, I can see that <i>The Name of the Rose</i> can certainly be considered a postmodern text. Adso's narration contributes to the questioning of Truth with his <a href="http://thelitquest.blogspot.com/2011/12/literary-analysis-part-3-metanarrative.html" target="_blank">metanarrative</a> style. He breaks in and out of his narration, revealing that many years have passed since these events occurred, though they are still sharp in his memory. He reflects on his actions with nostalgia, warmth, and also regret, adding a thoughtful commentary to the narrative. Balancing and contrasting the narration, he divides the interpretation of the story between his perspective at the time as a youth and now as an old man. This style highlights the shifting and uncertain discernment of morality and values, particularly through the lens of time.<br />
<br />
Adding to the postmodern style, the monks all place extreme value on their literature, lauding the importance of story. Their library is shaped as a complicated labyrinth, illustrating a protection of literature as well as a barrier to it. <i>The Name of the Rose</i> is quite a dense novel, and I can't say that I breezed through it or was able to get lost in it as I read. However, I recognize the ingenious and careful design Eco had in mind, and I'm glad I took the time to explore it.<br />
<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com3tag:blogger.com,1999:blog-5826660492524293078.post-78331327980056845972013-01-19T15:38:00.000-08:002013-01-19T15:43:03.407-08:00Into the WildThis is one of the few books left that I have been longing to discuss and yet have put on hold. When I first read Jon Krakauer's <i>Into the Wild</i>, I was incredibly moved and inspired. I knew immediately that I wanted my friends to read it as well, and I almost instantly gave my copy to someone on loan. This story was a necessary reminder of why I love literature and spend so much time reading it. I had just slogged through one of those long and difficult books I often tackle, which provide value but often bring exhaustion along with them. <i>Into the Wild</i> was a breath of fresh air.<br />
<br />
However, the trouble with this book is that its summary is a terribly inadequate representation of its meaning. From the very beginning, you know that it is a true story about a young man who ventured off in solo travel and tragically died alone in the wilderness. At the surface, this appears to be the story of a foolish and arrogant kid who brashly took on more than he could handle. You could say that Christopher McCandless abandoned his privileged inheritance in a self-righteous attempt to flex his strength and independence. You could say that his life was wasted in an appalling demonstration of hubris and pity his suffering family. Many people have done just that. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilh-xxKi2j1rLqMIrirJayUoAWdm4w8aaajwCywEONlmnmLrash1WRwVtOhZ6jgYxIk3UbHsjxG8bk3HukQjqb0as_GDTH_yq0xsUP6DEzLLl67YzaqGGFd0wt8BE9O12EsqkEw8_fFQk/s1600/into+the+wild+krakauer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilh-xxKi2j1rLqMIrirJayUoAWdm4w8aaajwCywEONlmnmLrash1WRwVtOhZ6jgYxIk3UbHsjxG8bk3HukQjqb0as_GDTH_yq0xsUP6DEzLLl67YzaqGGFd0wt8BE9O12EsqkEw8_fFQk/s320/into+the+wild+krakauer.jpg" width="202" /></a>On the other hand, Jon Krakauer was captivated by this mysterious adventurer and intuitively knew that his journey was worth exploration. After covering the story in a brief newspaper article, Krakauer couldn't get McCandless off his mind. On some level, he identified with McCandless and knew that there was more to his story.
Like Truman Capote, he abandoned his other work in a relentless pursuit of understanding this stranger who posthumously crossed his path.<span style="mso-spacerun: yes;">
</span>He sought out every connection he could find, even those who spent just
minutes with McCandless, transporting the hitchhiker.<span style="mso-spacerun: yes;"> </span>He poured through McCandless’ personal book
collection, noting all the highlighted and marked passages.<span style="mso-spacerun: yes;"> </span>I say this reminds me of Truman Capote
because he similarly dedicated himself to write <a href="http://thelitquest.blogspot.com/2010/09/best-nonfiction-novel.html" target="_blank">In Cold Blood</a>.<span style="mso-spacerun: yes;"> </span>Both of these books spoke to me on a
different level than those I typically read.<span style="mso-spacerun: yes;">
</span>It changes things to know that what you’re reading actually
happened.<span style="mso-spacerun: yes;"> </span>There is something fascinating
about uncovering the layers of a person who cannot speak for himself.<span style="mso-spacerun: yes;"> </span>We won’t ever truly know what McCandless was
thinking, but we can piece together an idea with the scraps of life he left
behind.<span style="mso-spacerun: yes;"> </span>Guided by Krakauer’s skilled
hand, those pieces result in a beautiful and inspiring story.<o:p></o:p>
<!--EndFragment--><br />
<br />
It is difficult to pick out what moved me most about McCandless' story. I admire that he wanted to challenge himself and that he sought to also understand himself in the process. There are times when I felt very disconnected from him, as he adopted the moniker "Alexander Supertramp" and abandoned all the relationships he had formed. But his last words are recorded, his final thoughts in the knowledge of his oncoming death. This is such an incredibly intimate thing, and I was enraptured as he penned his own eulogy: "I have had a happy life and thank the Lord. Goodbye and may God bless all!"<br />
<br />
Whatever led McCandless to venture into the Alaskan wilderness was not wasted in his untimely death. He showed us how it looks when a person follows his convictions and steps out in the face of uncertainty. He demonstrated what it means to follow your dreams despite the obstacles. He learned to recognize his mistakes and adapt his philosophy by the end of his journey. Most of all, he showed us that a life well lived is a life without regret.<br />
<br />
