Thursday, April 8, 2010
Fault Lines - Nancy Huston
Starred Review. Winner of France's Prix Femina and shortlisted for the Orange Prize, Huston's 12th novel captures four generations of a family and examines the decades-long fallout of a dark family secret. The novel proceeds in reverse chronological order from 2004 to 1944 and begins with six-year-old Sol, who is sheltered and coddled by his mother as he immerses himself in all the perversities the Internet can offer. After surgery to remove Sol's congenital birthmark turns out poorly, the extended family takes a trip to great-grandmother Erra's childhood home in Munich. A turbulent history underlies the visit, and after Sol witnesses a tussle between his great-grandmother and great-aunt, the novel skips backwards in time through the childhood of Sol's father, Randall; grandmother Sadie; and finally Erra. Huston's brilliance is in how she gradually lets the reader in on the secret and draws out the revelation so carefully that by the time the reader arrives at the heart of the matter in Munich 1944, the discovery hits with blunt force. Huston masterfully links the 20th century's misery to 21st-century discomfort in razor-sharp portraits of children as they lose their innocence.
Never Let Me Go - Kazuo Ishiguro
Never Let Me Go (2005) is a novel by British author Kazuo Ishiguro. It was shortlisted for the 2005 Booker Prize (an award Ishiguro had previously won in 1989 for The Remains of the Day), for the 2006 Arthur C. Clarke Award and for the 2005 National Book Critics Circle Award. Time magazine named it the best novel of 2005 and included the novel in its TIME 100 Best English-language Novels from 1923 to 2005.
The novel describes the life of Kathy H., a young woman of 31, focusing at first on her childhood at an unusual boarding school and eventually her adult life. The story takes place in a dystopian Britain, in which human beings are cloned to provide donor organs for transplants. Kathy and her classmates have been created to be donors, though the adult Kathy is temporarily working as a "carer," someone who supports and comforts donors as they are made to give up their organs and, eventually, submit to death. As in Ishiguro’s other works, the truth of the matter is made clear only gradually, via veiled but suggestive language and situations.
The novel is divided in three parts, chronicling the three phases of the lives of its main characters.
The first part is set at Hailsham, a boarding school where the children are brought up and educated. The teachers there mysteriously encourage the students to produce various forms of art. The best works are chosen by a woman known only as Madame and are said to be collected in a gallery. It is seen that Hailsham is not a normal school by the odd way the teachers or "guardians" treat them, the emphasis on keeping healthy and the fences and boundaries of the school.
While the students of Hailsham are often cliquey and capricious, the three main characters — Ruth, Tommy, and Kathy — develop a close friendship during this time. Kathy herself seems to have resigned herself to being an observer of other people, and the choices they make, instead of making her own choices. She often takes the role of the peacemaker in the clique, especially between Tommy and Ruth. Tommy is an isolated boy who has difficulty in relating to others and is often the target of bullies, while Ruth is an extrovert with strong opinions.
In the second part, the characters, now young adults, move to the "Cottages", residential complexes where they start to have contacts with the external world and they are relatively free to do what they want. A romantic relationship develops between Ruth and Tommy, while Kathy explores her sexuality but without forming any stable relationships. While at the Cottages, they travel to Norfolk. The third part describes Tommy's and Ruth's becoming donors and Kathy's becoming a carer. Kathy cares for Ruth and then, after Ruth "completes" (Ishiguro's evocative euphemism for death), Kathy takes care of Tommy. Before her death, Ruth expresses regret over coming between Kathy and Tommy, and urges them to pursue a relationship with one another, and to seek to defer their donations based on their love. Encouraged by Ruth's last wishes, Kathy and Tommy visit Madame, where they also meet their old headmistress, Miss Emily. During this visit, they learn why artistic production had always been emphasized at Hailsham. They also learn that deferring their donations, a possibility rumoured among clones for many years, is impossible. The clones learn that Hailsham in general was an experiment, an effort to improve the conditions for clones and perhaps alter the attitudes of society, which prefers to view the clones merely as non-human sources of organs. The novel ends, after the death of Tommy, on a note of resignation as Kathy accepts her own inevitable fate as a donor and her eventual "completion."
The novel describes the life of Kathy H., a young woman of 31, focusing at first on her childhood at an unusual boarding school and eventually her adult life. The story takes place in a dystopian Britain, in which human beings are cloned to provide donor organs for transplants. Kathy and her classmates have been created to be donors, though the adult Kathy is temporarily working as a "carer," someone who supports and comforts donors as they are made to give up their organs and, eventually, submit to death. As in Ishiguro’s other works, the truth of the matter is made clear only gradually, via veiled but suggestive language and situations.
