TLC Book Tour: The Serpent of Venice, Christopher Moore

The Serpent of VeniceWhat do you get if you take a generous helping each of Shakespeare’s Merchant of Venice and Othello, a dash of King Lear, and a big splash of Edgar Allan Poe’s “A Cask of Amontillado” and put it in a blender with Monty Python? I’m not sure, but I think it would look a lot like Christopher Moore’s novel The Serpent of Venice.

The Serpent of Venice is the continuing story of King Lear’s fool, Pocket, first introduced in Moore’s book Fool. Lured to Venice by Montressor Brabantio, Iago, and Antonio, Pocket is chained and walled up inside Brabantio’s dungeon. A mysterious creature rescues Pocket, who seeks his revenge against the trio with the help of Othello, Shylock, and Jessica and the mysterious creature, the Serpent of Venice herself.

I found the mashup of Shakespeare’s two Venetian plays to be interesting. A little stitching, and it all comes together nicely, though the tragedy of Othello is sacrificed in this comedic novel. Moore explains in his Afterword that he shifted the time settings of the two Shakespeare plays, which are more contemporary to Shakespeare’s own time, to the thirteenth century and adjusted some of the finer points (Othello is fighting the Genoans rather than the Turks). A famous Venetian of the 13th century makes an appearance late in the book. As Moore explains:

I chose Merchant and Othello, obviously, because they are set in Venice. Early on, as I dissected them to see what parts I could stitch back together to make the abomination that became The Serpent of Venice, I started noting that the characters in each of the plays perform similar functions, and although I didn’t research it, I suspect the parts were written for the same actors.

I admit the Shakespearean scholar in me wants to take that project on. It would be interesting to uncover—I’m sure someone’s done it already. For the record, The Merchant of Venice is dated from around 1596-1597, while the earliest mention of Othello is 1604. Will Kempe, Shakespeare’s famous clown, departed the Lord Chamberlain’s Men acting company in 1599 and thus his successor Robert Armin likely played the Fool or Clown in Othello and also in King Lear, though Kempe probably did play Lancelot Gobbo in Merchant. Richard Burbage certainly played Othello, and this epitaph suggests he played Shylock. More research is beyond the scope of the resources I have at hand.

Nevertheless, the entire Afterword reveals the depth of research Moore did in order to bring 13th century Venice alive, as well as combine the three major works of literature that comprise this tale. Further, it’s intriguing that the two Shakespearean plays, aside from being set in Venice, are also the two major plays that include marginalized characters such as Shylock and Othello.

In fact, I quite enjoyed the characters in this novel, particularly the protagonist Pocket and Jessica. Pocket is smart and resourceful, but he’s no one to mess with either. For that matter, the same could be said of Jessica. Where the book particularly shines is in its witty dialogue. The book’s Chorus is a lot of fun. Witness this exchange, a flashback to events preceding the book’s main narrative, when Othello saves Pocket’s life:

CHORUS: And thus was friendship formed. Two outsiders, outside a palace in the night, found fellowship in their troubles, and there one’s problems became the other’s purpose.

“Who is that?” asked the fool.

“I don’t know him,” said the Moor. “Is he following us?”

“No, he’s just yammering on about the bloody obvious to no one. A nutter, no doubt.”

“I cannot carry him, too,” said Othello. (28-29)

The reviews on this one are a little mixed, and I gather it’s mainly folks who don’t appreciate the humor who give the book low ratings. I laughed often as I read. Moore has a gift for humor, or at least I think he’s funny, though I should think folks who find it sacrilegious to tamper with Shakespeare and don’t even like it when his plays have modern settings should probably not read this book. I think having read Shakespeare will help the reader appreciate the humor and allusions in this book. This book is probably not right for everyone, but I loved it.

For the record, I think Shakespeare himself would have loved it, too. Edgar Allan Poe? Famously a strange guy. I’m not sure what he would have thought. Of course, I also think that Monty Python and the Holy Grail is the best King Arthur movie ever made (and I’m not even kidding about that—it’s closest to the Welsh stories that are the origin for Arthurian legend).

