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What are you reading? (December 09)
- Thread starter afternoon delight
- Start date
- Status
Just recently finished I, Robot, which was awesome and made me want to start with Asimov's works (and I shall as soon as I get some books off my queue), also read the first volume of Neil Gaiman's The Sandman, and now I can't wait for the others which I shall be ordering soon.
Currently reading
About 300 pages in, I'm enjoying it although I think it's way more complicated than it should be; at times it's obvious the author is just trying to make it as difficult to continue for the reader as he can, although I do like the odd paragraph placing and the weird style, don't think it detracts at all from the book, and although the weird typography might "scare" people, I think they should be more scared about the over-complicated, at times slow-paced content than the page layout. I had saved this one for December, and I think it was the right choice.
After House of Leaves, I'll continue with:
and...
Currently reading
About 300 pages in, I'm enjoying it although I think it's way more complicated than it should be; at times it's obvious the author is just trying to make it as difficult to continue for the reader as he can, although I do like the odd paragraph placing and the weird style, don't think it detracts at all from the book, and although the weird typography might "scare" people, I think they should be more scared about the over-complicated, at times slow-paced content than the page layout. I had saved this one for December, and I think it was the right choice.
After House of Leaves, I'll continue with:
and...
Murakami's awesome. After reading The Wind-Up Bird Chronicle and Norwegian Wood as per GAF's recommendations, I can say I'm a fan. I'm thinking of reading After Dark next, anyone read that one? Should I read some other of his works before?(lots of them to choose from). I think both books will be in my top from this year, and I've read *a lot* this year, at least compared to the ones before; easily read ~25 books (no doubt less than what many of GAF have read, but lots for meLocke562 said:
). Anyone thinking about making a "what were the best books you read this year" thread?I DID IT!
Neuromancer by William Gibson
The Review:
There are some books that are always mentioned in genre discussions as being the pinnacles of the genre in question. Neuromancer is such a book, as you can not escape it in any discussion related to science fiction, and cyberpunk in particular. It was the book that The Matrix hocked a lot of its ideas from, with Gibson being considered a prophet and visionary for being one of the first authors to write about virtual reality, megacorporations, genetic engineering, and artificial intelligence before they became common topics in popular culture. Whether these claims reek of hyperbole or are planted in truth is irrelevant: the myths of books like Neuromancer often transcend the works themselves.
With these things in mind, I dove into the book and was left with one predominant feeling by the end: stupefied. Now, I am not the most intellectual individual on the face of the planet, nor do I claim to have magical decoding powers when it comes to any work of literature. However, I like to think that I can sink my teeth into just about anything and come out with a decent understanding of the author's aims, or at least an understanding of the plot. Even if I am unable to fully express my ideas on the work, I can still attach my own interpretation to the events and come out with something worth ruminating on, or discussing with friends. Books are not simply more cerebral forms of entertainment; they are vehicles for individual, social, and cultural analysis. As such, I was incredibly frustrated to discover that I was simply lost for almost the entire duration of Neuromancer, and I could not pull out anything worth thinking about.
The plot setup seems simple enough, and if you read a synopsis of it anywhere online or even on its back cover, you are led to believe that this is a desolate world with a parallel virtual reality. While I got a basic sense of that through Gibson's prose, his reluctance to explain just about anything left me feeling stranded by the author. Slang is meant to be deciphered on your own. Names of people, places, constructs, and other things are introduced at such a rapid pace at times, that once you feel you have a grasp of at least some of the central players, something else is thrown in to confuse you further. This sense of disorientation does not aid any desire to invest yourself in the novel, as it feels like a fever dream. Gibson's switching between realities and his prose in general feel so choppy to the point of being incomprehensible at times, or so reaching for cybercool that they sound amateur and childish. Here are some examples:
"Archipelago. The islands. Torus, spindle, cluster. Human DNA spreading out from gravity's steep well like an oilslick."
"The bartender's smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it."