The novel is divided in three parts, chronicling the three phases of the lives of its main characters.
The first part is set at Hailsham, a boarding school where the children are brought up and educated. The teachers there mysteriously encourage the students to produce various forms of art. The best works are chosen by a woman known only as Madame and are said to be collected in a gallery. It is seen that Hailsham is not a normal school by the odd way the teachers or "guardians" treat them, the emphasis on keeping healthy and the fences and boundaries of the school.
While the students of Hailsham are often cliquey and capricious, the three main characters — Ruth, Tommy, and Kathy — develop a close friendship during this time. Kathy herself seems to have resigned herself to being an observer of other people, and the choices they make, instead of making her own choices. She often takes the role of the peacemaker in the clique, especially between Tommy and Ruth. Tommy is an isolated boy who has difficulty in relating to others and is often the target of bullies, while Ruth is an extrovert with strong opinions.
In the second part, the characters, now young adults, move to the "Cottages", residential complexes where they start to have contacts with the external world and they are relatively free to do what they want. A romantic relationship develops between Ruth and Tommy, while Kathy explores her sexuality but without forming any stable relationships. While at the Cottages, they travel to Norfolk. The third part describes Tommy's and Ruth's becoming donors and Kathy's becoming a carer. Kathy cares for Ruth and then, after Ruth "completes" (Ishiguro's evocative euphemism for death), Kathy takes care of Tommy. Before her death, Ruth expresses regret over coming between Kathy and Tommy, and urges them to pursue a relationship with one another, and to seek to defer their donations based on their love. Encouraged by Ruth's last wishes, Kathy and Tommy visit Madame, where they also meet their old headmistress, Miss Emily. During this visit, they learn why artistic production had always been emphasized at Hailsham. They also learn that deferring their donations, a possibility rumoured among clones for many years, is impossible. The clones learn that Hailsham in general was an experiment, an effort to improve the conditions for clones and perhaps alter the attitudes of society, which prefers to view the clones merely as non-human sources of organs. The novel ends, after the death of Tommy, on a note of resignation as Kathy accepts her own inevitable fate as a donor and her eventual "completion."
Tuesday, March 16, 2010
The Lady in the Tower: The Fall of Anne Boleyn - Alison Weir
Rejecting as myth that Henry VIII, desirous of a son and a new queen, asked his principal adviser Thomas Cromwell to find criminal grounds for executing Anne Boleyn, the prolific British historian Weir (The Six Wives of Henry VIII) concludes that Cromwell himself, seeing Anne as a political rival, instigated one of the most astonishing and brutal coups in English history, skillfully framing her and destroying her faction. Ably weighing the reliability of contemporary sources and theories of other historians, Weir also claims that though perhaps sexually experienced, Anne was technically a virgin before sleeping with Henry. Anne was also, Weir posits, a passionate radical evangelical, with considerable influence over Henry regarding Church reform. Weir wonders if Anne's childbearing history points to her being Rh negative and thus incapable of bearing a second living child. Dissecting four of the most momentous months in world history and providing an eminently judicious, thorough and absorbing popular history, Weir nimbly sifts through a mountain of historical research, allowing readers to come to their own conclusions about Henry's doomed second queen.
Frauen: German Women Recall the Third Reich - Alison Owings
Owings, a freelance television writer who is neither a German nor a Jew, has compiled and edited a groundbreaking set of oral histories. She interviews women from many spectrums of the Third Reich: Germans, Jews, individuals of "mixed" parentage, a countess, a camp guard, women who hid Jews, Nazi supporters, Communists, and other women who witnessed and participated in everyday and extraordinary events. Owings has tried, as much as possible, to quote her interviewees directly yet still manages to create an even and engaging text. This volume is an excellent companion to Claudia Koonz's Mothers in the Fatherland: Women, Family Life, and Nazi Ideology , 1919-1945
A vivid picture of Germany under the Nazis emerges from this collection of unsettling interviews conducted by freelance TV writer Owings with 29 women of diverse backgrounds, both Aryan and Jewish. Among the women whose lives in Germany's war-torn homefront are chronicled are the widow of a resistance leader and the wife of an SS guard, who refers to her husband's work in the Ravensbrook and Buchenwald "manufacturing plants." Not only did Hitler attract the young but, according to one supporter, "he understood how to fascinate women." Some of these women claim that they privately protested mistreatment of Jews and prisoners and risked their lives to assist them. Only one non-Jewish woman, however, admits to "hearing" that Jews were gassed.