Possibly as good a test as any to determine whether this book is right for you is this bit of dialogue between Pocket, shielding himself behind the identity of Lancelot Gobbo, and Shylock:

He wheeled on me, stopped, and assumed the posture of one about to lecture. I had seen it before. Everywhere. “Since the time we were first chosen, Lancelot, suffering has been the lot of our people, but still, we must take our lessons from the prophets. And what do we learn from the story of Moses confronting the pharaoh? When Moses did call down the ten plagues upon the Egyptians? What do we learn from this, young Lancelot?”

“As plagues go, frogs are not so bad?” I was raised in a nunnery. I know Testaments Old and New.

“No, what we learn is, do not fuck with Moses!” (79)

If you think that’s funny (I laughed out loud), then you’re probably game for the rest of the book. If you were offended, this is not the book for you. For my part, I’m running right out to read Moore’s other books.

Christopher MooreChristopher Moore’s website | Facebook | Twitter

Rating: ★★★★★

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Review: William Shakespeare’s Star Wars: Verily, A New Hope, Ian Doescher

I know what you are thinking. What is this ridiculousness? Ian Doescher’s book imagines the answer to a question I’d wager everyone wishes they had been thinking: what if William Shakespeare had written Star Wars? The result is, of course, William Shakespeare’s Star Wars: Verily, A New Hope. It’s as hysterically awesome as you could wish, and if you think about it, it’s not such a strange idea: surely if any film series is Shakespearean in scope, with its complicated villains, scene-stealing minor characters, and emphasis on Fate, then Star Wars certainly is.

I don’t think I need to review the plot, and let’s face it: no one is reading this book for the plot—it’s for the fun of the Shakespearean language used to tell a familiar tale. I will say this: the dialogue in this book is quite a lot better than the dialogue in the movie.

Dramatis Personae and PrologueSprinkled throughout, too, the reader familiar with Shakespeare’s plays will find allusions to Shakespeare’s own writing as well.

Tatooine's Two Suns

I love Luke’s soliloquy as he gazes at the two setting suns. But even more than that, I love his rumination over the Storm Trooper he has just killed.

Alas, Poor Storm Trooper

Alas, poor stormtrooper, I knew ye not,
Yet have I ta’en both uniform and life
From thee. What manner of man wert thou?
A man of inf’nite jest or cruelty?
A man with helpmate and with children too?
A man who hath his Empire serv’d with pride?
A man, perhaps, who wish’d for perfect peace?
Whate’er thou wert, good man, thy pardon grant
Unto the one who took thy place: e’en me. (124-125)

There are also some fun in-jokes for Star Wars fans:

Han Shot FirstSprinkled throughout is some great line art by Nicolas Delort. I am particularly fond of this picture of Grand Moff Tarkin:

Grand Moff TarkinThe asides, monologues, and soliloquies give a great deal of insight into characters’ motivation, particularly that of R2-D2.

My daughter gave me this book for Christmas 2013, and I’m only sorry I waited so long to pick it up. I will certainly now read William Shakespeare’s The Empire Striketh Back and William Shakespeare’s The Jedi Doth Return. I really can’t wait to see how Doescher handles Yoda.

If you love Shakespeare and you love Star Wars, you really can’t lose with this book.

Rating: ★★★★★

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Review: Bring Up the Bodies, Hilary Mantel

Bring Up the Bodies (Wolf Hall, Book 2)Hilary Mantel’s Bring Up the Bodies is the second book in the Thomas Cromwell trilogy. This book and its predecessor, Wolf Hall, were awarded the Man Booker Prize—a rare achievement. Wolf Hall is more sweeping—it introduces Thomas Cromwell and traces the beginning of his career with Thomas Wolsey up through Henry VIII’s marriage to Anne Boleyn. Bring Up the Bodies is more condensed. Its narrow focus concerns five months from January to May of 1536.