"But the chrome stars held his gaze. They were mounted against scarlet ultrasuede with nearly invisible loops of nylon fishline, their centers stamped with dragons or yingyang symbols. They caught the street's neon and twisted it, and it came to Case that these were the stars under which he voyaged, his destiny spelled out in a constellation of cheap chrome."
"Raw edge of vomit in his throat."
Again, I am not a wordsmith myself and I have never published a novel, but I have read enough to cringe at some of his word choices and phrases. I have no doubt that William Gibson is a talented writer and that his mind is full of brilliant and piercing ideas about the virtual age, but I simply could not muster enough care for the characters or the events to compel me to trudge on ahead. And that is one of the biggest problems I personally had with this book: I didn't care about anything that was happening, nor did I find any of the characters terribly interesting. Compounded with the difficulty I had in understanding what was actually happening because of Gibson's "figure it out yourself" writing style (which I haven't minded in other novels), the paperthin characterization and spit-quick events made this one of the greatest literary chores I have ever had the displeasure of forcing myself to finish.
I honestly really wanted to like and even love this book. Maybe it was just not meant for me; maybe I am simply not smart enough to get it. Or maybe it really is as big of a confusing quagmire as I have indicated here. I think the answer likely lies somewhere in between. For all of the negativity I have heaped on the book here, I recognize its cultural significance, and what it means to the science fiction genre, and what it means to millions of readers. Maybe they are seeing something I am not, or they have been better acclimated to Gibson's style of writing. Whatever the reason, I cannot discourage anyone from liking what they like, but I cannot jump on this wagon.
The Verdict:
This is not a book for everybody, and I seem to fall into the category of people who it's not for. If you are a science fiction completist, go nuts; maybe you will get more out of the experience than I did. As is, I found Neuromancer to be confusing, dated, and an utter chore to get through. A 271 page book should not take a month and a half to finish. At least the punishment is over for me. Next!
2.5/5
Next up:
Charlie and the Chocolate Factory by Roald Dahl. (I need something much lighter after such a personally punishing read)
Shameless self promotion: http://backlogbooksblog.blogspot.com/
Neuromancer by William Gibson
The Review:
There are some books that are always mentioned in genre discussions as being the pinnacles of the genre in question. Neuromancer is such a book, as you can not escape it in any discussion related to science fiction, and cyberpunk in particular. It was the book that The Matrix hocked a lot of its ideas from, with Gibson being considered a prophet and visionary for being one of the first authors to write about virtual reality, megacorporations, genetic engineering, and artificial intelligence before they became common topics in popular culture. Whether these claims reek of hyperbole or are planted in truth is irrelevant: the myths of books like Neuromancer often transcend the works themselves.
With these things in mind, I dove into the book and was left with one predominant feeling by the end: stupefied. Now, I am not the most intellectual individual on the face of the planet, nor do I claim to have magical decoding powers when it comes to any work of literature. However, I like to think that I can sink my teeth into just about anything and come out with a decent understanding of the author's aims, or at least an understanding of the plot. Even if I am unable to fully express my ideas on the work, I can still attach my own interpretation to the events and come out with something worth ruminating on, or discussing with friends. Books are not simply more cerebral forms of entertainment; they are vehicles for individual, social, and cultural analysis. As such, I was incredibly frustrated to discover that I was simply lost for almost the entire duration of Neuromancer, and I could not pull out anything worth thinking about.
The plot setup seems simple enough, and if you read a synopsis of it anywhere online or even on its back cover, you are led to believe that this is a desolate world with a parallel virtual reality. While I got a basic sense of that through Gibson's prose, his reluctance to explain just about anything left me feeling stranded by the author. Slang is meant to be deciphered on your own. Names of people, places, constructs, and other things are introduced at such a rapid pace at times, that once you feel you have a grasp of at least some of the central players, something else is thrown in to confuse you further. This sense of disorientation does not aid any desire to invest yourself in the novel, as it feels like a fever dream. Gibson's switching between realities and his prose in general feel so choppy to the point of being incomprehensible at times, or so reaching for cybercool that they sound amateur and childish. Here are some examples:
"Archipelago. The islands. Torus, spindle, cluster. Human DNA spreading out from gravity's steep well like an oilslick."
