You should know from the start that this book has nothing to do with vampires. Sharp incisors do make a small appearance, but thatís all. Iíd hate for you to be disappointed thinking this was yet another paranormal romance.
The Family Fang is instead the story of a peculiar family and the extent they go to create.
Somewhere within every art appreciation course the question, ďWhat is art?Ē has no doubt come up. Performance artists, Camille and Caleb Fang define it as creating spectacle and watching/documenting the waves their actions make. The Fangs would have found their creative home within the Situationist Movement. Their physical home, as created by Kevin Wilson is an odd place for children to grow up. Their father shot a man in the arm as a creative act, their mother secretly makes disturbed paintings in miniature. Both eat candy for fuel and listen to Avant-garde records at deafening levels.
Annie, known as Child A and Buster, known as Child B never knew if a trip to the grocery store was simply an effort to get milk and bread or instead a plot derived by their parents to create chaos. This instability produced two rather damaged adults who return to the nest for a chance to heal themselves both physically and emotionally. The story fluctuates between Annie and Busterís childhood and the present while ending in a predictably strange place.
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I discovered Bardstown Road: A Novella by Andre Coma by accident and when I saw it was about Louisvilleís Bardstown Road, I thumbed through it. I found all kinds of allusions to places and things that I know and like. All the joys of youth in one thin book.Thereís Twice Told Coffeehouse, Tewligans, Johnís Lennonís Working Class Hero , Little Debbie snack cakes, and Big Red. There is also the growing pains of life; menial jobs, parents, roommates, and a messed up relationship. This book deals with life in a real and honest way.
The main character, Ben is a lonely, but happy, slacker. He sees no real point in buying into an adult world thatís phony. Heís not rebelling against the world like Holden Caulfield, but he just chooses not to fit. Heís a good, level-headed guy who seems more intelligent and insightful than the average 20 something. The girl is Jenny. She is Benís ex, and has just come back to Ben with some important news.
There are a variety of cool and odd characters that seem real to the point that I bet that I passed some of them on the street or met them in a bar or on the TARC bus years ago. With very few lines invested in each, he brings these people to life. The people he meets on the bus and the street are real. They have BO. They have mental problems. They bum money. Ben considers himself a ďfreak,Ē because he assumes this is how the world views him and his friends. He thinks of himself as being pretty normal, yet an outsider in the normal world. Will Ben survive in the real world? Will he get Jenny?
Öand then thereís Melvilleís Moby Dick . Ben begins it at the beginning of the book. Will he finish it by the bookís end? Iíve started Moby 5 or 6 times and I have yet to make it all the way through.
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A fascinating aspect of literature is its capacity to change over time. Intuitively, one may think that the message a book conveys, the experience the tale imparts, the revelry a novel causes remains somewhat static and consistent, a belief that I completely disagree with. By this, I mean that the state of the reader, influenced by such dynamic factors as age, relationship status, type of socialization experienced, among others, significantly affects, and perhaps ultimately determines, oneís reaction to a story.
Kim , Rudyard Kiplingís famous novel published in 1901, is for me a prime demonstration of this idea of how oneís feelings towards a story can change. I first read Kim as a sixth grader and found the story of the orphaned Kimball OíHara, otherwise known as Kim, gripping Ė a young guy, a bit older than I was at the time, was leading an adventurous life on the streets of Lahore, India, free of the pressures of school and family, and while he was poor and did lead a somewhat harsh existence, his complete independence seemed so appealing. And his life only becomes more incredible as he joins a Tibetan lama on his spiritual journey and is eventually recruited by the British secret service for important work, which they refer to as the great game, on the northern border of India involving Russian agents, turncoat allies, and danger Ė almost a young James Bond.
Now, letís skip quite a few years ahead, the young sixth grader is now an adult, and I find myself looking at a copy of Kim and remembering the first time I read it. Succumbing to nostalgia, I cracked that paperback open and began reading. I was taken quite by surprise. Being an enormous fan of several modern writers hailing from India, I have developed a particular picture of post-Raj India, one in which India, despite the challenges that pluralist societies face, is filled with beauty, culture, and, above all, magic; something that modern life can oftentimes lack or lose altogether, particularly as one grows older.
Although Mr. Kipling included wonderful descriptions of the geography and lively city life of India, it was made perfectly clear that Mr. Kipling considered Indian independence something akin to madness, for in his mind how could the country thrive and progress without the leadership of the British? In the words of Hurree Chunder Mookerjee, complete ďtommy-rottĒ, I thought.
Despite the imperialistic overtones that overshadow Kim , I must say that it still is a good adventure and coming-of-age story that can be easier to digest when the time and context in which it was written is taken into account. In fact, it is the various layers of the story that can keep it fresh and new through subsequent readings.
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In this book, The Poisoned House by Michael Ford , the year is 1855. Thirteen year old scullery maid Abigail works a grueling job doing the household jobs that no one else wants to do; Greave Hall is the only home Abi has ever known. She grew up here with her mother, a nursemaid, and with nowhere else to go, has remained after her motherís death a year before.
Life at Greave Hall is changing. Lord Greave, the master of the house, is aging and increasingly disoriented and confused; his sister-in-law, Mrs. Cotton, is the housekeeper and Abiís personal tormentor. The return of Sam, Abiís childhood playmate and the son of the house, seems to indicate a return of brighter days, but Samís return is overshadowed by his injuries sustained in the Crimean War as well as a deeper mystery at work in Greave Hall.
Unexplainable things are happening and Abi seems to be the only one noticing..handprints where there should be none, things being moved with no explanation, and specters in the night. Is someone trying to communicate with Abi from beyond the grave? What really happened to Abiís mother; was it Cholera or something distinctly more sinister?
This is young adult novelist, Michael Fordís fourth book. I found it to be a fast paced, suspenseful read; I was able to finish it in one day and greatly appreciated the chilly, gothic atmosphere that Ford created; perfect for October. The mystery of Abiís motherís death is well developed, with just enough foreshadowing to keep the reader moving. Being suspenseful, sensational, and relatively short, this would be a great read for any reluctant readers you might have hanging around in your library, or in your home.
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In Marstal, Denmark, the men of the town have always gone to sea. The sea is in their blood and it calls to the fathers and sons of the town constantly, even as it leaves their bones on the floors of all seven seas. The sea dominates everything in town, much as the sea dominates other great maritime stories. Set over the span of a century, We, the Drown follows the lives of the town folk: the boys who fight amongst themselves, while also fighting with their school teachers and dreaming of the day they can go to sea; the men who go to war, who sail the four corners of the world to discover that the folly of human existence is as strong right in Marstal as it is in illegal trades in the South Pacific; the strong women left behind in Marstal to raise the children, live their lives, and be left to wonder why a ship fails to return to port. It follows the rise and fall of the town and how its citizens shaped this history. This book, a best seller in Europe and Carsten Jensenís debut novel, is the story of love, loss, warfare, sorrow, and joys, a well-rounded look at what happens in life.
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