As the novel begins, Henry has grown tired of Anne Boleyn. She is pregnant, and everything hinges on whether or not she will deliver the long-awaited male heir. Meanwhile, Henry’s first queen Katherine dies, and Henry is grievously wounded in a joust (some historians argue the injuries he incurred in this joust are responsible for Henry’s transformation into a tyrant). Shortly after Henry’s accident, Anne miscarries her child—a son. Five months later, she is dead.

As much as I loved Wolf Hall, and I did, I have to say I enjoyed Bring Up the Bodies even more. Thomas Cromwell emerges as a complex individual. He has been cast in history as a notorious villain, but these books also display his love for his family and his eagerness to become a surrogate father and teacher to several young men in his household. He has a dry wit. But he has a long memory. The scenes in which he interrogates the men accused of adultery with Anne Boleyn are chilling, and no less so because it is clear Cromwell remembers their role in ridiculing Cardinal Wolsey.

The books tread a careful line: Were Anne Boleyn, Harry Norris, George Boleyn, Francis Weston, William Brereton and Mark Smeaton guilty of the crimes for which they were executed? Thomas Cromwell himself is not sure, but they are guilty of other things. Cromwell observes that “He needs guilty men. So he has found men who are guilty. Though perhaps not guilty as charged” (328). Cromwell has a slow fuse. He never forgets when he is wronged, even slightly, and when the moment comes to strike, he’s as swift as a snake. Or a lawyer.

The book also contains some exquisite sentences. It’s not just good storytelling—this novel in particular reads almost like a play, and you can see all the action on the stage—it’s also just good writing. Perhaps my favorite quote:

He once thought it himself, that he might die with grief: for his wife, his daughters, his sisters, his father and master the cardinal. But pulse, obdurate, keeps its rhythm. You think you cannot keep breathing, but your ribcage has other ideas, rising and falling, emitting sighs. You must thrive in spite of yourself; and so that you may do it, God takes out your heart of flesh, and gives you a heart of stone. (329)

I can hardly wait for the third installment in the series. No matter what you think of Cromwell, you can hardly deny he left a mark on history, and he is perhaps more interesting and complicated than the larger figures of Henry VIII and Anne Boleyn, at least in Hilary Mantel’s capable hands. Mantel sets a high bar. I’m not sure I’ve read any writer who does historical fiction quite so well. I’m really looking forward to the production of Wolf Hall/Bring Up the Bodies on PBS in April. If you like historical fiction, even if you think you are so over the Tudors already, do yourself a favor and read these books.

Rating: ★★★★★

This book is set largely in London, with the most memorable passages at the Tower of London, located in Middlesex County. I will count this book as my London book for the Reading England Challenge.

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Review: Wonder, R. J. Palacio

WonderI read R. J. Palacio’s novel Wonder with my thirteen-year-old daughter, Maggie. Strictly speaking, both of us might be a little older than the target age-range for this book, but I don’t believe in such nonsense, and it’s a good thing I don’t, or I might have missed out on a true treasure of a book.

Wonder is the story of a ten-year-old boy named August Pullman. He loves Star Wars and his dog, Daisy. He loves his sister Via. He’s worried about starting middle school, just like most kids starting middle school. The difference is that Auggie, as he is called by family and friends, has Treacher Collins Syndrome, a craniofacial deformity about which Auggie says, “I won’t describe what I look like. Whatever you’re thinking, it’s probably worse” (3). But Auggie also says, “The only reason I’m not ordinary is no one else sees me that way” (3).

August has been homeschooled due to the many surgeries he has endured as a result of his condition. His parents discuss whether it might be time to send Auggie to school when fifth grade begins. Ultimately, the family decides to send Auggie to Beecher Prep, and Auggie has a difficult year, but in his quiet and ordinary way, he powers through the adversity and manages to earn the admiration of his teachers and his classmates.

Actually, it’s impossible to do this book justice in a review. So, I asked Maggie for some help. I interviewed her after we finished. Before I go on, I should explain she received the new publication of the book that includes “Julian’s Chapter,” which was originally published as an e-book, for Christmas. Palacio had said at one point that Julian didn’t get a chapter initially but she eventually changed her mind for reasons she explains in this interview with Slate. I think it was a good decision.

Me: What did you think [after finishing the book]?

