The Lost Weekend
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.
Antiquarian and Classic Book Reviews
Hargrave reads voraciously and diversely — mostly antiquarian and classic books in translation. These are her book reviews.
While she reads more books than she could possibly write about, she does consistently post weekly reviews. New reviews are posted on Mondays.
Looking for one of the books that have been reviewed? Want to find some vintage treasures of your own? Second-hand and used books are unique and eco-friendly, and can be found at your local independent bookseller. If you’re looking for an American bookseller, you can check here. UK booksellers can be found here.
If you’d prefer to buy books online, many vintage and rare editions can be found at ThriftBooks.
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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.
I think it’s obvious by this discussion alone that this is an incredibly complex concept to even touch on, let alone explore in depth, but de Beauvoir does just that in a way that is accessible to the reader and tied to the driving plot. If you’re interested in the mechanics of building conceptual narratives into concrete storylines, this novel is definitely a must-read.
Plath’s lyrical prose made it obvious that her poetry would be just as lyrical, and she excels at using language and a sparsity of words to express powerful concepts and themes.
here are a lot of great and very notable essays in here — ‘What White Publishers Won’t Print’, ‘How It Feels to Be Colored Me’, and ‘I Saw Negro Votes Peddled’. However, when discussing Hurston’s work, it is only appropriate to note that she is not the easiest author to read.
Ellison’s use of language to create complex tapestries of themes and concepts is hard to put into words, both because his style is so unique and because his skill is so profound.
he doesn’t shy away from what happened to her, but neither does she use it to shock the reader. Instead, she writes of the horror with blunt honesty, and brutality tempered with careful sentence level consideration and a language that is powerful, yet never gratuitous.
We happened across Raoul Peck’s film I Am Not Your Negro one February night while flipping through the channels. TVO was airing it as part of its yearly Black History Month’s selections. It’s a film that I would not hesitate to name as essential, and it’s what was responsible for my introduction to James Baldwin’s work.