A vivid picture of Germany under the Nazis emerges from this collection of unsettling interviews conducted by freelance TV writer Owings with 29 women of diverse backgrounds, both Aryan and Jewish. Among the women whose lives in Germany's war-torn homefront are chronicled are the widow of a resistance leader and the wife of an SS guard, who refers to her husband's work in the Ravensbrook and Buchenwald "manufacturing plants." Not only did Hitler attract the young but, according to one supporter, "he understood how to fascinate women." Some of these women claim that they privately protested mistreatment of Jews and prisoners and risked their lives to assist them. Only one non-Jewish woman, however, admits to "hearing" that Jews were gassed.
Friday, March 5, 2010
ON THE ROAD - Jack Kerouac
On the Road is a novel by American writer Jack Kerouac, written in April 1951, and published by Viking Press in 1957. It is a largely autobiographical work that was based on the spontaneous road trips of Kerouac and his friends across mid-century America. It is often considered a defining work of the postwar Beat Generation that was inspired by jazz, poetry, and drug experiences. While many of the names and details of Kerouac's experiences are changed for the novel, hundreds of references in On the Road have real-world counterparts.
When the book was originally released, The New York Times hailed it as "the most beautifully executed, the clearest and most important utterance" of Kerouac's generation.The novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005.
When the book was originally released, The New York Times hailed it as "the most beautifully executed, the clearest and most important utterance" of Kerouac's generation.The novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005.
A CLOCKWORK ORANGE - Anthony Burgess
A Clockwork Orange (1962) is a dystopian novel by Anthony Burgess.
The title is taken from an old Cockney expression, "as queer as a clockwork orange"¹, and alludes to the prevention of the main character's exercise of his free will through the use of a classical conditioning technique. With this technique, the subject’s emotional responses to violence are systematically paired with a negative stimulation in the form of nausea caused by an emetic medicine administered just before the presentation of films depicting "ultra-violent" situations. Written from the perspective of a seemingly biased and unapologetic protagonist, the novel also contains an experiment in language: Burgess creates a new speech that is the teenage slang of the not-too-distant future.
The novel has been adapted for cinema in a controversial movie by Stanley Kubrick, and also by Andy Warhol; adaptations have also been made for television, radio, and the stage. As well as inspiring a concept album, the novel and films are referred to in, and have inspired, a number of songs and bands.
The title is taken from an old Cockney expression, "as queer as a clockwork orange"¹, and alludes to the prevention of the main character's exercise of his free will through the use of a classical conditioning technique. With this technique, the subject’s emotional responses to violence are systematically paired with a negative stimulation in the form of nausea caused by an emetic medicine administered just before the presentation of films depicting "ultra-violent" situations. Written from the perspective of a seemingly biased and unapologetic protagonist, the novel also contains an experiment in language: Burgess creates a new speech that is the teenage slang of the not-too-distant future.
The novel has been adapted for cinema in a controversial movie by Stanley Kubrick, and also by Andy Warhol; adaptations have also been made for television, radio, and the stage. As well as inspiring a concept album, the novel and films are referred to in, and have inspired, a number of songs and bands.
I, Claudius & Claudius the God - Robert Graves
I, Claudius is a novel by English writer Robert Graves, first published in 1934, that deals sympathetically with the life of the Roman Emperor Claudius and cynically with the history of the Julio-Claudian Dynasty and Roman Empire, from Julius Caesar's assassination in 44 BC to Caligula's assassination in AD 41. Graves's interpretation of the story owes much to the histories of Gaius Cornelius Tacitus, Plutarch, and (especially) Suetonius (Lives of the Twelve Caesars). Graves translated Suetonius before writing the novel. Graves continued his tale (from Claudius's accession after Caligula's death to his death in 54, as well as a sequel involving the early life of Herod Agrippa) in Claudius the God (1935). Both books were adapted by the BBC into an award-winning television serial, I, Claudius.
In 2005, the novel was chosen by TIME magazine as one of the one hundred best English-language novels from 1923 to present.