I absolutely love this book and hope to read much more by Jon Krakauer in the future. I have no trouble asserting that it should join the ranks of Classic Literature and be read by many generations to come.<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com0tag:blogger.com,1999:blog-5826660492524293078.post-9446173226129374662013-01-12T15:53:00.003-08:002013-03-04T06:30:05.566-08:00In Defense of JavertWith the recent resurgence of <i>Les Miserables</i> in popular culture, I want to take this opportunity to discuss a fascinating literary character: <b>Inspector Javert</b>. In one of my very first blog posts, I gave a quick review of Hugo's literary masterpiece and briefly mentioned my connection to Javert. However, I now want to indulge in further discussion of those feelings. (You can read my <a href="http://thelitquest.blogspot.com/2010/09/massive-undertaking.html" target="_blank">original post here</a>.) <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxoyPtzE5GPBj2Qi_apSjX4YN484v-IDFWy_0NGx7To0m3tGdNxZKVTgRUcmrcaRwsXMxfEttRVomyIo8Y0sKsqDZYlBeeSf17ULWgFA3RaVh0y6I1uAqik_gSg90Y0B0au5ajPHs2xFw/s1600/les+miserables+book.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxoyPtzE5GPBj2Qi_apSjX4YN484v-IDFWy_0NGx7To0m3tGdNxZKVTgRUcmrcaRwsXMxfEttRVomyIo8Y0sKsqDZYlBeeSf17ULWgFA3RaVh0y6I1uAqik_gSg90Y0B0au5ajPHs2xFw/s200/les+miserables+book.jpg" width="118" /></a>I think that Javert is one of the most misunderstood characters in literature. He is almost always categorized as a villain and criticized. (Russell Crowe is likewise receiving criticism for his portrayal of this character, but I'll get to that a bit later.) The second time I saw <i>Les Miserables</i> on stage, I overheard the man behind me trying to describe Javert at intermission: "He is a despicable human being... scum of the earth." My heart leapt in objection, and I had to restrain myself from heartily expressing my dissent. <br />
<br />
I believe that Javert is Valjean's foil but not the story's villain. A <i>villain</i> is typically described as "an evil character in the story," but it is almost impossible to argue that Javert is evil. Although he may have a skewed sense of right and wrong, he relentlessly pursues that which he perceives as good. A <i>foil</i>, however, is described as "a character who contrasts with another character in order to highlight each other's particular qualities." Javert and Valjean are certainly set in contrast throughout the novel, but this emphasizes each man's core beliefs and principles.<br />
<br />
To really understand Javert, you must read the book. But because the book is absolutely massive, I will try to fill you in as best as I can to save you some of that work. Javert is a man of the highest integrity and discipline. He has dedicated his life to public service and believes that the only way to be just is to be completely unbiased. Yes, he develops a Captain Ahab-type obsession with Valjean, but it comes from dedication to his job. In truth, I think all of Hugo's characters are fairly one-dimensional, but that doesn't bother me because of the broad variety of characters and the grand scale of time and action in <i>Les Miserables</i>. However, Javert experiences arguably the most drastic character development when he encounters Valjean's mercy.<br />
<br />
The chapter that describes Javert's suicide is absolutely breath-taking. In fact, it is the passage of the novel that I remember most clearly and carries the most lasting impact after a few years have passed. I just read it again after watching the recent movie, and I was just as enthralled by it. Although there are many brilliant ways in which the musical version of the story captures the essence of the novel, I do not think it adequately represents Javert's suicide. So allow me to let the book speak for itself:<br />
<br />
"Javert's ideal was not to be humane, not to be great, not to be sublime; it was to be irreproachable. Now he had just failed."<br />
<br />
"His supreme anguish was the loss of all certainty. He felt that he was uprooted. The code was now but a stump in his hand."<br />
<br />
"'In sparing me, what has he done? His duty? No. Something more. And I, in sparing him in my turn, what have I done? My duty? No. Something more. There is then something more than duty.' Here he was startled; his balances were disturbed; one of the scales fell into the abyss, the other flew into the sky, and Javert felt no less dismay from the one which was above than from the one which was below."<br />
<br />
"All that he had believed was dissipated. Truths which he had no wish for inexorably besieged him. he must henceforth be another man. He suffered the strange pangs of a conscience suddenly operated on for the cataract. He felt that he was emptied, useless, broken off from his past life, destitute, dissolved."<br />
<br />
You see, Javert's torment and subsequent suicide were a picture of deep humility. Rather than stubbornly refusing to change his mind, he recognized that he had been wrong. He spent a considerable period of time in deep thought, coming to the humbling conclusion that his strict moral code was imperfect, and he was crushed by this realization. Javert had not been pursuing evil, and he was anguished by the discovery of his own error. His death is the loss of a good and upright man, a loss you have to both respect and mourn.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeiuRKY9lnA5Ng33jYomzWiRBOhqIemy7Q0IADN8chSR2krglWUdnmKUXnjukwHytpdGlhCa1eiQQFGSUqtUAKqZKuhzgRgvEOEvhcO30_eOE1Y31kugf-EAAeyv3pgip-3pntA0Eq0g/s1600/Javert+Russell+Crowe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeiuRKY9lnA5Ng33jYomzWiRBOhqIemy7Q0IADN8chSR2krglWUdnmKUXnjukwHytpdGlhCa1eiQQFGSUqtUAKqZKuhzgRgvEOEvhcO30_eOE1Y31kugf-EAAeyv3pgip-3pntA0Eq0g/s320/Javert+Russell+Crowe.jpg" width="216" /></a></div>
I love Russell Crowe, and I probably always will. So it's possible that I'm biased about his portrayal of Javert, but I do think it was well done. No, Crowe doesn't have the best singing voice, but even he would admit that. However, he brought nobility as well as angst to the role. His portrayal of the suicide was phenomenal and truly brought to life the images in the book. Crowe illustrated Javert's conscience and moral anguish rather than making him appear stubborn. In showing these subtleties, his acting made up for his singing and added depth to the movie.<br />
<br />
Thank you for allowing me to explore this fascinating character in detail. In closing, I want to say that Les Miserables is a beautiful, fabulous, brilliant book. The musical is a masterful interpretation of the story. The recent movie is a heart-wrenching and powerful adaptation of the musical. All three forms of this story are worth your time. <br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com11tag:blogger.com,1999:blog-5826660492524293078.post-40423541419257399382012-12-19T12:29:00.002-08:002012-12-19T12:29:59.293-08:00Let the Great World SpinI certainly agree that it is "the most wonderful time of the year," but it also tends to be the busiest. Lately, updating my blog has not been high on my priorities list, but I always find myself missing it when I've let too much time go by. The most recent push that is bringing me to write this post is <i>Let the Great World Spin</i> by Colum McCann. I first read it about a year ago per the suggestion of a good friend, and I just urged one of my other friends to pick up a copy.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioKtF8QF5I_TSqnI48v6ogVtikMUYqhsdIch0Km5_Y2EvVoUYKYATygd13gD4u8eYKYUcs4-o3S22rjh7LAWdOB3BiuswtAQllls4dg97KiF7_NPE5m2OkhL9xscxWADfQNx_T86StSj0/s1600/let+the+great+world+spin+cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioKtF8QF5I_TSqnI48v6ogVtikMUYqhsdIch0Km5_Y2EvVoUYKYATygd13gD4u8eYKYUcs4-o3S22rjh7LAWdOB3BiuswtAQllls4dg97KiF7_NPE5m2OkhL9xscxWADfQNx_T86StSj0/s200/let+the+great+world+spin+cover.jpg" width="131" /></a><br />