"The bartender's smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it."
"But the chrome stars held his gaze. They were mounted against scarlet ultrasuede with nearly invisible loops of nylon fishline, their centers stamped with dragons or yingyang symbols. They caught the street's neon and twisted it, and it came to Case that these were the stars under which he voyaged, his destiny spelled out in a constellation of cheap chrome."
"Raw edge of vomit in his throat."
Again, I am not a wordsmith myself and I have never published a novel, but I have read enough to cringe at some of his word choices and phrases. I have no doubt that William Gibson is a talented writer and that his mind is full of brilliant and piercing ideas about the virtual age, but I simply could not muster enough care for the characters or the events to compel me to trudge on ahead. And that is one of the biggest problems I personally had with this book: I didn't care about anything that was happening, nor did I find any of the characters terribly interesting. Compounded with the difficulty I had in understanding what was actually happening because of Gibson's "figure it out yourself" writing style (which I haven't minded in other novels), the paperthin characterization and spit-quick events made this one of the greatest literary chores I have ever had the displeasure of forcing myself to finish.
I honestly really wanted to like and even love this book. Maybe it was just not meant for me; maybe I am simply not smart enough to get it. Or maybe it really is as big of a confusing quagmire as I have indicated here. I think the answer likely lies somewhere in between. For all of the negativity I have heaped on the book here, I recognize its cultural significance, and what it means to the science fiction genre, and what it means to millions of readers. Maybe they are seeing something I am not, or they have been better acclimated to Gibson's style of writing. Whatever the reason, I cannot discourage anyone from liking what they like, but I cannot jump on this wagon.
The Verdict:
This is not a book for everybody, and I seem to fall into the category of people who it's not for. If you are a science fiction completist, go nuts; maybe you will get more out of the experience than I did. As is, I found Neuromancer to be confusing, dated, and an utter chore to get through. A 271 page book should not take a month and a half to finish. At least the punishment is over for me. Next!
2.5/5
Next up:
Charlie and the Chocolate Factory by Roald Dahl. (I need something much lighter after such a personally punishing read)
Shameless self promotion: http://backlogbooksblog.blogspot.com/
Finished this the other night. One of the few books I've seen that manages to deal with religion as a main theme in a sci-fi context which made it very enjoyable; but I had a bit of a hard time grasping some of the characters. Still highly recommended, though.Fireblend said:
Moving on to The Third Policeman by Flann O'Brien.
I had a hard time with O'Brien's At Swim Two Birds, but this one gripped me right away. I've just read the first two chapters but they were both riveting and also made me laugh quite a bit.
aparisi2274
Member
I just started reading this:
Tim the Wiz
Banned
Burger said:
I'll agree. I was disappointed with some aspects of Perdido Street Station, but on the whole, its impact was broader and more powerful than The Scar - even if it the latter was more expertly plotted.
As for the rest of his novels, I borrowed out Iron Council and The City & The City today, alongside Kay's Sarantine Mosaic duology. It should make for a good weekend.
way more
Member
I'm taking a leisurely approach to this. I've managed to avoid reading both this and Ice 9 because they sound like the sort of book Kilgore Trout would write. It's horrifying to find out that Timequake is as personal or more so then his other works. It takes the tone of an aged writer looking back at his career and we also get to see choices he made and influences making this story.
It's practically like reading as part of a book club Vonnegut explains himself so clearly. I'm looking forward to Ice-9 in the near future.
Corto said:Just gathered some courage to start "2666" from Roberto Bolaño... and really glad I did it. Books about books, or better yet about obscure books by even more obscure authors are an obsession of mine.
Have you read The Shadow of the Wind by Carlos Ruiz Zafon?