Maggie: I think that book might be my favorite book of all time. I’m dead serious.

Me: What was your favorite part?

Maggie: SLIGHTLY SPOILERY ANSWER. YOU WERE WARNED! At the end of August’s last chapter where he received the award and got a standing ovation.

Me: Who were your favorite characters?

Maggie: My favorite characters were August, Via, and Summer. I also liked Miranda. The way August and Via got along is sweet and touching. And Summer, it was nice to find out she was a genuinely nice gal. It was nice that she wasn’t being friends with August because someone forced her or dared her.

Me: What else do you want to share?

Maggie: I was surprised when we read Julian’s chapter because I didn’t expect to feel sympathy or empathy for him after reading the rest of the book. I also really liked how the book was told in different points of views. You get to hear all sides of the story so you know what happened. It’s a creative way to tell a story. I really didn’t like Julian’s mother. I thought she was overprotective and mean about the whole situation and how she handed the whole August situation. She completely overreacted.

Maggie and I loved the book. We highly recommend it to everyone. We had a lot of good conversations that involved some soul searching. I told Maggie about being unkind to a girl when I was in sixth grade because the “cool” kids didn’t like the girl—for no good reason, really. I still feel bad about how I acted, and truthfully, I wasn’t terrible. I just wasn’t my normal self, and I didn’t treat her the way I wanted to treat her. I was unkind because of other kids. This book is probably the best book on the issue of bullying that I’ve ever read, and it’s the only one that includes the bully’s perspective. The end of Julian’s chapter is quite a tearjerker, and the window into the bully’s perspective was interesting. In fact, some people will say it goes a step too far perhaps, but Maggie and I happened to love it. You read it. You’ll see.

I don’t often say this about a book, but this is one I feel like everyone ought to read, whatever their age. When we were trying to figure out if Palacio had written other books so we could read them as well, we discovered Wonder is her first novel. As Maggie said, “That was her first try at a book?!” For what it is worth, we read maybe 20-30 pages at a time when we started, but the night we finished, we read the whole Julian chapter of 80+ pages in a gulp. Maggie has never read a book she couldn’t put down like that. If you have a middle schooler in your life, you should share this book.

Rating: ★★★★★

Review: Wolf Hall, Hilary Mantel

Wolf HallI rounded out 2014 by finishing Hilary Mantel’s Wolf Hall, the first book in a planned trilogy about Thomas Cromwell, the second book of which is Bring Up the Bodies. Both Wolf Hall and Bring Up the Bodies were awarded the Man Booker Prize (2009 and 2012, respectively).

Wolf Hall introduces Thomas Cromwell, the son of a blacksmith, who rises to become one of Henry VIII’s chief ministers as well as an architect of the Protestant Reformation in England. The book begins with Thomas Cromwell’s decision to make his way across the sea in Europe after a particularly vicious beating from his father. The story continues after Cromwell has returned to England and entered the service of Cardinal Thomas Wolsey, the king’s chancellor. The rest of the novel chronicles Wolsey’s fall and Cromwell’s subsequent rise through the eyes of Thomas Cromwell, ending with Thomas More’s execution.

The Tudors are well-trodden ground at this point. Mantel manages to breathe fresh life into their story by telling it through the point of view of Cromwell, who has not fared well in history and whose point of view has been somewhat neglected as a result. In many ways, this book reminded me a bit of Marion Zimmer Bradley’s The Mists of Avalon, in that Bradley’s retelling of the story of King Arthur by the women in his life—Igraine, his mother; Morgan le Faye (or Morgaine), his sister; and Gwenwhyfar (or Guinevere), his wife—was perhaps the freshest version of the Matter of Britain I’ve read in the last twenty years largely because Bradley chose to tell the story with voices often silenced. This formula works wonders for making old hat like the Tudors interesting again, just when I thought I was a little sick of them.

Wolf Hall is meticulously researched, but I never felt as if Mantel was trying to impress me by proving she’d dug up some interesting historical fact. She often sent me to research myself, so I could find out more about something or other that happened in the novel. As such, I learned some interesting things. For instance, I had not realized that Cromwell was such a protege of Cardinal Wolsey, and it struck me as odd, given the way in which Cromwell championed the Protestant Reformation.

