Cloud Atlas

Can't really rate this accurately without giving spoilers. I did like it, but I didnt enjoy the last third of the book.

Absolute epic tale. Read it

L'atlante delle nuvole è un romanzo di David Mitchell del 2004, finalista del Booker Prize, del Premio Nebula e del Premio Arthur C. Clarke; ecco appunto, finalista, ma non vincitore, e ci sarebbe mancato pure che lo vincesse con una sozzura del genere. Il romanzo è stato adattato nel film “Cloud Atlas” del 2012, scritto e diretto dai fratelli Wachowski e Tom Tykwer, il fatto che sia stato riscritto, mi suona bene e forse potrei anche prendere in considerazione l'idea di vederlo.

Dal successo (?) del film, la ristampa di un libro del 2004, dimenticato probabilmente dai più e la re-immissione del libro nel circuito librario, con la furba copertina del poster del film... insomma la solita operazione commerciale che si ripresenta ogni qualvolta che viene preso un libro e trasformato in un film. Sì, ci sono cascato anche io. E con tutti i piedi, questa volta.

Il romanzo consiste in sei storie che differiscono per stile, genere e ambientazione. Ogni racconto si configura come una storia letta o conosciuta dal personaggio del racconto successivo. Le prime cinque storie si interrompono a metà della narrazione, mentre la sesta, collocata a metà del volume è presentata senza interruzioni. Da lì, come una sorta di schema specchiato, le storie lasciate in sospeso riprendono in ordine inverso, fino a tornare alla prima storia.

Il libro non è un romanzo, ma neanche lontanamente. E' una raccolta di racconti che spaziano dal resoconto di viaggio, alla fantascienza, passando per il thriller (no, non è come pensate, è peggio). Furbescamente trasformato in una sorta di romanzo, tramite collegamenti che dovrebbero far saltare il lettore dalla poltrona e pensare: “caspita, che idea!”, invece si pensa per lo più: “caspita, che noia!”, o “ma chi credi di prendere in giro?” e varianti sul tema.

Dunque mi rifiuto categoricamente di recensire questo libro come un romanzo, e darò poche opinioni in merito per ogni racconto:

. Adam Ewing Isole Chatham, XIX secolo: Il racconto più noioso del libro, del secolo, di quanti ne abbia letti negli ultimi dieci anni.

. Robert Frobisher Belgio, 1931: Il secondo racconto più noioso che abbia mai letto, dopo il primo che sta qui sopra.

. Luisa Rey California, 1975: Il racconto più stupido del libro, del secolo, di quanti ne abbia letti negli ultimi dieci anni.

. Timothy Cavendish Regno Unito, XXI secolo: L'unico che suscita un minimo interesse e che non mi ha propriamente disgustato (sarà per il mio amore incondizionato a “Qualcuno volò sul nido del cuculo”)

. Sonmi~451 Corea, XXII secolo: Il racconto, di fantascienza, più noioso del libro, del secolo, di quanti ne abbia letti negli ultimi dieci anni.

. Zachry Isola di Hawaii, XXIV secolo: Giuro che non me lo ricordo quasi e saranno passate quattro ore.

Tirando le fila di tutto: un libro noioso, futile e indigesto come il cinghiale che sta sulla pancia di notte, di una nota pubblicità di compresse digestive.

This book came close to 5 stars, but i couldn't quite bring myself to do it. Then on the last page Mitchell blew past a cardinal that I can't really forgive him for. He started preaching at me. Probably the main theme of the book is the constancy of humans trying to dominate other humans. More succinctly it was an exploration of Nietzsche's “will to power”. This was shown from story to story with the nested novella's, but usually with one exception (ie, one person in each story who stood up against, or became enlightened enough to move past the will to power). All of this was fairly easily picked up throughout the book (in fact it wasn't that subtle at all), but at the very last page he literally spells this out for the reader. The last lines of the book are something to the effect of “everything you can do in this life is nothing but a drop in the ocean, but then what is an ocean but a multitude of drops?” This was in reference to Adam Eweing's impending life as an abolishionist in pre-civil war USA. Not only was the last line full of cheese, but any reader who could make all the way through the book would have known what Mitchell was driving at, and to have him state it so blatantly ruined the effect of the rest of the book, and substantially cheapened the experience over all.

