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[read 24/09/24] Genuinely exquisite prose! Tartt sets the most enchanting scene.
Unfortunately I found that the characters, with the exception of Bunny and towards the end of the novel Henry, were rather bland. An element of this comes from Papen's bias (downright blindness!) as narrator, sure. But in a novel this wordy, with characters this far on the side of the melodramatic, it never came together in such a way that the uniformity seemed intentional.
I did like this book overall, and I am looking forward to reading The Goldfinch.
[Read 18/03/24] Tommy Orange's ability to make the voice of every chapter ring true and remain distinct while maintaining his sensibilities as a writer is such a talent.
While ‘Wandering Stars' feels less propulsive than ‘There, There' this book that acts as prequel, sequel and stand-alone is content to, well, wander. It worked. Spanning from the Sand Creek massacre in 1864 to the aftermath of ‘There, There' in 2018 it has a broader scope than the original novel but no less its depth of character. Chapter Eleven, written from the perspective of a mother speaking to her unborn child stood out so strongly that on finishing the novel I re-read that particular section again.
“I take solace in knowing my heart is still in my chest, that yours is in there too, beating like a drum waiting for its dancer, keeping me on my feet, ready for a rhythm, ready for what's next, because what's next is always coming.”
I'm so glad that Tommy Orange took a chance and tried something new for this book. I'll be eagerly waiting for whatever he decides to do next.
[20/02/24] It has been a year since the first one came out, but I don't remember it being as meandering as this. Honestly, I found the whole thing quite dull. But what drove me truly bananas is the fact that the reader isn't trusted at all.
“‘Absolutely the fuck not,' said Yatho. ‘I'd not trust the either of you with a goat, let alone a child.'
Inara winced. Yatho just then had sounded exactly like Kissen. Elo clearly thought so too, because his colours sparkled with recognition in the colour of Kissen's auburn hair.” p54.
Why not just “Inara winced. Elo's colours sparkled auburn.” Hell, even just “Inara winced” would have done the job. The reader has spent enough time with Kissen to notice the similarity. We get it!
“His breath stopped, his eyes stilled. Dead. The boy was dead. The first person she had killed was barely more than a child, barely older than Inara.” p87
When the previous three-hundred and four pages that constitute the previous book alongside the first eighty-seven of this one establish (many times) that your heroine kills gods, NOT people (and also has an affinity for the child protagonist) you don't need to spend this long to make sure the reader truly GETS it. She killed a child! A boy! We GET it already.
Maybe were I to go back to the first I'd look less kindly on it. Maybe it genuinely was much more polished. Maybe one day I'll go back and see!
Regardless, I found this disappointing.
[Read 17/11/23] Mostly very good! As with any discourse on the topic there are parts I agree with and parts I vehemently disagree with. Some essays made me look more kindly on facets I have a tendency to turn my nose up at while others made me lean towards being critical of things I previously turned a blind eye to. Nature of the beast, I suppose.
I particularly enjoyed “Into the West: Far Green Country or Shadow on the Waters” by Judy Ann Ford and Robin Anne Reid. One of the main points of contention I have with Jackson's LotR is the tonal discrepancy between those movies and the original novel. Ford and Reid managed to articulate this beautifully, drawing in large part from the portrayal of the Grey Havens scene. Whenever I reread LotR, I am always struck by the deep grief at the core of the novel, and whenever I rewatch (less commonly!) the movies how that doesn't translate. Indeed, it's fair to say they are downright optimistic. I strongly recommend this particular essay.
As always, Verlyn Flieger's work is also a highlight.
3.5/5
(Read 28/10/23) I don't even particularly care for Halloween but I do enjoy using it as an excuse to read some horror stories. I loved Tommy Orange's first novel and got this as soon as I saw his name in the line-up: worth it. A really strong collection, with lots of different variants on the horrific, be it rooted in reality or otherwise. So many writers here I'll be looking to read more of.
The only real gripe I had was that tonal shifts between stories could be jarring. This was particularly noticeable between stories 19 and 20, going from a story that was deeply spiritual and evocative to one that was firmly rooted in the worst of reality from the first page, opening with a flashback to child molestation. It's sudden and sickening which, yes, is the point, but I couldn't help but feel that more could have been done to ensure a more smooth transition between stories and subject matter.
1. Kushtuka by Mathilda Zelder - 3/5
2. White Hills by Rebecca Roanhorse - 4.5/5
3. Navajos Don't Wear Elk Teeth by Conley Lyons - 4/5
4. Wingless by Marcie R. Rendon - 3.5/5
5. Quantum by Nick Medina - 4.5/5
6. Hunger by Phoenix Boudreau - 3/5
7. Tick Talk by Cherie Dimaline - 3/5
8. The Ones Who Killed Us by Brandon Hobson - 4/5
9. Snakes are Born in the Dark by D.H. Trujillo - 3.5/5
10. Before I Go by Norris Black - 4/5
11. Night in the Chrysalis by Tiffany Morris - 3/5
12. Behind Colin's Eyes by Shane Hawk - 3.5/5
13. Heart-Shaped Clock by Kelli Jo Ford - 3/5
14. Scariest. Story. Ever. by Richard Van Camp 4.5/5
15. Human Eaters by Royce K. Young Wolf - 4.5/5
16. The Longest Street in the World by Theodore C. Van Alst Jr. - 4/5
17. Dead Owls by Mona Susan Power - 3/5
18. The Prepper by Morgan Talty - 4.5/5
19. Uncle Robert Rides the Lightning by Kate Hart - 5/5
20. Sundays by David Heska Wanbli Weiden - 3/5
21. Eulogy for a Brother, Resurrected by Carson Faust - 4/5
22. Night Moves by Andrea L. Rogers - 4/5
23. Capgras by Tommy Orange - 4.5/5
24. The Scientist's Horror Story by Darcie Little Badger - 3.5/5
25. Collections by Amber Blaeser-Wardzala - 4/5
26. Limbs by Waubgeshig Rice - 5/5
Overall a great collection!