Alucard said:
I gave up on reading it because I felt exactly how you did, I'm glad to not be the only one. There were things that were interesting and I really wanted to like the book but I ended up getting frustrated and moved on to other things. I really do like the word "neuromancer" though, such an evocative word...
Anyway, I'm currently reading The Wastelands (Dark Tower 3). Not very far into it but enjoying it so far.
D
Deleted member 1235
Unconfirmed Member
not when peter jacksons involved!Exilexc said:I'm planning on seeing the upcoming movie.
Found out there was a book and thought I should read it first..
It's always better right ?
apparently he went back to editing to make it 'more disturbing'
Re-reading I Have No Mouth, and I Must Scream. I really didn't remember that the writing was this "complex" x_x Anyway, it is still an awesome book and ranks pretty high in my top sci-fi books list.
I also bought Tom Gauld's The Gigantic Robot and flipped it through quickly and I have to say I really liked it. It is a story of a mass destruction weapon whose promise goes unfulfilled.
If you like illustrated books I strongly recommend this one. It's only 32-pages so it won't keep you occupied for long, still it's worth every penny (14$). Also check out other books by Tom Gauld. Good stuff.
I also bought Tom Gauld's The Gigantic Robot and flipped it through quickly and I have to say I really liked it. It is a story of a mass destruction weapon whose promise goes unfulfilled.
If you like illustrated books I strongly recommend this one. It's only 32-pages so it won't keep you occupied for long, still it's worth every penny (14$). Also check out other books by Tom Gauld. Good stuff.
For some trashy easy to read entertainment while on the commute to work:
Also continuing Alastair Reynolds series after rereading Revelation Space and Chasm City:
And finally for Christmas reading while stuck at my fiance's mothers house:
A huge, leatherbound, 900 page, hardback monster of a book I will be buying the companion to this next year:
Also continuing Alastair Reynolds series after rereading Revelation Space and Chasm City:
And finally for Christmas reading while stuck at my fiance's mothers house:
A huge, leatherbound, 900 page, hardback monster of a book
I will be buying the companion to this next year:
Alucard said:I DID IT!
Neuromancer by William Gibson
One of the hardest books I've ever read...it really drags on the brain..infact I don't think I ever finished it.
To tide me over till True Blood series 3.
Not as good as the other in the series...about 1/2 way through and never seem to get any further.
Bjern Fita
Member
The Chronicles of Amber
brother passed this on to me. Finished the second book and I'm really enjoying it. Don't think it does anything too outlandish, but I do like how the world we live in is 'realistically' connected to the swords and fantasy one.
brother passed this on to me. Finished the second book and I'm really enjoying it. Don't think it does anything too outlandish, but I do like how the world we live in is 'realistically' connected to the swords and fantasy one.
afternoon delight
Member
Personally, it's one of the best books I've ever read - there are so many moments of complete humanity and also terror that cemented it in my must-own-and-share-with-everyone-i-know category. I hope you enjoy it - it's certainly haunting.
abstract alien
Member
Pretty damn awesome so far. Loving the section dealing with the wild dogs.
TunaLover said:
If the louche, sardonic attitude is what attracts you, read Martin Amis' 'Money'.
If moral deterioration and bitter, comic misanthropy is the thing, read John Lanchester's 'The Debt to Pleasure'.
Satire on sexual mores: Luke Rhinehart's 'The Dice Man'.
Existential, slow-rumbling strangeness: Kobo Abe's 'Woman in the Dunes'.
Corto said:Just gathered some courage to start "2666" from Roberto Bolaño... and really glad I did it. Books about books, or better yet about obscure books by even more obscure authors are an obsession of mine.
Oh man, I really need to read some Bolaño. I have The Savage Detectives, but I've been told I should read some of his shorter fiction before tackling the longer works. I just know I'm gonna love it all.
Anyway, I'm over halfway through The Unbearable Lightness of Being and it's completely brilliant. There are certain moments and passages that I know will haunt me forever.
bumbillbee
Member
Corto said:Just gathered some courage to start "2666" from Roberto Bolaño... and really glad I did it. Books about books, or better yet about obscure books by even more obscure authors are an obsession of mine.