For me, one of the immediately remarkable things about this book is that it was written in 2009. If you have been following my blog, you are probably aware that I am typically at least 60 years behind and often return to pieces from the 19th century. However, as I have stated before, I do not think books are good only if they are old and labeled "Classics." There are still great pieces of literature being produced today, though it can be more challenging to filter through them. I have listed five other works in my Contemporary Series and am happy to now add McCann's book to my list.<br />
<br />
<i>Let the Great World Spin</i> is in the form of a series of vignettes and could perhaps be defined as a short story cycle. It is set in New York City in 1974, centered around one day in which Philippe Petit walked between the Twin Towers on a tightrope, thousands of feet in the air. This part of the story is a true event, and the story has been documented on film (<i>Man on Wire</i>) and in writing. However, this tightrope walker is not the protagonist of McCann's book but rather an interweaving theme that peripherally appears in the lives of a variety of New Yorkers on that day. His daring walk across the high-risers of NYC is symbolic of the emotional precipice so many of us balance in our daily lives. But the difference with Petit, and what makes him extraordinary to all the observers in the story, is that he leaps and dances his way across.<br />
<br />
These characters represent the melting pot of New York City, ranging from prostitutes in South Bronx to housewives on Park Avenue, and everything in between. Their stories paint a colorful picture of the range of struggles, achievements, heartaches, and motions that can take place on one day in one city. They remind us that we are all connected, even when we are wrapped up in our individual worlds. Their stories are both heart-breaking and heart-warming, and they beautifully illustrate the differences even in our shared space within each of our minds, hearts, and lives.<br />
<br />
McCann has brilliantly crafted these stories, and some of the connections are so subtle that I had to flip back through past stories to confirm them. For this reason, I highly advise against reading this book on an e-reader, though I myself am an avid Kindle user. There are some ways in which an e-reader will never be able to measure up to physical books, and this novel highlights those differences. I believe your reading experience will be much richer if you continually check back on past stories and piece the vignettes together. By the end of the novel, you will find that they all function in a circle, and to appreciate them individually, you must appreciate them as a whole.<br />
<br />
For the New York Times review of <i>Let the Great World Spin</i>, click the image below:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.nytimes.com/2009/08/02/books/review/Mahler-t.html?pagewanted=all&_r=0" target="_blank"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGWDNpr3-4pUC57mMEJqI93goyz_7oCGlfP-YMBdqGlESj-g-gyY4e1FZbRuWVM3IiJsOdq8tlzYYttYtZId7z7sFJo4ZJ_EavlGKQ4IsqHA7A5sMpEnEDFDcRCdFznZu-t5JwgoTPaec/s320/let+the+great+world+spin+image.jpg" width="320" /></a></div>
<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com1tag:blogger.com,1999:blog-5826660492524293078.post-3737097092292255732012-11-12T09:05:00.000-08:002012-11-14T06:43:51.163-08:00Manchester by the BookIn the coastal Massachusetts town of Manchester-By-the-Sea, there is a small bookstore called Manchester By the Book. Around the shop are local coffee stores, a small market, and a white New England church at the corner. The ocean hugs the back of the store, and the distinct smells of fish and seaweed lightly waft in the sidewalk by the door. As soon as you enter the shop, you are greeted by the smell of ancient pages, and the owner catches your eye behind the stacks of books lining his checkout counter as he quietly reads and chats with his customers. <br />
<br />
If you step through these doors, you have just entered the best bookstore I have ever encountered. I have traveled a fair amount in my life thus far, always checking out the local libraries and even studying within the grand halls of Oxford's Bodleian. I have browsed through New York City's Strand Bookstore, famous for its size and collection. I have wandered into the basement of city shops to find even the most obscure used bookstore in its premises. Yet in all my wanderings, I have never been to a better place than Manchester by the Book.<br />
<br />
Mark Stolle, the owner of the bookstore, has hand-picked every single item on his shelves. He may not have read every book he sells, but he knows of all of them and can spout off a tidbit of information on each author. The store is so stuffed that books have piled up into heaps on the floor and are overflowing in the shelving, but every single book is of a high caliber. I have watched him first-hand look through books customers try to sell to him and turn them away because they do not meet his standards. <br />
<br />
Because he is nestled in this historic New England town, he has gathered an amazing collection of First Edition copies of classics. One treasured moment in the store for me was holding in my hands a First Edition copy of <i>Uncle Tom's Cabin</i>. To this day, I still kick myself for not snatching it up! Not all is lost, however, as I have acquired a First Edition copy of <i>A Portrait of a Lady</i> and beautiful, leather-bound early editions of <i>Heart of Darkness</i> and Dostoevsky's diaries. Stolle has made himself known in the area, so he is frequently called to local homes to scan their bookshelves and discover these treasures. He doesn't even need to go to auctions anymore, as he has developed a reputable clientele at this point. There are always treasured copies in his store, I guarantee it. <br />
<br />