I loved Cromwell’s dry wit. He comes across as compassionate to his loved ones, but no one to mess with to his enemies. And he has a long, long memory, as Thomas More discovered. Cromwell leaps from the page as a shrewd businessman and judge of the prevailing winds—it will be interesting to see how Mantel depicts his downfall given how lethally sharp he has come across in this first book.

I know how Cromwell’s story ends, and I have to say, I am a little sad at the prospect of reaching the end of his story in the third planned novel in the trilogy, The Mirror and the Light, rumored to be due out in the coming year.

Rating: ★★★★★

Review: Into the Wild, Jon Krakauer

Into the Wild

“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.”

Henry David Thoreau

My sister gave me a copy of Jon Krakauer’s book Into the Wild for Christmas so many years ago now that I can’t remember, and I’m a little embarrassed that it has taken me so long to finally read it. I think what finally convinced me to read it at last was the recent publication of Carine McCandless’s own memoir, The Wild Truth. I had previously read Jon Krakauer’s article, “How Chris McCandless Died” in The New Yorker.

I am a funny reader. I don’t highlight or underline much in paper books, unless they are professional reading or books I’m teaching in my English classes. I didn’t make any marks in my paper copy of Into the Wild until I was more than a third, perhaps even close to halfway through the book, and I realized I needed to mark it up. I went back and found passages I liked in the parts I read before I had picked up my pencil.

For those (like me) who may not have read the book yet, it is the story of Christopher McCandless, who graduated from Emory University and disappeared on a quest to find himself in the wild. A devotee of Jack London, John Muir, and Henry David Thoreau, McCandless was drawn eventually to Alaska, where, it was supposed, he died of starvation. Jon Krakauer was asked to write about the tragedy for Outside magazine. However, Krakauer appears to have been unable to leave the story alone after the article, and this book is the result. In fact, as evidenced by the fact that Krakauer wrote the foreword to Carine McCandless’s book and is still contributing to discussion of Chris McCandless’s death, it seems plausible that he is still unable to let the story go. Once I started reading it, I also had a hard time putting the story down.

I was speaking with colleagues about the importance of narrative non-fiction. One important thing I have come to believe this year is that all of us, each and every one of us, has a story. In fact, many important stories. McCandless didn’t live to tell his story, in a sense, but in another sense, he actually did live to tell his story. Or perhaps, more accurately, he lived his story and Krakauer told it. Who was Chris McCandless, really? Just an arrogant, woefully unprepared, thoughtless slacker, as some people believe? The second coming of Thoreau? On the one hand, I understand those who are frustrated by the veneration of someone they see as foolhardy, and McCandless devotees have caused some real problems when they’ve tried to retrace his steps and find for themselves the old Fairbanks City Transit bus where he died. On the other hand, what I love about this book is that Krakauer elevated McCandless, a man who might otherwise have been forgotten by all but his family and friends, simply by telling his story, and by telling it so well.

I was particularly moved by McCandless’s friendship with and impact on a man Krakauer calls Ron Franz. I almost hesitate to share a quote here because part of me wants anyone reading this review to discover the book as I did, without having read a single line from it anywhere. On the other hand, anyone reading this review is likely not too worried about exposure, or they wouldn’t read a review (I know I avoid reviews of books I haven’t read unless I don’t mind some spoilers). So all that being said, this is the first part of the book that moved me:

“When Alex [McCandless’s pseudonym] left for Alaska,” Franz remembers, “I prayed. I asked God to keep his finger on the shoulder of that one; I told him that boy was special. But he let Alex die. So on December 26, when I learned what happened, I renounced the Lord. I withdrew my church membership and became an atheist. I decided I couldn’t believe in a God who would let something that terrible happen to a boy like Alex.” (60)

Some criticism I’ve read of the book faults Krakauer for inserting himself a bit too much into the narrative, but I actually liked it that he became close to the story. I think sometimes in telling a story about someone else, you need to identify how it’s also about you, and it is clear that Krakauer saw himself in McCandless and even indicates all that really separates the two of them is luck.