It can be difficult to read at times (especially the fourth section), but it's an incredible, incredible book. I think I first came across it on GAF, before it was released. Thanks, guys!
i just finished Gardens of the Moon by Steven Erikson. I don't know how i feel about it to be honest. On the one hand there was a few great moments (particularly near the end) and some of the characterization is pretty good, on the other i found myself drowning in the history and mythology to the extent that i couldn't really engage with a good percentage of the book. So much time is spent name dropping characters and events that i have no idea about, not to mention that they are named things like ke'thuar and braziin etc. Its like all the old names were chosen by using the random character name selection in World of Warcraft or Oblivion.
Regardless i am going to read the next one as ive already bought it, but at the moment i am not enjoying it as much as a George RR Martin or a Robin Hobb book.
Also I've just started reading Brave New World, which seems very interesting based on the first 50 or so pages
Regardless i am going to read the next one as ive already bought it, but at the moment i am not enjoying it as much as a George RR Martin or a Robin Hobb book.
Also I've just started reading Brave New World, which seems very interesting based on the first 50 or so pages
Heidalloon
Member
I'm liking it a lot but I know nothing about nautical terms so it can be a little overwhelming at times. :lol
Pitch Black Flint
Member
Oops...must have got my links crossed.
I meant:
Heidalloon said:
I really enjoyed Master and Commander, but I freely admit that I interpreted large swaths of the book as "things are happening on a boat". By the end of the second book in the series, Post Captain, I had a better handle on the nautical jargon. Unfortunately, it's been a while since I read it, so I look forward to being completely lost whenever I jump in again with the third Aubrey/Maturin book.
FnordChan
Finished off Charlie and the Chocolate Factory by Roald Dahl.
Charlie and the Chocolate Factory by Roald Dahl
The Review:
Like many people of my generation, and the generation or two before it, I was first exposed to the story of Charlie and the Chocolate Factory through the 1971 film directed by Mel Stuart, which bore the title Willy Wonka and the Chocolate Factory. The title was a natural choice because as much as the story was about Charlie Bucket's rise from poverty to abundance, it was Gene Wilder's intriguing portrayal of the chocolate factory owner that gave the film its playful-yet-creepy centre. Now, having had the opportunity to read the book that has inspired two major films, I must say that it is indeed Wonka's captivating presence that is the heartbeat of the story. Along with Roald Dahl's wonderful prose and Quentin Blake's childlike illustrations, Willy Wonka's ubiquity as a decorous guide gives the book a sense of devilish fun and wicked morality.
If you have seen the film or are somewhat familiar with the story, you know most of what you need to know about the plot. Centrally, the story follows five children who have discovered five golden tickets in one of Willy Wonka's candy bars, and who now have an opportunity to visit the mysterious factory of the master chocolatier. The children are each given a definining character trait that makes them easy to identify, and even easier to dislike; all aside from Charlie Bucket of course, who is a poor but honest boy. As the children and their parents make their way through the factory, each child is undone by their own flaws, and is punished by karma for their lifestyle choices up to that point. The moral of the tale seems to be that proper behaviour and honesty are eventually rewarded, while obnoxiousness, gluttony, and other despicable traits such as chewing gum or watching TV all day long, are ironically and horrifically punished. Not only is each child punished, but they are then immediately eulogized in song by Oompa-Loompas, the tiny aboriginal workers of the factory, who have a gift for rhyme and mischief.
What makes this book so delightful is that Dahl has a real talent for keeping things moving, and keeping things interesting, while not simply smashing together a load of events for the sake of action. No. Each hilarious consequence and plot point has a purpose, and Dahl keeps the ball of complete engagement rolling for the entire 157 pages of the adventure. He simply knows what children, or adults for that matter, need in a work of fiction. He gets the reader completely caught up in the action, and makes you care about what is happening. For example, when discussing the feverish atmosphere that has taken hold of the world because of Wonka's golden tickets campaign, he moves from scene to scene with a rambunctious and joyful energy.