Although the setting and quality of the books are remarkable on their own, the real treasure is Stolle himself. He is incredibly well-read, and I am awed by his knowledge at every visit. However, his spirit is amazingly humble without even a hint of pretension in his voice. If you give him the slightest window, he will happily engage in literary dialogue. He gently probes your knowledge and develops a sense of the kind of books that appeal to you. I am very conscious of my literary taste when I'm around him, and though he seeks it without judgment, I can't help sensing that he is testing me. <i>What does this girl like to read? Is she really the right customer for this store?</i> Although I frequently have to say, "No, I've not read that one" and "Actually, I've never even heard of that author," I think I have passed his test because he envelops me in warmth and discussion. When I purchased Dostoevsky's diaries, he said with a silent nod of approval, "I am glad to see these going to a good home."<br />
<br />
If you visit frequently enough, Stolle recognizes you and eagerly shows off his latest acquisitions. He knows that I love the First Editions and offers them for me to comb through even when he knows I can't afford to buy them. And if you give him an opening to talk about his life, you may find out some incredible personal history. Stolle was personal friends with John Updike, so much so that Updike actually bequeathed his personal library to Stolle in his will upon his death. But in all his humility, you would never guess that he made such a connection with the famously introverted author.<br />
<br />
I have just stepped away from this wonderful store, visiting it for the first time in about a year. I no longer live in Massachusetts, though days like today motivate me to move back soon. On this visit, Stolle was so caught up in our conversation that he gifted me with two additional books simply because he was eager for me to read them. I tried to pay for them, but he pushed it away and said, "That's just the kind of store this is."<br />
<br />
Precisely. That is just the kind of store it is. If any of you have even the slightest appreciate for quality literature, you must make a pilgrimage to this bookstore. You can check out its website at <a href="http://manchesterbythebook.com/">manchesterbythebook.com</a> but it doesn't even begin to capture the treasure you will discover inside. Do yourself a favor and come to this bookstore. Talk to Stolle and take his reading advice. It will be well worth your time.<br />
<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com4tag:blogger.com,1999:blog-5826660492524293078.post-64474220987829445272012-11-09T14:44:00.000-08:002012-11-09T14:44:38.198-08:00A Tree Grows in BrooklynLately, I've found that I keep mentioning <i>A Tree Grows in Brooklyn</i> by Betty Smith in conversation, and I think it's about time I review it for my blog. Written in 1943, this Classic novel covers events of the early 20th century from the perspective of a young girl named Francie Nolan. Born in a poor Irish family, Francie grows up through family struggle, awkward adolescence, hard work, and endearing hopefulness. It's a beautiful story, and I quickly flew through the pages in captivated interest.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk6oblNjkhP3aXM-YOiHcWZoLIiQcgtkFxeo6zuOWLHP-mSA83p6OAOGIalJKc8ajaVZMUKG0qMFtV5vh-HeasgQrxcgdrYx20lxlhCjv3fWhaxztV2AcbhhhB72YSYJ_utVgG41mHAr4/s1600/a+tree+grows+in+brooklyn.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk6oblNjkhP3aXM-YOiHcWZoLIiQcgtkFxeo6zuOWLHP-mSA83p6OAOGIalJKc8ajaVZMUKG0qMFtV5vh-HeasgQrxcgdrYx20lxlhCjv3fWhaxztV2AcbhhhB72YSYJ_utVgG41mHAr4/s320/a+tree+grows+in+brooklyn.gif" width="209" /></a>In some ways, <i>A Tree Grows in Brooklyn</i> reminds me of <i>To Kill a Mockingbird</i> by Harper Lee. In both stories, readers experience the world through a young girl who demonstrates an equal portion of naivete and maturity in her interactions. However, Smith's novel covers a much larger scope and depth with her characters, spanning several decades and giving insight into several characters' minds. Francie's mother Katie is one of the more significant characters, and she is a wonderful combination of strength, stubbornness, and romanticism that readers can both embrace and pity. Her aunt Sissy is another colorful character, one who gives love so freely that it costs her reputation and breaks her heart. And, of course, there's an interesting dynamic between Francie and her father, a sweet one of a daughter's unadulterated love despite his flaws that nabbed my heart.<br />
<br />
Francie's story could easily be described as a "Coming of Age" novel, and I loved following her through the years. Her childish insecurities are never fully overcome, but they convincingly form her in her later years. She is smart and has her mother's stubbornness, but she also has to deal with the hole in her heart that desires to be cherished. Smith weaves through her tale in flashbacks and foreshadowing, but it seamlessly forms a lovely narrative. <br />
<br />
There are so many themes in the novel I could address, such as growing up in struggling, grasping one's sexuality, persevering through grief, forming a community, etc. But if I step back and think about the novel as a whole, my primary impression is the disparate ways family members relate with one another. The characters never quite express themselves clearly, and they all show their love in different ways. They are protective of one another and support each other, but they also take advantage of one another. They celebrate in their victories and share in their griefs. Francie is often ostracized and ignored, but deep down she knows of her family's love. At times, she is eager to please, but she also reserves some personal thoughts and feelings tightly in her heart. There is something so realistic about the characters' struggles, flaws, and shortcomings that it makes their loving gestures even more powerful. It's a great book and certainly deserves the status it has achieved as a piece of Classic Literature.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com3tag:blogger.com,1999:blog-5826660492524293078.post-83880064118683582542012-11-02T11:21:00.000-07:002013-03-07T12:47:33.696-08:00The Idiot: A Mixed ReviewSome of the best books I've ever read were written by Fyodor Dosteovsky. <i>Notes from the Underground</i> is a fascinating narrative of fragmented, conflicting thoughts. <i>Crime and Punishment</i> explores the conflict of a tortured yet lovable man who commits a heinous act of violence. <i>The Brothers Karamazov</i> brilliantly presents various philosophies in character dialogues, offering both fascinating and conflicting insight in important aspects of human nature.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJdBnp9Yp2wbApNtLiIv-rz7efynP1w75Tr8z-jZU6suunU_p_nFKeVZ84nKz6oMpxOT47KIXO00aGmTJloeBEmRXwBxEOnoObMbl6qgA7fkMOSrtr9JrSFi04mVb-T09CSMbLE_vSmY/s1600/the+idiot+dostoevsky.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJdBnp9Yp2wbApNtLiIv-rz7efynP1w75Tr8z-jZU6suunU_p_nFKeVZ84nKz6oMpxOT47KIXO00aGmTJloeBEmRXwBxEOnoObMbl6qgA7fkMOSrtr9JrSFi04mVb-T09CSMbLE_vSmY/s200/the+idiot+dostoevsky.jpg" width="141" /></a><br />