Even Ralph Waldo Emerson, in many ways the father of Transcendentalism in America, criticized his friend Thoreau, whom he felt frittered away his life: “I cannot help counting it a fault in him that he had no ambition… Instead of engineering for all America, he was the captain of a huckleberry party.”

Of course Thoreau was more than the captain of a huckleberry party. In fact, I’d argue he actually did engineer for all America. Emerson just didn’t realize it because so much of the change in thinking that Thoreau put in motion didn’t bear fruit until a century and more after Thoreau’s death.

I can easily see how one might criticize McCandless for making the mistakes he did, but as Krakauer points out,

McCandless wasn’t some feckless slacker, adrift and confused, racked by existential despair. To the contrary: His life hummed with meaning and purpose. But the meaning he wrested from existence lay beyond the comfortable path: McCandless distrusted the value of things that came easily. He demanded much of himself—more, in the end, than he could deliver. (184)

Am I arguing that Chris McCandless may one day have the impact that Thoreau has had? Maybe. I don’t know. But I do know his story is not only gripping and beautiful, in its way, but it is also important because he was one of us, and that alone makes it worthy to be told.

No man ever followed his genius till it misled him. Though the result were bodily weakness, yet perhaps no one can say that the consequences were to be regretted, for these were a life in conformity to higher principles. If the day and night are such that you greet them with joy, and life emits a fragrance like flowers and sweet-scented herbs, it is more elastic, more starry, more immortal—that is your success. All nature is your congratulation, and you have cause momentarily to bless yourself. The greatest gains and values are farthest from being appreciated. We easily come to doubt if they exist. We soon forget them. They are the highest reality… The true harvest of my daily life is somewhat as in intangible and indescribable as the tints of morning or evening. It is a little star-dust caught, a segment of the rainbow which I have clutched.

Henry David Thoreau

Rating: ★★★★★

Review: Eleanor & Park, Rainbow Rowell

I just spent a weekend at an English teachers’ conference, and it made me remember how much I love reading YA fiction (which I haven’t done for a while), and also that Eleanor & Park was on my Kindle, and I hadn’t read it yet.

I feel a little inadequate to the task of describing this book because there is a lot that a summary can’t capture. Eleanor & Park is the story of two tenth graders who meet on the school bus on Eleanor’s first day at North High School in Omaha, NE. Slowly, the two start to realize they have some things in common, and by Christmas, they’ve fallen hard for each other. Eleanor has a difficult home life, but she tells no one, not even Park. Her stepfather is an abusive alcoholic, and her father has almost no involvement in her life. Her mother is trapped. When Park asks Eleanor “Why doesn’t she leave?”, Eleanor can only reply “I don’t think she can… I don’t there’s enough of her left” (196). Eleanor had been kicked out of her mother and stepfather’s home for a year previously, and she knows her position in the house is precarious. Honestly, Eleanor will break your heart.

I knew I was going to connect to this book when I opened it and saw it began in August, 1986. I suppose that means this book is historical fiction, but to be honest, I can’t look at it that way, even if its intended audience includes people who were born more than a decade after 1986. August, 1986 was the year I started high school myself—coincidentally at a school named North High School (actually, Parkway North, to be more precise). I had just moved, and I was really nervous about school. I can recall the bus politics of worrying over where to sit quite well. I actually wonder if this book isn’t more appropriate for someone like me than for a teenager. I gulped it down in one evening, only putting it down to make up the dough for our Thanksgiving rolls. It’s a little hard not to fall in love with both Eleanor and Park.

One of the best things about the book is the music references. Rainbow Rowell made playlists, which you can find on her blog. Eleanor and Park connect over comic books and the music mix tapes Park shares with Eleanor. Remember mix tapes? They were magical. They took a long time to make, and there was hardly anything more you that you could give someone than a mix tape. I used to have quite a talent for making them, too. Spotify is awesome in many ways, one of which is that it takes the mix tape to the next level. It’s actually my favorite thing about Spotify. I feel like I make tons of “mix tapes.” But there is something about the dedication it used to take to sit down in front of the stereo, select the songs, and try to get them to fit without too much blank space on either side of the tape.