In summary. Good book, clever ideas and use of various voices. The sermon at the end ruined the message it was trying to preach.

Story-telling and characterization are the strengths here. Literary fiction where I encountered the literary form in various avatars. Each tale is crisply told. Perhaps the best of them, for me, was the fourth voice, that of Timothy Cavendish. It's trapped in its own adversity but is humorously told. Each narrative voice tells a tale you could put your trust in.
Would have no qualms revisiting this one.

A brilliant and intensely human puzzle of a book. Form echoing content is sublime when it works, and this novel pulls it off marvelously, with just the right amount of self-referential cleverness. It reminded me of walking into the labyrinth, pausing at the center, and making my way out again. It felt hard to make my way into each successive story, trying to keep hold of all the threads; the author asks a certain amount of patience, trust that it will ultimately be worth the effort. But when you reach the middle and begin making sense of all the puzzle pieces, the payoff is deeply satisfying. A novel both intimate and epic, cynical and deeply hopeful. The individual stories, if read alone, would be unremarkable; it is the spaces between them and the context created by their connections that make the whole greater than the sum of its parts.

“Spent the fortnight gone in the music room,” writes Robert Frobisher in a letter to Rufus Sixsmith, “reworking my year's fragments into a ‘sextet for overlapping soloists': piano, clarinet, ‘cello, flute, oboe and violin, each in its own language of key, scale and colour. In the 1st set, each solo is interrupted by its successor; in the 2nd, each interruption is recontinued, in order.”

The story, structured in six parts, about how this story came to be in the first place. Caught in the middle are some very interesting characters, some more than others, and the world is governed by a definite determinist sense of cosmic fate. Each in its own language and color; all of this is expertly written, even when it's “mediocre”, as in the pulp story that is Half-Lives: The First Luisa Rey Mystery, or The Ghastly Ordeal of Timothy Cavendish.

“It is very rare,” writes Philip Hensher for Spectator, “to come across a novel so ruthlessly planned, and yet so unconfined by its formal decisions, so unpredictable in its direction, so convincing even at its strangest, so capable of doing anything to serve its extraordinary ends.” This is an acute observation. The way the stories grow out of and in each other, synecdochically, is masterful. This device is one of my favorites in all art, the means through which the art produced is not only justified but its creation commented on: the Cloud Atlas Sextet; Half-Lives inspires Cavendish to write his story to a screenplay that is later watched by Sonmi-451, whose narrative is later “seen” by Zachry in the orison.

It's brilliantly pieced together, where each layer contained is able to comment on the previous one – Frobisher commenting, for example, that he finds it amusing that Ewing doesn't realize he's being poisoned.

I devoured the book until the story started folding back into itself. Half-Lives and Cavendish were the parts where I saw my excitement wane. Zedelghem and Ewing's Pacific Diaries, however, offered a great sense of climax. The difficulty of writing this kind of prose is unfathomable – the ideas always tend to work as mere ideas, but when put to paper as a narrative, the likelihood of failure exponentially rises.For the most part Mitchell's creation is perfectly capable of avoiding any narrative snares. I want to read this again, and perhaps one day the individual stories from start to finish, just to see the kind of dramatic effect they carry in and of themselves.

5 October,
2014

I can recognize the skill and care that went into crafting six different styles of narrative, but I wasn't drawn in by the stories very much. The Sonmi tale was the most engaging, but it was a bit silly and concluded with something akin to “it was all a dream,” which I always find annoying. Don't get me invested in a character and a story, then invalidate the whole story at the end!

The rest of the stories I just couldn't generate much interest in, and the central tale's use of phonetic dialect was so obnoxious I skipped most of it.

I'm also not sure this is a novel, so much as six slightly related short stories. The overarching theme that allegedly connects them seems fairly shallow to me, and the mechanisms by which they refer to each other also pull the old, “Ha, it's not real” trick that is so irritating to me.

In short, I can see why people like this, but it didn't work for me at all.