Thus, when I finally nestled down with my copy of <i>The Idiot</i>, I eagerly anticipated what was coming in the pages. I trustfully pushed through the initial confusion that always comes with Russian texts as I tried to sort out the characters in my mind and grasp the scenes. I waited patiently as Myshkin bumbled his way through the St. Petersburg social scene, anticipating some kind of dramatic character development that would absorb me. And remembering past Dostoevsky pieces, I fully expected a twist and a dramatic ending.<br />
<br />
There were some moments that I loved, and the ending was as unexpected as I had expected. (If that makes any sense...) However, the novel as a whole disappointed me. It's just simply not as good as the others.<br />
<br />
To be fair, there are certainly some strengths to this piece. The irony of the title is ever-present and adds a significant dimension to the story. Prince Myshkin is generally considered an idiot by the characters, but the readers can clearly see that he is highly intelligent but also highly naive. Myshkin has spent most of his life in a small town in Switzerland being treated for epilepsy, a disease whose seizures often disturb and bias those who witness them. All of his seizures in the novel come at pinnacle moments in the story, and it would be interesting to do a study of each of these events. But there is nothing wrong with his cognitive ability, despite the title of the novel. He is incredibly compassionate and becomes highly invested in the people he meets in a short amount of time. His innocence is often met with cynical disdain by those around him, which feels extraordinarily modern to me. Most of us, especially those of us from the city, would treat someone with such a blind trust in others with similar prideful derision. In fact, I'm not convinced that Dostoevsky really wants us to admire Myshkin, despite the fondness we might feel for him. Nevertheless, he is an interesting character in theory.<br />
<br />
However, I think that Myshkin's nature is also the primary reason I did not enjoy this novel as much as the others. For various reasons, I am far more drawn by flawed characters than "perfect" ones. I just don't think that Myshkin had enough depth to successfully carry the weight of the story. If <i>The Brothers Karamazov</i> had been all about Alyosha, for example, there's no way I would have enjoyed it as much as I did. Alyosha provided a valuable dimension to the story, but Ivan and Dmitri were necessary to give the novel its proper balance and ingenious complexity. <i>The Idiot</i> simply lacked that.<br />
<br />
To add my own balance to this review, I want to include another aspect of the story that I <i>did </i>like. The scene that I will remember the most was the long-awaited confrontation between Nastassya and Aglaya. Both women have their flaws, and there are certainly aspects of their characters I dislike from a feminist perspective as well. However, it's not often that two women so remarkably overpower a man in 19th century literature. As they battled openly in front of Myshkin, I felt the swell of their tension as well as their equal intelligence. Both women are beautiful, headstrong, opinionated, and romantic at heart, and I felt this combination was incredibly unique among female characters of this era. Moreover, there are two of them in this one story! Poor Myshkin was frozen by their confrontation and could hardly react. I think that one of Dostoevsky's greatest strengths is when he engages in a lengthy dialogue between two characters. This scene between Nastassya and Aglaya is just as memorable for me as some of the dialogues in his other brilliant works.<br />
<br />
It has taken me several months to come to terms with the fact that I did not love this book. I was so sure that it would impact me the way Dostoevsky's other writing has done. It helps me to identify the strengths in the novel and to recognize that perhaps my expectations were unrealistic. Now, all I have left to read of Dostoevsky's masterpieces is <i>Demons</i>. I may save this one for a while, holding out hope that I will find it to be as brilliant and fascinating as some of the others. But having now read <i>The Idiot</i>, I think I will lower my expectations and try to keep a more open mind before I begin. I still consider Dostoevsky my favorite author, and I look forward to reading this last novel someday before too long.Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com1tag:blogger.com,1999:blog-5826660492524293078.post-51451710237574688432012-10-31T20:06:00.002-07:002012-11-09T08:51:35.456-08:00Top Ten Tuesday: Literary HeroinesAlright, so it's not actually Tuesday today, but try to withhold your objections. I was browsing my blogger feed just today when I saw that this week's <a href="http://brokeandbookish.blogspot.com/2012/10/kimberlys-top-ten-kick-ass-heroines.html" target="_blank">Top Ten Tuesday by the Broke and the Bookish</a> was about Literary Heroines. Kimberly spouted off a list of "Kick Ass" heroines, and over 200 people have already participated in the Blog Hop! <br />
<br />
Immediately, I wanted to join in this discussion. This is actually a tough one for me, which bothers me on a number of levels. I confess that most of my favorite literary figures are men and written by men. The feminist in me balks at this, so I decided I needed to take the challenge and gather up my favorite fictional females.<br />
<br />
<br />
OK, starting in reverse order with Number 10...<br />
<br />
10. <b>Katniss Everdeen</b> in <a href="http://thelitquest.blogspot.com/2012/04/hunger-games-trilogy.html" target="_blank">The Hunger Games</a><br />
<br />
Katniss probably shows up in a large percentage of the blog hops for this one, so it's incredibly cliche for me to include her as well. However, I really do like her as a character so I'm jumping on the bandwagon. I love that she's stubborn, independent, focused, and a major badass. Plus, I like that she doesn't moon over the love triangle or over-analyze those relationships. She's a great example for the YA readers.<br />
<br />
9. <b>Meg Murry</b> in <i>The Wrinkle in Time</i> Series<br />
<br />