Actually, I pretty much loved everything about this book, and I can’t really do better than what YA author John Green had to say about the book: “Eleanor & Park reminded me not just what it’s like to be young and in love with a girl, but also what it’s like to be young and in love with a book.”

Updated to add that Forever Young Adult made an excellent mix tape for the book:

Rating: ★★★★★

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Review: The Time Traveler’s Wife, Audrey Niffenegger

The Time Traveler’s WifeI have had Audrey Niffenegger’s novel The Time Traveler’s Wife on my to-read list for an age, and I’m not sure why I wasn’t compelled to actually start reading it sooner. I started watching Doctor Who on Netflix, and I found the story of the Doctor and River Song deeply compelling. In the episode “The Day of the Moon,” River is going back to prison, and she kisses the Doctor goodbye.

 

I found the idea of two time travelers, in love, but living in opposite directions, so devastatingly, hopelessly sad. And as I did some digging online, I found that people compared the relationship between River and the Doctor to this novel, which is what prompted me to read it at last.

The Time Traveler’s Wife is the story of Henry and Clare DeTamble. Henry has a genetic disease that causes him to travel through time. He is unable to control it, and when he arrives at his destinations, he is naked (being unable to take his clothes with him through time) and often has no idea when he is. From Clare’s perspective, they first meet when she is a little girl, and Henry occasionally visits her as she grows up. Though Henry can’t seem to control his travels, he does seem drawn to important people and places in his life. Their love story is both beautiful and tragic.

At this point, the review is about to be spoilery, so you have been warned. Don’t read further if you don’t want parts of the book ruined for you. Though I realize this book has been out for a while now, and spoiler alerts are technically “off,” I enjoyed the book spoiler free (excepting for spoiling it for myself by peeking ahead), and I think everyone else who wants to read it has that right. For that reason, spoiler text is in white below. Select the text to read it.

If I have one complaint about this book, it’s that I thought Henry’s death was unsatisfactory. After all the times he managed to get out of scrapes, he winds up being shot, and by Clare’s father and brother while they’re out hunting, no less? Yes, it’s probably a miracle that he managed to survive as long as he did, given all the bizarre situations in which he finds himself, but that was just pretty awful. All that said, I loved the rest of it. I admit it was a little difficult to keep up with Henry’s adventures, but his life with Clare, and their love for one another, was so well drawn and compelling, that I couldn’t quit turning pages. And then I peeked ahead and realized Henry was going to die, and I had to put the book down for a while because I just couldn’t take it. I knew that a story as strange as this one was bound to be fraught and most likely could not end well, but I didn’t want to read about Henry’s death. At last I picked the book up again and finished it. I adored the ending and the comparisons to Odysseus and Penelope. We read The Odyssey and see Odysseus’s story, but we have glimpses, only, of Penelope’s twenty years of waiting. In many ways, Clare’s own story is much more heartrending than Penelope’s.

In all, this was a good book, and it’s been a while since I read a book I enjoyed this much.

Rating: ★★★★★

The Odyssey, Homer, Narrated by Ian McKellen

The OdysseyIf you have an Audible membership, you should totally use one of your credits to purchase The Odyssey read by Ian McKellen. It is the Fagles translation, which I had not previously read. As you might imagine if you have ever seen McKellen act, he is a masterful reader, and given the material he has to work with in this instance, you can’t miss. I seem to remember that Jenny once said that Fagles was her favorite translation, but I can’t remember if she said why. I believe she was a Classics major as well. I have previously read the Fitzgerald translation, and while I appreciate its beauty, and I understand his reasons for preserving the Greek spellings for names, it was a little confusing. I used a translation by Stanley Lombardo when I taught sometimes as well.