I, Claudius and Claudius the God were written as if they were the rather secret autobiography of the Emperor Claudius, the fourth emperor of Rome (r. 41-54 A.D.). Historically, Claudius was kept out of public life by his family, the Julio-Claudians, until his sudden elevation at the age of 49. This was due to several disabilities, including a stammer, a limp, and various nervous tics which made him appear mentally deficient to his relatives. This is how he was defined by scholars for most of history, and Graves uses these peculiarities to develop a sympathetic character whose survival in a murderous dynasty depends upon the incorrect assumption that he is a harmless idiot.
Robert Graves claimed that after he read Suetonius, Claudius came to him in a dream one night and demanded that his real story be told. The life of Claudius provided Graves with a way to write about the first four emperors (Augustus, Tiberius, Caligula, and Claudius) from an intimate point of view. In addition, the real Claudius was a trained historian and is known to have written an autobiography (now lost) in eight books that covered the same time period. I, Claudius is a first-person narrative of Roman history from the reigns of Augustus to Caligula; Claudius the God is written as a later addition documenting Claudius's own reign.
Graves provides a framework for the story by having Claudius describe his visit to Cumae, where he receives a prophecy in verse from the Sibyl, and an additional prophecy contained in a book of "Sibylline Curiosities". The latter concerns the fates of the "hairy ones" (i.e. The Caesars - from the Latin word "caesar", meaning "a fine head of hair") who are to rule Rome. The penultimate verse concerns his own reign, and Claudius assumes that he can tell the identity of the last emperor described. From the outset, then, Graves establishes a fatalistic tone that plays out at the end of Claudius the God, as Nero prepares to succeed Claudius.
At Cumae, the Sibyl tells Claudius that he will "speak clear" nineteen hundred years hence, which he takes to mean that he should write his secret memoirs and leave them to be found by posterity in the 20th Century. He therefore chooses to write in Greek, since he believes that it will remain "the chief literary language of the world." This allows Graves to explore the etymology of Latin words (like the origins of the names "Livia" and "Caesar") that would otherwise be obvious to native Latin speakers, who Claudius (correctly) believes will not exist in the future.
Major themes
Themes treated by the novel include the conflict between liberty (as demonstrated by the Roman Republic, and the dedication to its ideals shown by Augustus and young Claudius), and the stability of Empire and centralized rule (as represented by Livia Drusilla, Herod Agrippa, and the older Claudius). The Republic provided freedom but was inherently unstable and threw the doors open to perennial civil wars, the last of which was ended by Augustus after twenty years of fighting. While Augustus harbours Republican sentiments, his wife Livia manages to convince him that to lay down his Imperial powers would mean the destruction of the peaceful society they have made. Likewise, when the similarly minded Claudius becomes emperor, he is convinced by Valeria Messalina and Herod to preserve his powers, for much the same reason. However, Graves acknowledges that there must be a delicate balance between Republican liberty and Imperial stability; whereas too much of the former led to civil war, too much of the latter led to the corruption of Tiberius, Caligula, Valeria Messalina, Sejanus, Herod Agrippa, Nero, Agrippina the Younger, and countless others – as well as, to a lesser extent, Livia and Claudius himself.
Near the end of Claudius the God, Graves introduces another concept: that when a formerly free nation has lived under a dictatorship for too long, it is incapable of returning to free rule. This is highlighted by Claudius's failed attempts to revive the Republic; by the attempts of various characters to 'restore' the Republic but with themselves as the true rulers; and by Claudius noting that 'by dulling the blade of tyranny, I reconciled Rome to the monarchy' – i.e., in his attempts to rule autocratically but along more Republican lines, he has only made the Roman people more complacent about living under a dictatorship.
The female characters are quite powerful, as in Graves's other works. Livia, Drusilla, Valeria Messalina, and Agrippina the Younger clearly function as the powers behind their husbands, lovers, fathers, brothers, sons and/or daughters. The clearest example is provided by Augustus and Livia: whereas he would have inadvertently caused civil war, she manages, through constant and adroit manipulation, to preserve the peace, prevent a return to the Republic, and keep her own relatives in power. Roman women played little overt role in public life, so the often unpleasant but always significant events supposedly instigated behind the scenes by women allows Graves to develop vital, powerful female characters.
Another common theme throughout the novels is the immediacy and validity of the Roman religion. All prophecies made in the narrative come to pass, from the succession of the Caesars, to the "discovery" of the secret autobiography, to the date of Claudius's death. Religious omens and prophecies function as the major means of foreshadowing in the narrative.
In 2005, the novel was chosen by TIME magazine as one of the one hundred best English-language novels from 1923 to present.