Would have been better if I read this before watching the movie for sure. Needed to drag myself through. But the good story stays.

Slavery comes in many forms. Cloud Atlas takes a harsh look at some of the ways we humans have found to dominate others: physical subjugation is the most well-known, but there are many present-day aspects we don't see.... or like to pretend we don't see.Hard to get into, but once it grabbed me (~100 pages in) I couldn't put it down. Many of my hot-button issues: bullies, treachery, corporatism, freedom. Homages to [b:Flowers for Algernon 18373 Flowers for Algernon Daniel Keyes http://photo.goodreads.com/books/1327870353s/18373.jpg 3337594] and [b:One Flew Over the Cuckoo's Nest 332613 One Flew Over the Cuckoo's Nest Ken Kesey http://photo.goodreads.com/books/1348083651s/332613.jpg 2100252] and perhaps even the [b:Aeneid 12914 The Aeneid Virgil http://photo.goodreads.com/books/1349032842s/12914.jpg 288738]. Multiple works in one, disparate voices woven together in a sometimes-jarring but overall satisfying way.I read Cloud Atlas before watching the trailer. I'm glad I did: Hollywood appears to have latched onto the interconnectedness theme, the (literal) story arc, a gimmick I found effective but merely as a storytelling device. Not as a focus. And the reincarnation hoohaw, well, I took that as a wink to the reader; the trailer makes it more prominent than I think it deserves. I hope the film producers aren't missing the point. Or perhaps I'm the one who didn't get it? Maybe it is a story of reincarnation and spaceships and explosions and chases? Am I seeing shapes where there are none? Maybe I should sip some McWine and stop thinking so much.

Executive Summary: I went back and forth on rating this a 3 or 4 (In fact I slept on it). I decided to settle on a 3. I liked this book. In fact I rather enjoyed a few of the stories quite a bit. I just didn't LOVE this book.

This is a book that makes you think. In my opinion though, it made me think too much, and didn't allow me to simply be swept up in the enjoyment of it. I think that's what kept it from being a “Really Like” rather than a “Like”

I will say to anyone struggling to start this book, try to give it to the halfway point, it's worth it.

Full Review

I read this for my book club, though if they hadn't read it, I would have on my own. It's not in my recent wheelhouse of Fantasy (and to a lesser degree Sci-Fi). I'll admit that I hadn't heard of it before seeing it was the basis for the new Wachowskis film.

It's a series of short stories that tie together with underlying themes. This is the kind of book that can lead to deep philosophical discussion. I generally don't like that.

I enjoy books that challenge my thinking or leave me to ponder, but usually prefer reading for escapism. I feel that I'd have to read this book multiple times to fully grasp everything. Some people may look at that as a positive. I on the other-hand have too many other books to read, to consider re-reading.

Maybe through discussion I'll come to a better understanding. I generally consider myself to be an intelligent person, but this is the sort of book that makes me feel dumb.

I enjoyed 5/6 stories. I didn't particularly care for the first: The Pacific Journal of Adam Ewing. It's style/story really made this book both start and end slow.

My favorite stories were actually the 2 with the female protagonists: An Orison of Sonmi~451 and Half-Lives: The First Luisa Rey Mystery.

I did like how each story not only changed time periods, but it changed both it's style and it's “genre”. At the same time there are certain themes throughout that tie things together. The changes could be jarring at first, but once I got into the next story a little it was fine.

This book started off really slowly for me. Once I got into the later stories (Luisa Rey onwards) and through the Sloosha's Crossin' an' Ev'rythin' After, the second half of the book just flew by.

As I think on this book/discuss it more and end up raising my rating some. We'll see. I'm also curious to see how the movie adaption works out.

A phenomenal read. I'm a big fan of stories within stories, and this book's interwoven narrative is great fun to puzzle out. My favorite was certainly an Orison of Sonmi-451. I admit I had trouble at the beginning, and it took my a while to get the feel of what Mitchell was going for, but once I was a couple stories deep, I couldn't put the book down. My only criticism is that the warnings for modern society (especially in the Sonmi chapters which I forgive if only because I love a good robot rebellion), can feel a bit heavy-handed. The wealth of story more than makes up for the occasionally preachy tone.