Yet another YA choice, I decided to add Meg to my list. She was definitely a literary hero to me back when I read these books. She's smart, bookish, and awkward and yet manages to cross time continuums, save her family, and fall in love. As a smart, bookish, awkward girl reading this, it was inspiring to me.<br />
<br />
8. <b>Scout Finch</b> in <a href="http://thelitquest.blogspot.com/2011/09/to-kill-mockingbird.html" target="_blank">To Kill a Mockingbird</a><br />
<br />
Who doesn't love Scout? She's curious and sweet, a little tomboy who loves her big brother. She doesn't always understand what's happening, but she has a good heart and absorbs a lot of it. We sort of get to experience her growing up, and there's an endearing juxtaposition of maturity and naiveté. <br />
<br />
7. <b>Francie Nolan</b> in <i>A Tree Grows in Brooklyn</i><br />
<br />
I haven't written a review of this one yet, though I will do so soon. It actually reminds me of <i>To Kill a Mockingbird</i>, for we follow a young girl's perspective. But there is a lot more character development with Francie, and the story covers years of her life. <br />
<br />
<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
6. <b>Holly Golightly</b> in <i>Breakfast at Tiffany's</i></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
First, I want to emphasize that I am referring to the Pulitzer Prize winning novella, not the movie. Having said that, I also want to say that the movie is remarkably faithful to the original story and tells it beautifully. Holly is so easy to love, for characters, readers, and movie-watchers. She is quick-witted and flighty, and we see just a hint of the hurt and vulnerability underneath. If you haven't read the novella yet, you really should.</div>
<br />
<br />
5. <b>Mariam</b> in <a href="http://thelitquest.blogspot.com/2010/10/contemporary-series-part-3-thousand.html" target="_blank">A Thousand Splendid Suns</a><br />
<br />
I chose Mariam as my literary hero, but Laila is also worthy of being mentioned. This book is remarkable for its relationship between two women who face intense suffering. They are both married to the same abusive man, but it creates no jealous or bitterness between them. Instead, they draw strength from one another, and their story is absolutely inspirational.<br />
<br />
4. <b>Mina Murray</b> in <a href="http://thelitquest.blogspot.com/2011/10/dracula-group-read.html" target="_blank">Dracula</a><br />
<br />
I doubt many people would pick her out of this story, but I loved her. Mina really was a badass, particularly considering the era in which this was written - 1897. Unlike Lucy, she is not the damsel in distress of the story. She is actively involved in chasing Dracula, offering intelligent and brave participation. She's like a 100-year precursor to Buffy.<br />
<br />
3. <b>Ethne Eustace</b> in <a href="http://thelitquest.blogspot.com/2010/11/four-feathers.html" target="_blank">The Four Feathers</a><br />
<br />
I feel like I've always lauded Ethne as one of my absolute favorite literary heroines. I adore this book, and Ethne is a big part of the reason. Although she acted rashly and pridefully at the beginning, she spends the rest of the novel in pursuit of redeeming herself. She has extremely high standards for herself, but doesn't act like a martyr for it. I think you have to read it to understand what I mean.<br />
<br />
2. <b>Isabel Archer</b> in <a href="http://thelitquest.blogspot.com/2011/09/portrait-of-lady.html" target="_blank">The Portrait of a Lady</a><br />
<br />
I love Isabel! She is admired for being intelligent, independent, and adventurous. She is always hungry to learn and listens carefully to other people's perspectives. Rather than following the path of her sisters, she strikes out on her own and embraces the uncertainty. Even when her life takes an unexpected turn, she holds her head high and works through it. I could read this book over and over again.<br />
<br />
<i>And the winner is...</i><br />
<br />
1. <b>Wife of Bath</b> in <a href="http://thelitquest.blogspot.com/2010/11/old-old-classic.html" target="_blank">The Canterbury Tales</a><br />
<br />
I couldn't resist listing her as my favorite. Keep in mind that this was written in the 14th century! The Wife of Bath gets more attention than just about any other character. She comments on other people's tales throughout the collection, but her own is one of the most memorable. She's not bashful about her sexuality or her sense of humor. I'm sure there are a number of feminist objections one can make, but I still like her and think she's pretty awesome.<br />
<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com2tag:blogger.com,1999:blog-5826660492524293078.post-70936619045462561982012-10-17T20:32:00.001-07:002012-10-17T20:32:09.571-07:00October ReadingDear Book Friends,<br />
<br />
I absolutely love the fall. I eagerly jump into the season by wearing jackets and sweaters, drinking apple cider, and eating all things pumpkin-flavored. The trees are finally starting to change colors, and the air at its best smells like leaves and campfires. I love the crispness of the wind on my cheeks when it starts to get cold, and I celebrate the little shivers down my spine. I've already visited the apple orchard, walked through a corn maze, and brought home a pumpkin. The mulling spices I bought are just begging to be made into mulled red wine.<br />
<br />
So now I ask for your help... I want to echo my love for the fall with my reading choices as well. Last year, I decided to get into the spirit of October by reading a lot of famous spooky, eerie, and/or autumn-themed books. I posted my reviews of them throughout the month and saw many of you doing similar reviews and read those as well. I've noticed a recent surge of readership on these posts again this season, so I'm hoping you have been able to get into the spirit again and are checking them out. Before then, I had never read these amazing books before, and I was pleasantly surprised that they were quality literature in addition to good October reads. So I'm hoping you can help me continue the tradition and recommend some to try this year.<br />
<br />
Here was last year's list:<br />
<br />
<a href="http://thelitquest.blogspot.com/2011/10/frankenstein.html" target="_blank">Frankenstein</a> by Mary Shelley<br />
<br />
<a href="http://thelitquest.blogspot.com/2011/10/masque-of-red-death.html" target="_blank">The Masque of the Red Death</a> by Edgar Allan Poe<br />
<br />
<a href="http://thelitquest.blogspot.com/2011/10/turn-of-screw.html" target="_blank">The Turn of the Screw</a> by Henry James<br />
<br />
<a href="http://thelitquest.blogspot.com/2011/10/dracula-group-read.html" target="_blank">Dracula</a> by Bram Stoker<br />
<br />