I, Claudius and Claudius the God were written as if they were the rather secret autobiography of the Emperor Claudius, the fourth emperor of Rome (r. 41-54 A.D.). Historically, Claudius was kept out of public life by his family, the Julio-Claudians, until his sudden elevation at the age of 49. This was due to several disabilities, including a stammer, a limp, and various nervous tics which made him appear mentally deficient to his relatives. This is how he was defined by scholars for most of history, and Graves uses these peculiarities to develop a sympathetic character whose survival in a murderous dynasty depends upon the incorrect assumption that he is a harmless idiot.
Robert Graves claimed that after he read Suetonius, Claudius came to him in a dream one night and demanded that his real story be told. The life of Claudius provided Graves with a way to write about the first four emperors (Augustus, Tiberius, Caligula, and Claudius) from an intimate point of view. In addition, the real Claudius was a trained historian and is known to have written an autobiography (now lost) in eight books that covered the same time period. I, Claudius is a first-person narrative of Roman history from the reigns of Augustus to Caligula; Claudius the God is written as a later addition documenting Claudius's own reign.
Graves provides a framework for the story by having Claudius describe his visit to Cumae, where he receives a prophecy in verse from the Sibyl, and an additional prophecy contained in a book of "Sibylline Curiosities". The latter concerns the fates of the "hairy ones" (i.e. The Caesars - from the Latin word "caesar", meaning "a fine head of hair") who are to rule Rome. The penultimate verse concerns his own reign, and Claudius assumes that he can tell the identity of the last emperor described. From the outset, then, Graves establishes a fatalistic tone that plays out at the end of Claudius the God, as Nero prepares to succeed Claudius.
At Cumae, the Sibyl tells Claudius that he will "speak clear" nineteen hundred years hence, which he takes to mean that he should write his secret memoirs and leave them to be found by posterity in the 20th Century. He therefore chooses to write in Greek, since he believes that it will remain "the chief literary language of the world." This allows Graves to explore the etymology of Latin words (like the origins of the names "Livia" and "Caesar") that would otherwise be obvious to native Latin speakers, who Claudius (correctly) believes will not exist in the future.
Major themes
Themes treated by the novel include the conflict between liberty (as demonstrated by the Roman Republic, and the dedication to its ideals shown by Augustus and young Claudius), and the stability of Empire and centralized rule (as represented by Livia Drusilla, Herod Agrippa, and the older Claudius). The Republic provided freedom but was inherently unstable and threw the doors open to perennial civil wars, the last of which was ended by Augustus after twenty years of fighting. While Augustus harbours Republican sentiments, his wife Livia manages to convince him that to lay down his Imperial powers would mean the destruction of the peaceful society they have made. Likewise, when the similarly minded Claudius becomes emperor, he is convinced by Valeria Messalina and Herod to preserve his powers, for much the same reason. However, Graves acknowledges that there must be a delicate balance between Republican liberty and Imperial stability; whereas too much of the former led to civil war, too much of the latter led to the corruption of Tiberius, Caligula, Valeria Messalina, Sejanus, Herod Agrippa, Nero, Agrippina the Younger, and countless others – as well as, to a lesser extent, Livia and Claudius himself.
Near the end of Claudius the God, Graves introduces another concept: that when a formerly free nation has lived under a dictatorship for too long, it is incapable of returning to free rule. This is highlighted by Claudius's failed attempts to revive the Republic; by the attempts of various characters to 'restore' the Republic but with themselves as the true rulers; and by Claudius noting that 'by dulling the blade of tyranny, I reconciled Rome to the monarchy' – i.e., in his attempts to rule autocratically but along more Republican lines, he has only made the Roman people more complacent about living under a dictatorship.
The female characters are quite powerful, as in Graves's other works. Livia, Drusilla, Valeria Messalina, and Agrippina the Younger clearly function as the powers behind their husbands, lovers, fathers, brothers, sons and/or daughters. The clearest example is provided by Augustus and Livia: whereas he would have inadvertently caused civil war, she manages, through constant and adroit manipulation, to preserve the peace, prevent a return to the Republic, and keep her own relatives in power. Roman women played little overt role in public life, so the often unpleasant but always significant events supposedly instigated behind the scenes by women allows Graves to develop vital, powerful female characters.
Another common theme throughout the novels is the immediacy and validity of the Roman religion. All prophecies made in the narrative come to pass, from the succession of the Caesars, to the "discovery" of the secret autobiography, to the date of Claudius's death. Religious omens and prophecies function as the major means of foreshadowing in the narrative.
Subscribe to:
Posts (Atom)