I'm at a loss to put this in a genre. The Sonmi and Zachary chapters are science fiction, Ewing and Frobisher are historical fiction, the Luisa Rey and Timothy Cavendish are just straight up modern fiction. Something for everyone and I hope the upcoming movie does it justice. Tom Hanks is way too old to play Zachary though meaning they've rewritten that whole storyline. Doesn't fill me with faith.

Much has been said about the structure of this novel, so I'll try to keep my thoughts on the subject to a minimum. Basically, I don't think that the structure contributes anything to the overall experience beyond providing some “hey, cool” moments where one story references another. Therefore, I see the novel as a set of short stories connected by some common themes rather than a single, grand narrative. As such, each story should be judged individually.

The one strength that flows throughout the book is the use of language. Each story takes place in a different setting and time period, which allows Mitchell the opportunity to write in different styles and voices. I particularly liked the archaic language used in “The Pacific Journal of Adam Ewing”–it was challenging but not frustratingly so. The stories that take place in the future were not as stylistically interesting for me–I've read a lot of sci-fi and the use of invented words has become familiar.

“The Ghastly Ordeal of Timothy Cavendish” was the weakest story. While I did enjoy the character's snarkiness and intelligence, the stakes did not stack up to the more life-and-death situations that the other stories convey. Maybe it's meant to be a comedic touch to see a curmudgeonly old man overreacting to his plight, but I felt like it didn't fit in with the others.

My favourite story of the lot is “Sloosha's Crossin' an' Ev'rythin' After.” Initially, the future-hillbilly language was hard to get into, but it grew on me. Once I warmed up to it, the innocence of the narrator and his society became evident. The idea of a primitive post-apocalyptic society, contrasted with the high-tech society of the Prescients, worked really well in building a sense of danger. In a world that has already lost so much, every action that they take is amplified because of the risk of losing it all.

Consisting of six separate but connected stories, this book is a marvel. My favourite is the Sonmi-451 story, followed by the Robert Frobisher one. Just can't wait to see how this translate into the film. Just a warning to readers tackling the Adam Ewing story, have a dictionary handy.

I definitely enjoyed this book. As a huge fan of “If on a winter's night a traveler” by Italo Calvino, the idea of interrupted stories is not a bad one for me. And what a perk to get to see them finished. The nested nature of the second halves was elegant and enjoyable. I wrestled with whether I would classify this book as “important” as some have said. It's themes are well expressed and its issues well defined but rarely was I shocked by them. However I was always entertained enough by the stories not to have minded. And then there was Robert Frobisher. Without spoiling anything, I can only say the end of his story moved me. And provoked new thoughts in me. And I feel, was important. And that's not to take away from the other stories which are magnificent. It's a book well worth reading.

The best book I have read in years. I read it after seeing the movie trailer, but now I don't want to see the movie because it cannot possibly live up.

Loved it! I wrote a review on my blog. Check it out: http://roblindsey.com/2012/09/book-review-cloud-atlas

A case of high expectations fulfilled. Amazing!

One of the best things I have ever read.

I read this, and it was great. But I think I need to read it again, just to try to absorb all of the details. I am still not sure I understand it.

Comprised of several stories split and interspersed, each has its own unique voice. The thin threads linking them across time are visible enough, carrying through themes of faith, humanity and a will to power. Grand themes set against a canvas of centuries.

Mitchell at turns channels Melville, with ships at seas in the 1800s all the way to pulpy noir, dystopian sci-fi ala Brave New World and oral folktales peppered with island patois. It would be easy for this to just fall apart but Mitchell keeps the reins tight.

It sounds too clever by far but it is still, at its heart, a fantastic read.

A great book, a bit tough to get through at times but very well written. The story comprises the lives of 6 people in different ages and different places. The concept that is we are all connected in some way, however remote. The funny and hilarious was well balanced with the sad and serious.

The difficulty in the book lies exactly in the brilliance. In every different story a different style is used. Great and ingenious, but a bit of a speedbump as well. Everytime you get into one of the stories, the next one starts. You do get rewarded though after half of the book the stories make sense and interlock nicely.

