Goodbye to All That
Graves has the unique perspective of being in the middle and a bridge between the command that used soldiers as canon fodder and didn’t fight, and those that were the fodder and lost their lives so meaninglessly.
Antiquarian and Classic Book Reviews
Graves has the unique perspective of being in the middle and a bridge between the command that used soldiers as canon fodder and didn’t fight, and those that were the fodder and lost their lives so meaninglessly.
What really shines about this collection is the informative introductions to each and every one of the stories.
This book may have been published just last year, but the writer, Robert Wynne-Simmons, is actually the screenwriter for the 1971 British horror film of the same name. So this book is a novelization of a movie that is over fifty years old.
This novel is really an intersection of two goliaths of classic film and classic literature, and therefore I decided to both read it and to review it, despite it being a bit more recent.
Wharton explores eerie presences and does so with a flare that lingers in the air over your shoulder as you read. Her prose is elegant and languid, drawing the reader in with lush descriptions and then twisting each tale to a disturbing and artful ending.
When I purchased Mark Z Danielewski’s House of Leaves, the clerk at our local independent bookstore clued me in to the presence it has in the horror reading community. And, oh, what a presence it is.
This drama is a great example of the power of monologue. If you come from a place of studying prose literature, your urge is to cringe when you turn the page in the play and come across a big block of text. But, actually, a monologue is a blessing rather than a curse.
The action centres around a writer named Katurian who is living in a totalitarian state. He has been brought in for questioning (and torturing) by police who are investigating a series of child murders based on Katurian’s stories.
Lorraine Hansberry’s A Raisin in the Sun is a classic and compelling play centering around one poor Black family struggling to get ahead in 1950s Chicago.
What Kushner excels at is creating a sense of endings and of a grief that hangs above each of the characters as they accept illness, accept death, and accept that change is coming whether they want it to or not.