<a href="http://thelitquest.blogspot.com/2011/10/legend-of-sleepy-hollow.html" target="_blank">The Legend of Sleepy Hollow</a> by Washington Irving<br />
<br />
<br />
Now I know the month is nearly over, and I should have asked you sooner. But I can always put them aside for next year, so don't hesitate to suggest something even if the month has passed. Remember, they must be considered Classic Literature or worthy of such status, so please don't try to suggest <i>Twilight</i> or something. *shudder* (Yes, I am a book snob. Don't act too surprised.) However, I am not opposed to books written recently or ones that are obscure, so long as they are written well. It doesn't have to be old or famous to be good. It also doesn't have to have a Halloween theme, so long as it takes place in the fall. <i>A Room of One's Own</i>, for example, has tons of references to October even though it isn't in narrative form. So feel free to surprise me.<br />
<br />
I hope to hear from you! Happy October!!<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com4tag:blogger.com,1999:blog-5826660492524293078.post-59107122947042477872012-10-12T14:44:00.001-07:002012-10-12T14:53:18.568-07:00A Room of One's OwnWhen I wrote my earlier post about <a href="http://thelitquest.blogspot.com/2011/11/literary-analysis-part-2-feminism.html">Feminist Literary Analysis</a>, I didn't have this book listed among my recommendations because I hadn't read it yet, and many of you were quick to point out the obvious hole it left. But once I grabbed a copy, I absolutely loved it. In fact, I've already read it twice.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHb45WmgZxrqV7c40Hrp8sx95DL7G7zJC6cUFJ7BVvbY7ZDBai843ycCXhVN4pjVi_tuoboN4kAyOoPjqk9O47cu_n12EksG1272sEtGd1o7EDgaYcDGnL5Y9gUTyf71Z9zD1-wxKH0GE/s1600/woolf-a-room-of-ones-own.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHb45WmgZxrqV7c40Hrp8sx95DL7G7zJC6cUFJ7BVvbY7ZDBai843ycCXhVN4pjVi_tuoboN4kAyOoPjqk9O47cu_n12EksG1272sEtGd1o7EDgaYcDGnL5Y9gUTyf71Z9zD1-wxKH0GE/s200/woolf-a-room-of-ones-own.jpg" width="142" /></a><i>A Room of One's Own</i> is an elongated essay by Virginia Woolf, written in her characteristic stream-of-consciousness style. She had been asked to discuss women and fiction, and her conclusion, in brief, was that each woman needs her own source of income and a room of her own in order to write freely. Because she was writing in 1928, the obvious female examples who came to mind were Jane Austen, George Eliot, and the Bronte sisters. These women had successfully produced fiction that society embraced and valued. The 1920s had been boosted by the surge of the first wave of feminism, and Woolf took this opportunity to continue moving it forward. Yet in order to do so, she studied the history of women and fiction, and she emphasized the need to be conscious of the tradition we have inherited.<br />
<br />
Nestled in a library, Woolf researched the history of women and fiction. Yet as she did so, it became clear that we have an unfilled heritage and are missing many potential heroes of our past. Her famous example of Shakespeare's fictional sister stands out in our mind to represent centuries of women whose voices we will never get to hear. So when she finally reaches <a href="http://thelitquest.blogspot.com/2011/09/aphra-behn-who.html">Aphra Behn</a>, I am filled with appreciation and longing to lay a flower beside her grave. (I did try to do that once when I visited Westminster Abbey, but I couldn't find it! I am still kicking myself for not searching longer, and I hope to go back someday to fulfill this mission.)<br />
<br />
I have read several of Woolf's novels in her stream-of-consciousness style, but I think this essay is my favorite use of it. We feel as though we are working through every thought with her and experiencing her discoveries, surprises, and realizations in real time alongside her. She gets distracted and side-tracked at moments, but the whole piece blends together as one continuous thought. The chapter breaks seem unnecessary and out of place, as though the thought process should not be broken or stopped. It made me read the book very quickly each time I read it because I felt carried by the wave of her words. This time, it was especially fun to read it in October because of her description of this season in her writing as well. <br />
<br />
I think that one of the most remarkable things about this book is its tone. There is no trace of anger or bitterness when she discusses women's past oppression, and she does not indicate that men must be pushed down in order for women to surge forward. At times, she certainly evinces some hurt caused by men and the way they have treated women. But she states:<br />
<br />
"I need not hate any man; he cannot hurt me. I need not flatter any man; he has nothing to give me. So imperceptibly, I found myself adopting a new attitude towards the other half of the human race. It was absurd to blame any class or any sex, as a whole. Great bodies of people are never responsible for what they do. They are driven by instincts which are not within their control."<br />
<br />
Repeatedly, Woolf says that anger against men and their poor treatment of women is yet another obstacle in the progression of the female race. Good writing is marred by traces of bitterness and contempt. She praises the four famous novelists specifically for "writing without hate, without bitterness, without fear, without protest, without preaching." She insists that every woman must write for herself, not in reaction to others or in order to make them feel a certain way. The best writing is based on truth and honest feelings without hidden (or obvious) agendas. <br />
<br />
Now, I have to add a small footnote and say that I do not agree with everything Woolf says in this book. The last chapter in particular contains some theories I do not fully support, dichotomizing things as masculine and feminine in perhaps an unhealthy light. However, Woolf was far ahead of her time and made great strides for the feminist movement, so I do not criticize her at all. Many leaders in the third wave of feminism have since picked up this idea and pursued its implications, and Woolf helped us get to this place.<br />
<br />
And so, I will end my post with Woolf's wise words. She has an amazing sense of humility underneath her brilliant wisdom and advice. I can easily start believing that I know good literature apart from bad literature, and this blog is my soapbox to preach my taste. But I want to keep in mind that reading is an individual experience, despite all the ways we can form community around it. And I'll let Woolf have the last word this time.<br />
<br />