Will pick up another Mitchell soon. This is a great writer.

Pros: brilliant writing, a set of interconnected stories with thought provoking messages

Con: each story is interrupted to tell the first half of the next, when you get back to it you've forgotten minor details that are important in understanding the novel as a whole

Cloud Atlas is a novel told through six interconnected stories. For example, the musician of the second story is reading the journal written by the man in the first. And the reporter of the third story reads the letters written by the musician and listens to his music. Each protagonist also bears a comet birthmark between their collarbones and shoulder blades, giving the idea that they might be the same person, living over and over again.

The novel begins with The Pacific Journal of Adam Ewing. He's a notary on his way back to America from delivering papers to a client's heir in Australia. His ship has stopped at an island to resupply, and there Adam makes the acquaintance of Doctor Henry Goose.

In the second story a disinherited English musician ingratiates himself into a ailing Belgium's home, intent on helping this man finish his musical works, and bettering his own position.

Half-Lives: The First Luisa Ray Mystery shows her meeting a scientist working on a new atomic energy plant, and discovers that this so called safe energy might not be so safe after all.

I won't detail the other stories as it's fun discovering what comes next. My favourite of the novel however, was An Orison of Sonmi-451. It's basically a science fiction story showing how commercialism has overtaken the world and had resonances of Soylent Green, 1984 and Battle Royale. In fact, this is a novel that on the whole, reads easier if you're well versed in literature. I recognized a few other references, but I'm sure I missed a lot of others.

And as the stories start completing themselves, messages of when you save the lives of others you're really saving your own and how our actions, big or small, shape the world around us - even if we don't live to see the effects, come to the fore.

Ultimately, it's a fabulous novel. If you like thinking about the books you read, I'd highly recommend picking this one up.

A large part of the variety found in clouds relates directly to the altitude of the cloud. Cirrus clouds can be found above 18,000 feet; Stratus under 6,500; Alto between 6,500 an 18,000. Within these groups, there are different types. Cirrostratus clouds, part of the Cirrus family, are thin, covering much of the sky; they often indicate that rain or snow is coming. Cirrocumbulus are also a part of the Cirrus family, but they appear as rows of white puffs. They occur during times of cold weather. Outside of the three groups are other clouds, Cumulus, Cumulonimbus, Mammatus, et cetera; each has its own unique appearance and reason for being.

Knowing how each particular type of cloud is formed does little for me than fill my mind with information that makes me feel self-important. Sure, I can be aware of when it might rain or know which way a storm is blowing, but day in and out, cloud identification helps me little. That doesn't mean I appreciate clouds any less: the beauty and power of clouds; the joy in connecting their shapes to my favorite furry animals. I love clouds, even when I don't understand them.

I feel much the same way about David Mitchell's Cloud Atlas. There is power in these stories. Each is so unique that it is difficult not to stand in awe at Mitchell's raw talent. Whether he's writing a journal as an eighteenth century notary aboard an ocean vessel, the letters of a priggish English composer, a suspenseful tale of corruption and the journalist who uncovers it, the vain musings of a publisher with a belief that he is akin to Randle Patrick McMurphy, the interview of a clone guilty for her rebellion against a capitalist totalitarian government, or the post-apocalyptic oral stories of adventure by a primitive tribesman, Mitchell writes perfectly. One minute Mitchell's writing mirrors Melville, the next Margaret Atwood or a more literate Tom Clancy, then Toni Morrison.

Mitchell's talent is clear, but what his aim was is not so transparent. The thread that connects these stories is often thin. Regardless, this makes them no less intriguing. Even the many stories that move slowly are entertaining in their own unique way.

Cloud Atlas was an exceptional read. The stories were a delight and the characters worth every minute of my time. I would like to have had a more clear intent of Mitchell's purpose; there's no denying the author is clever—perhaps too clever—but that doesn't make up for the lack of connection.

Cloud Altas is the kind of novel that takes determination and patience, but it doesn't require complete understanding. Sometimes it's okay to just sit back and be mystified by it all. And sometimes the greatest joys in life can come from the simple things, like finding a cloud in the shape of an enormous bunny.