Let It Come Down
Dyar is not a character you sympathize with, but he is a character that you can’t look away from. His questions about existence are common ones, it is where and how he seeks answers that compose his dissolution and downfall.
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Dyar is not a character you sympathize with, but he is a character that you can’t look away from. His questions about existence are common ones, it is where and how he seeks answers that compose his dissolution and downfall.
he plot of Kokoro centers around two characters that are never named. The first two parts of the novel consist of a young student getting to know an older man whom he refers to only as ‘Sensei’.
Quin uses vagaries, the mists of the seaside Brighton, and a circularity of language to construct a perfect circular narrative. So perfect, that it’s a magical experience to get to the ending and read how everything comes together.
aeggy’s starkness has an edge almost of brutality. She doesn’t mince words, she doesn’t dance around what she is trying to say. A confidence and absolute assurance resonates in her work that I rarely see in other authors.
Rhys has achieved this intricate and difficult effect by the sheer force of the language she chooses and how she chooses to use it. The flow of Jansen’s thoughts is relentless — but in a quiet way that, instead of overwhelming the reader, immerses them.
As skilled and articulate as this novel is, it’s a difficult read. Perhaps the most interesting aspect of the novel is the examination of performance both historically and in terms of the performances characters go through for the sake of saving face, or defending against impending decisions.
The original novel of The Lost Weekend is quite different from the film. The book is even more honest and ugly, portraying addiction as not only destructive for the addict but the entire world around them.
It’s easy to read Ginzburg’s prose in one sitting due to its compelling ebb and flow that makes the pages disappear and story take shape like the very best of books.
One things about horror is that it can be a bit loud or garish in the way it delivers the message is seeks to convey. Lessing doesn’t do this.
Though the inside flap copy describes the trilogy as ‘Dickensian’, I have to disagree with that description. There’s a reason these books were censored in Ireland when they were first published and implying that these books have any ‘quaintness’ of tone is really not capturing what O’Brien is attempting to say.