One of the things that struck me again upon listening to The Odyssey is how modern it sounds. People certainly haven’t changed much, and The Odyssey lays bare human nature from the ridiculous to the sublime. I love it. My favorite parts of the book cover the period beginning in Book 9, when Odysseus encounters the Cyclops, to Book Twelve, when Odysseus’s crew is destroyed by Scylla and Charybdis, and he washes up on Ogygia and is held captive by Calypso.

After listening to this version, I was quite struck by how much the poem focuses on loyalty. Penelope is considered throughout all Greece to be the epitome of the loyal wife because she refuses to acknowledge her husband’s purported death and marry one of the many suitors courting her. In truth, they’re all so boorish one doesn’t wonder that she refuses to marry any of them. Eumaeus, Eurycleia, and Argus the dog are all held up as shining examples of loyalty as well. It is not as though I had not noticed this aspect of the poem before, but I think listening to it helped me to see the emphasis on loyalty as it runs throughout. But what bothers me, I guess (as it always has) is the double-standard. Odysseus is not expected to be loyal to his wife or his servants. Their loyalty to him is praised, but his disloyalty is not remarked upon. True that it was written at a different time with different values.

I had completely forgotten the suitors show up in Hades at the end and talk with Agamemnon. For a few minutes, I thought that there was something wrong with my recording, and it had somehow switched back to the part when Odysseus goes into Hades to speak with Tiresias. It felt completely new to me. I wondered at the fact that the suitors blamed Penelope for their downfall. Naturally!

This translation and narration is spot on and gorgeous. I highly recommend it.

Rating: ★★★★★

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Heart of Darkness, Joseph Conrad, Kenneth Branagh

Heart of DarknessKenneth Branagh should read all the audio books.

Well, maybe not all.

He is probably the best narrator I’ve ever listened to, however. Of course, I’m also about to listen to Ian McKellen do Fagles’s translation of The Odyssey, so I may stand corrected shortly.

If you haven’t read Heart of Darkness before, I can’t think of a better way to do it than listening to Audible’s version. After all, Marlow tells the entire story to a crew of sailors on the Thames River, and Branagh perfectly embodies not just Marlow, but all the characters, from the Russian protege to Kurtz to the native man who says, “Mistah Kurtz, he dead” to Kurtz’s “intended.” In fact, I dare you not to get a chill when he reads Kurtz. He almost makes you understand why Kurtz has so captivated everyone in the novel. Almost.

I think the reason this novel is still relevant is that it speaks to our infinite capacity for evil. All of us have it inside us, and “the horror” is realizing that fact. I think Chinua Achebe’s criticism of the novel is valid. It is racist. (It’s sexist, too, but that fact often goes uncommented upon.) The African characters are only so much scenery, and their culture is dehumanized. They are depicted like animals, slavish in their devotion to and fear of Kurtz. There is no getting around it. At the same time, you can look at Marlow as narrator. Who is he but a perfect product of his times? Of course he believes Africans to be subhuman. Conrad probably thought so, too, but it is Marlow who tells the story, so who can say? There probably is no such thing as a completely reliable narrator.

You might like this Book Drum profile of the novel. I found the section on the history of the Congo very interesting (and very tragic, as is the case in so many places colonized by Europe).

Many years ago, I went to an English teachers’ conference, and one session I attended discussed how you can engage students in the reading of literature and help them make thematic connections by asking them to choose modern songs that have a story, theme, or message similar to a work of literature they have studied. One of the presenter’s students connected Conrad’s Heart of Darkness to Nine Inch Nails’ song “Head Like a Hole.”

After listening to it with that connection in mind, I had to agree that the song and the novel shared such a close connection that I have wondered for years if Trent Reznor was thinking of Heart of Darkness when he wrote it. Connect Reznor’s last line “You know who you are” with Kurtz’s last words “The horror, the horror,” and it’s just plain spooky. And I know I make that connection every time I talk about the novel now. I did it in my previous review of Heart of Darkness. This is the third time I’ve read the novel—once in college, once a few years ago.

And I’d be remiss if I didn’t share this mashup of “Head Like a Hole” and “Call Me, Maybe.”

You can’t unhear it. Sorry. Not really.

Rating: ★★★★★

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