"And now the whole country, indeed, the whole world, seemed suddenly to be caught up in a mad candy-buying spree, everybody searching frantically for those precious remaining tickets. Fully grown women were seen going into sweetshops and buying ten Wonka candy bars at a time, then tearing off the wrappers on the spot and peering eagerly underneath for a glint of golden paper. Children were taking hammers and smashing their piggy banks and running out to the shops with handfuls of money. In one city, a famous gangster robbed a bank of five thousand dollars and spent the whole lot on candy bars that same afternoon. And when the police entered his house to arrest him, they found him sitting on the floor amidst mountains of candy, ripping off the wrappers with the blade of a long dagger."
Dahl understands the importance of rhythm and verb choice in creating a story that continuously moves along. "Searching," "tearing," "peering," "smashing"; while it seems simple, Dahl's use of animated and spirited verbs shows off exactly why he was such a beloved children's author.
Alongside Dahl's lively words, the artwork of Quentin Blake is a perfect complement. He has a thin and wavery style of drawing, which makes his creations feel like they can literally burst at the seams at any moment; it is only the tenuous lines that keep the details inside the characters. His lines also are not perfect, and sometimes cut through their otherwise natural stopping points. This imperfection in his artwork adds to the sense of childlike energy and playfulness. The art feels as genuine, real, and full of life, as does the actual storyline.
So, what is the purpose of this story? It can be seen as a moral tale that is meant to scare children straight, so that they behave well and listen to their parents. Willy Wonka's non-committal responses and untamed personality make him a rascally moral guide throughout, and his "they deserved it" attitude give the book a surprising edge. However, it is interesting to note that unlike the movie, Charlie Bucket is almost invisible once the children enter the factory, and barely makes any moral decisions at all. Is the reader to take from this that kids should mind their own business and simply float on the outskirts of society, without ever really getting involved, and they will eventually be rewarded for not meddling? Nevertheless, whatever lessons are meant to be taken from the book, it is an achievement that Dahl has crafted a deceptively simple book that can be interpreted in more than a couple of ways.
The Verdict:
As a Dahl virgin, I was charmed and delighted throughout Charlie and the Chocolate Factory. Its gaeity, whimsy, and wicked sense of humour give it a deserving place in the realm of childhood classics. The book will also make you crave chocolate once you are finished, and that is hardly a bad thing.
4.5/5
Next Up:
Charlie and the Great Glass Elevator by Roald Dahl.
Charlie and the Chocolate Factory by Roald Dahl
The Review:
Like many people of my generation, and the generation or two before it, I was first exposed to the story of Charlie and the Chocolate Factory through the 1971 film directed by Mel Stuart, which bore the title Willy Wonka and the Chocolate Factory. The title was a natural choice because as much as the story was about Charlie Bucket's rise from poverty to abundance, it was Gene Wilder's intriguing portrayal of the chocolate factory owner that gave the film its playful-yet-creepy centre. Now, having had the opportunity to read the book that has inspired two major films, I must say that it is indeed Wonka's captivating presence that is the heartbeat of the story. Along with Roald Dahl's wonderful prose and Quentin Blake's childlike illustrations, Willy Wonka's ubiquity as a decorous guide gives the book a sense of devilish fun and wicked morality.
If you have seen the film or are somewhat familiar with the story, you know most of what you need to know about the plot. Centrally, the story follows five children who have discovered five golden tickets in one of Willy Wonka's candy bars, and who now have an opportunity to visit the mysterious factory of the master chocolatier. The children are each given a definining character trait that makes them easy to identify, and even easier to dislike; all aside from Charlie Bucket of course, who is a poor but honest boy. As the children and their parents make their way through the factory, each child is undone by their own flaws, and is punished by karma for their lifestyle choices up to that point. The moral of the tale seems to be that proper behaviour and honesty are eventually rewarded, while obnoxiousness, gluttony, and other despicable traits such as chewing gum or watching TV all day long, are ironically and horrifically punished. Not only is each child punished, but they are then immediately eulogized in song by Oompa-Loompas, the tiny aboriginal workers of the factory, who have a gift for rhyme and mischief.