A lot of these conclusions seemed not only obvious to a 21st century reader but they are also expressed in a very try-hard way. I understand it's for more casual readers, but I still found it neither insightful nor particularly clever. As someone who has studied a lot of these texts it was quite bland and meandering.
[Read 06/08/23] Genuinely quite fantastic. Thoroughly dismantles Humphrey Carpenter's largely inaccurate depiction of Tolkien as an old fart stuck in the past while going through his modern reading WITH clear evidence. While there are a few eyebrow raising claims (when aren't there in this kind of scholarship? see Tolkien's Lost Chaucer) this is an erudite and meticulously researched book that I wish I had gotten to sooner. Super engaging and, as someone who did focus on medieval texts in my own degree, definitely broadened my horizons regarding my own understanding of Tolkien. 4.5
A truly important book for 2023. Every one of these stories could have made a book by themselves. I've not heard of the podcast this is drawn from but now I'm interested. I read this as a digital loan from the library but will be buying a hard copy.
4.5/5 stars, because while I appreciate that each speaker only had to go into whatever level of detail they felt comfortable with, I do feel a lot of the stories were condensed for page count and could have been longer.
A super clumsy attempt at synergising the fan-favourite ‘Annihilation: Conquest' Guardians of the Galaxy storyline with the movie lineup of characters (Gamora and Drax are forced into this novelisation). Rich's fraught relationship with his family is completely watered down here and the writing itself is stilted and awkward.
Just read the original graphic novel.
Interesting analysis? Sure, in some parts. But also some very bizarre covid takes that ruined the entire thing. The implication that a slave trader would be all for covid restrictions, while Caspian would be against them, was so jaw droppingly silly that I reread the passage at least three times to make sure I got it right!
“The Silmarillion can be fully understood without reference to The Lord of the Rings, but the reverse is not the case. Any attempt to read, to understand, and to evaluate Tolkien's fiction and his contribution to twentieth-century thought and fiction should begin where he began— at the beginning. Only then can there be any understanding of where he is going and, even more important, of why he is going there.”
“We should treat adaptations of Tolkien in the same way that we would of a production of a Shakespeare play[...] all of these adaptations are simply ‘versions,'” has been a near constant refrain of mine for years!
A good read regarding Tolkien's writings, his process and his continued influence on our culture in a post-pandemic world. Nick Groom covers Tolkien's life as well as adaptations of his works both contemporary to him and those that are more modern, exploring music, radio and film. A generous section is devoted to Peter Jackson's movies, though a walkthrough of the infamous 1970 John Boorman script is also provided which is very entertaining. Nothing is given to stage productions, though the 1980s BBC radio play is discussed which is a favourite of mine. I would love for more interest in video game adaptations, as I believe The Lord of the Rings Online is ridiculously underrated. Groom remains very much aware of the fact he cannot talk about everything, however, and what he does choose to delve into is well researched and well presented (though, again, perhaps the Jackson sections are overlong).
Overall this is a worthwhile read!
The most interesting book about Tolkien I've read in a long, long time. Covering both Tolkien's exploration of Chaucer in his academic career as well as the apparent influence of Chaucer on Tolkien's own writings, it's incredibly in depth and compelling. While some arguments are quite a stretch, overall it is convincing and well articulated.
It is worth knowing that the book assumes the reader has prior knowledge of Chaucer alongside The Hobbit, The Lord of the Rings, The Silmarillion as well as parts of The History of Middle-earth.
First of all, this is an absolutely beautiful book. I have the 2022 re-release. The cover is stunning and the internal contents is presented so clearly and in such an aesthetically pleasing way. Truly gorgeous on the shelf, coffee table, desk, wherever.
Now, if you're a massive Tolkien reader, you may not learn anything new from this book. However, it covers just about everything, with sections on Tolkien's life, his influences from the Middle Ages, The Hobbit, The Lord of the Rings, The Silmarillion and others, on top of the critical response to his writings, a section on media and adaptations, as well as Tolkien culture (and counterculture). Such a huge amount in a relatively short book! 350 pages including an extensive bibliography and index. It's engaging and while informative and educational, it doesn't get bogged down in academia or specialist lingo (as it it were).
If you're looking for a place to start learning about Tolkien and the legendarium on a deeper level, this would absolutely be the book to do it. And while it's not necessarily for specialists, it's a lovely book that is jam-packed with information from every corner of Middle-earth.
Incredibly immersive and well-researched with a broad scope and broad appeal. I listened to the (unabridged) audio version and it flew by; I was surprised to see the regular book was over eight hundred pages long!
This is an extremely ambitious debut novel that, for the most part, lands. It follows the life of Ailey Garfield from a preteen to a grown woman studying for her doctorate. We see her family life, school life, love life, her successes, failures, struggles and everything between. Interspersed are long sections from the perspectives of different people from different parts of Ailey's mixed heritage: black, white, indigenous, from the 1700s to Ailey's own childhood. It's an intense generational saga that showcases ripples across the family line. Jeffers is absolutely unapologetic and unwavering in her commitment to making this a black feminist novel (and rightly so!). Triumphs and tragedies past and present can all be found here. Ailey's connection to her maternal line is the showcase, and ultimately provides the catharsis, of this theme.
Due to the length of the novel, it can sometimes feel a bit repetitive. While this repetitiveness is a way in which the generational trauma is highlighted, I do think certain segments could have done with tighter editing.
Nevertheless this is a compelling read, but also one that doesn't pull punches. True horror and heartbreak in spades, but more than enough love too.