"Here I would stop, but the pressure of convention decrees that every speech must end with a peroration. And a peroration addressed to women should have something particularly exalting and ennobling about it... I find myself saying briefly and prosaically that it is much more important to be oneself than anything else. Do not dream of influencing people... Think of things in themselves."<br />
<br />Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com5tag:blogger.com,1999:blog-5826660492524293078.post-33242007567497920802012-10-09T10:06:00.000-07:002012-10-09T13:45:32.573-07:00The FountainheadThis is the reason I had to restart my blog. This is the book that demanded conversation. In fact, I am writing this within minutes of reading the last line, desperate to prolong the experience and allow it to set its roots in me.<br />
<br />
Reading <a href="http://thelitquest.blogspot.com/2011/02/apocalyptic-lit-anthem.html">Anthem</a> as your only book by Ayn Rand is a crime to literature, a crime that I was guilty of for quite some time. As you can probably tell from my blog, I like to sample literature like a buffet, tasting just a little bit from a wide selection of different authors and periods. In many cases, I've read only one piece by an author before moving on to someone else. But although <i>Anthem</i> is an interesting novella, it does not even begin to do justice to Ayn Rand. She is absolutely brilliant, and the way she carefully crafts and unfolds a long story is almost breathtaking. <br />
<div>
<br /></div>
<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKn-DBQHybU-g0f-gLtugdUWNZ3HeIBRY5sogcAFKO2yhgff4hEMrihAdECIegfJgRnInpybaSvcoZH8Ldye_dUhMVhRMGntiNIGrd0A3JEXOkDM2bM_vSFxfDDcEpg6MCPQa98sjV0Kk/s1600/the+fountainhead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKn-DBQHybU-g0f-gLtugdUWNZ3HeIBRY5sogcAFKO2yhgff4hEMrihAdECIegfJgRnInpybaSvcoZH8Ldye_dUhMVhRMGntiNIGrd0A3JEXOkDM2bM_vSFxfDDcEpg6MCPQa98sjV0Kk/s320/the+fountainhead.jpg" width="195" /></a>I cannot bring myself to give you a plot synopsis for <i>The Fountainhead</i> because it doesn't even begin to capture what the story is truly about. If you absolutely need to know, I'm sure you can find one online somewhere. To be honest, I didn't have much interest in reading this book at the beginning. I had heard so much about Rand's philosophy and politics that I thought it would make for a dry and serious novel. But now I am kicking myself for avoiding this book as long as I did.<br />
<br />
Nearly halfway through the novel, I wondered why everyone emphasized her philosophy so much and yet I had heard nothing about the plot. I felt that it was a story about architecture and unique characters, with the philosophy running merely as an undercurrent. Now that I have finished the novel, I understand how everyone seems to forget that. I acquiesce that every page mentions some form of the word "architecture" or "building." The descriptions are dripping with succulent care. There's a love and brilliance in the presentation of the buildings, and the man who is Howard Roark. But by the end of the novel, one recognizes that it is not about these things.</div>
<div>
<br /></div>
<div>
Ayn Rand is the Howard Roark of literature. She was a genius in her craft and clearly had a clear vision for what she meant to convey. However, this book has received its fair share of controversy, and I can hear the objections ringing in my mind - that it's long, that it's indecent, that it's unrealistic, that it's pretentious, that it's <i>boring</i>. Even though I absolutely love this book, I will not recommend it to friends as freely as I do with others, and yet I quiver at these objections.</div>
<div>
<br />
So what is it that makes this book so great? Why does it stand immortally in the shelves of Classic Literature? I believe she offers a voice that is not heard in other pages. Truthfully, I do not fully agree with her feelings about individualism and collectivism, but it doesn't matter. I still benefit from hearing her perspective, and I feel like a stronger person because of it.<br />
<br />
Only great literature can make you feel like a better person for having taken the time to read it. There are a few books that have done this to me before. <i>Crime and Punishment, Invisible Man</i> and <i>East of Eden</i> immediately stand out in my mind as works that have made a lasting impression on me and deeply fed a need. But I have spent this past year being torn down by a number of unforeseen obstacles and curveballs. I have been broken and lost and aimless. I have pushed through pain and fought to maintain a healthy and positive attitude. I have started rebuilding myself from the rubble of this past year, and <i>The Fountainhead</i> pushes me to make this new version more wholly <i>me</i> than any model of the past. <br />
<br />
In my opinion, the most interesting concept in <i>The Fountainhead</i> is a redefinition of the words "selfish" and "selfless." Immediately, a swarm of associations come to mind with those words. But Rand defines "selfless" literally, as the lack of a sense of self. Selfless people are the ones who have built their identities on what they believe other people desire and admire. If pressed, they probably could not identify any of their choices as ones which truly came from their own desires. I understand this concept because I have lived it. Selfish people, on the other hand, know exactly who they are, and nothing could make them change it. There is nothing so valuable to them that they would compromise who they are and what they believe. Not public opinion, not personal comfort, not great success. Howard Roark is the embodiment of this kind of selfish person, and it is fascinating to watch him wage war with the rest of society.<br />
<br />
Interestingly, I don't love this "hero" of the story. I would venture to say that Rand didn't even want readers to love him. But I do admire and respect him. <br />
<br /></div>
<div>
Finally, I can't help but note that one of the most surprising things I discovered in this novel is that it is romantic at its heart. By no means is it romantic in the most common sense of the word, but there is a powerful, underlying theme that there is someone for everyone. The key relationship is strange, insensitive, and unnerving, but they fit as though they were built to be together. There's something so romantic in the unexpected aspect of this, and I'm afraid that often gets lost in the typical discussion of this book.</div>
<div>
<br /></div>
<div>
If you have read my entire post, thank you for taking the time to listen. I welcome your thoughts in the comments below. </div>
Amyhttp://www.blogger.com/profile/18137397971666050120noreply@blogger.com4