What makes this book so delightful is that Dahl has a real talent for keeping things moving, and keeping things interesting, while not simply smashing together a load of events for the sake of action. No. Each hilarious consequence and plot point has a purpose, and Dahl keeps the ball of complete engagement rolling for the entire 157 pages of the adventure. He simply knows what children, or adults for that matter, need in a work of fiction. He gets the reader completely caught up in the action, and makes you care about what is happening. For example, when discussing the feverish atmosphere that has taken hold of the world because of Wonka's golden tickets campaign, he moves from scene to scene with a rambunctious and joyful energy.
"And now the whole country, indeed, the whole world, seemed suddenly to be caught up in a mad candy-buying spree, everybody searching frantically for those precious remaining tickets. Fully grown women were seen going into sweetshops and buying ten Wonka candy bars at a time, then tearing off the wrappers on the spot and peering eagerly underneath for a glint of golden paper. Children were taking hammers and smashing their piggy banks and running out to the shops with handfuls of money. In one city, a famous gangster robbed a bank of five thousand dollars and spent the whole lot on candy bars that same afternoon. And when the police entered his house to arrest him, they found him sitting on the floor amidst mountains of candy, ripping off the wrappers with the blade of a long dagger."
Dahl understands the importance of rhythm and verb choice in creating a story that continuously moves along. "Searching," "tearing," "peering," "smashing"; while it seems simple, Dahl's use of animated and spirited verbs shows off exactly why he was such a beloved children's author.
Alongside Dahl's lively words, the artwork of Quentin Blake is a perfect complement. He has a thin and wavery style of drawing, which makes his creations feel like they can literally burst at the seams at any moment; it is only the tenuous lines that keep the details inside the characters. His lines also are not perfect, and sometimes cut through their otherwise natural stopping points. This imperfection in his artwork adds to the sense of childlike energy and playfulness. The art feels as genuine, real, and full of life, as does the actual storyline.
So, what is the purpose of this story? It can be seen as a moral tale that is meant to scare children straight, so that they behave well and listen to their parents. Willy Wonka's non-committal responses and untamed personality make him a rascally moral guide throughout, and his "they deserved it" attitude give the book a surprising edge. However, it is interesting to note that unlike the movie, Charlie Bucket is almost invisible once the children enter the factory, and barely makes any moral decisions at all. Is the reader to take from this that kids should mind their own business and simply float on the outskirts of society, without ever really getting involved, and they will eventually be rewarded for not meddling? Nevertheless, whatever lessons are meant to be taken from the book, it is an achievement that Dahl has crafted a deceptively simple book that can be interpreted in more than a couple of ways.
The Verdict:
As a Dahl virgin, I was charmed and delighted throughout Charlie and the Chocolate Factory. Its gaeity, whimsy, and wicked sense of humour give it a deserving place in the realm of childhood classics. The book will also make you crave chocolate once you are finished, and that is hardly a bad thing.
4.5/5
Next Up:
Charlie and the Great Glass Elevator by Roald Dahl.
BrokenFiction
Member
Just started on this classic:
afternoon delight
Member
Fight Club is different from the movie, not really plot wise but structure and theme-wise. I'm in the minority opinion that the movie actually improved on his text.
If you liked The Road and want more McCarthy, I'd suggest Blood Meridian for a quicker read, The Crossing by him as well if you want to read an epic, sprawling landscape of his making. Both novels really are perfect (in my opinion) and transcend any idea of "the western genre".
Maybe read The Power and the Glory by Graham Greene, or One Flew Over the Cuckoo's Nest by Ken Kesey, or Marquez's The General in his Labyrinth.
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