Tag: 50 Books to Read Before You Die (Page 4 of 6)

The Wind in the Willows

July 5, 2017 / wordsmith2294

Hello again, class.

The Wind in the Willows is one of the most pleasant stories I’ve read in a long time. It’s short and entertaining, full of talking animals on crazy adventures, and never shallow enough to lose suspension of disbelief. More importantly, it’s a children’s story—easily what a parent would read to their children every night, which means unlike most novels on the 50-books list, this actually is something everyone should (and could) read.

The story follows four animal characters, who each live on or around a great river: the Mole, the Water Rat, the Toad, and the Badger. Their stories intersect mildly, as the Mole adventurously abandons his home or the Toad tries desperately to return to his own, and the characters gather together at the end to wrap up the plot. It’s funny and sweet.

Author Kenneth Grahame

I don’t think the story and characters would be all that special, though, if it wasn’t for Kenneth Grahame’s writing. He adapted the bedtime stories he would tell his son into this novel, and because of that, he made it meaningful. Grahame balanced the animal-instinct for adventure with the desire for the comforts of home; he harnessed the distinctions between creatures and embraced those differences; and he portrayed the simple elements of nature with the same depth and complexity as the world of humanity can be perceived—at least by a child. His care for this story made it beautiful, and that’s why it makes the list.

Everything seems to have a dream-like quality as well, and that’s no mistake—the word “dream” is used obnoxiously often. Apart from a few main story arcs, most of the chapters feel like individual short stories, jumping between random plot points like a dream would. The talking animals, the exciting adventures, the beautifully comforting language . . . The Wind in the Willows is a childhood dream brought to life.

I do still question it’s inclusion on the list. The excellent writing and the portrayal of a child’s fantasy dreamworld is already on the list—Alice’s Adventures in Wonderland. Lewis Carroll’s classic is also much more popular and more fantasy-heavy than The Wind in the Willows, so why include Grahame’s novel at all? If we needed another children’s fantasy, we could have also included The Hobbit or Peter Pan . . . why The Wind in the Willows?

I don’t have much of an answer. It’s not that The Wind in the Willows is bad, but there are plenty of books missing from this list. Any one of them could have replaced this one. In any case, this would only be a concern if we were ranking the books on this list, and since that’s not what the list is about, I encourage you all to give this story a go.

I’m reading Harper Lee’s To Kill a Mockingbird next—for my book #25! Halfway there! And there’s no better book to wrap up the first half of my blog with.

Until next time!

Prof. Jeffrey

The Great Gatsby

June 21, 2017 / wordsmith2294

Good morning, class.

The Great Gatsby is timeless—timeless because the story and it’s themes are still relevant; timeless because Gatsby is an icon of class struggle and the American dream; timeless because the language is unique and poetic; timeless because the narrative always has more to offer than what is seen on the page; and timeless because it not only represents people from 1920’s America, but also people all time periods, all over the world, who suffer from greed, love, and the past coming back to haunt us.

I really like this novel.

For those not in the know: The Great Gatsby follows narrator Nick Carraway, who tells us the story of Jay Gatsby, a mysterious figure with a complex past. He throws lavish parties that he doesn’t attend, brags about his seemingly made-up time spent at Oxford college, and is obsessed with Daisy Buchanan—a young wife and mother who knew him long ago. Daisy and Jay loved each other, but Gatsby went off to war, and Daisy settled for Tom—a wealthy athletic man who peaked young, and who cheats on his wife regularly.

Sam Waterston and Robert Redford as Nick Carraway and Jay Gatsby in The Great Gatsby (1974)

And then, Gatsby returns, and upends the Buchanans’ life. Nick depicts the turmoil in glorious detail; the affairs, the illegal money-making, the immense sadness and rage these people cause each other, and the fateful end. Every moment seems to be made out of poetry. The story is as thrilling as it is beautiful, and that’s what makes it special—and that’s why it makes the list.

Let’s talk about some of what makes it special: The Great Gatsby is a “summer” novel, partly because the events take place over the course of a summer. It’s also short and easy to read, not like most other “great” novels. But it’s not simple . . . it’s simply as thought-provoking as the reader is willing to think. It has enough layers to peel back for the most obsessive literary critics, but it still has enough of a surface story to be interesting to the common reader.

F. Scott Fitzgerald, author of The Great Gatsby.

And underneath the surface story is an interpretation for each and every reader. As soon as Nick’s judgement of the events is called into question—right about the time when he says “I’m inclined to reserve all judgements”—every statement he makes could be a rearrangement of the truth. If that doesn’t prove his unreliability, then his claim that he is “one of few honest people [he has] ever known” definitely does, after he lies a few times in later chapters.

There’s always something new to uncover with The Great Gatsby—it’s almost Shakespearean. But it’s not nearly as old and distant as Shakespeare; at almost one hundred years old, it still feels current and readable, and it’s as pleasant as it is mind-blowing. That’s more than enough reason to make the list.

Up next, I’m taking it easy with The Wind in the Willows by Kenneth Grahame, a classic of children’s literature. I’m sure I’ll enjoy it—I need some talking animals.

Until then, have a good week.

Prof. Jeffrey

Jane Eyre

June 7, 2017 / wordsmith2294

Good morning, class.

On April 23, 2006, the U.K. and Ireland celebrated World Book Day—a charity event focused on encouraging children to read—by making a list of the top 10 happy endings of all time (link courtesy of The Free Online Library). The top 5 are all on the 50-books list:

5. Rebecca by Daphne du Maurier

4. The Curious Incident of the Dog in the Night-Time by Mark Haddon

3. Jane Eyre by Charlotte Brontë

2. To Kill A Mockingbird by Harper Lee

1. Pride and Prejudice by Jane Austen

The only one I haven’t read is Rebecca (blog post pending for both Rebecca and To Kill A Mockingbird), but I’m willing to bet something about that happy ending—there are absolutely no promises about a happy beginning or a happy middle. That’s the case with the other four novels, perhaps especially with Charlotte Brontë’s Jane Eyre.

Joan Fontaine and Orson Welles as Jane Eyre and Mr. Rochester in Jane Eyre (1943)

Jane Eyre’s childhood is full of abuse: she is the unloved adopted orphan of her home, attacked, terrorized, defamed, and ultimately cast aside by her family. She falls back on her resolve and determination, which may get her into trouble, but never makes her sacrifice who she is.

As she grows up and leaves school, she finds a job caring for the daughter of a rich man, Mr. Edward Rochester. Jane and Mr. Rochester discover their love for each other—but, of course, there are complications that threaten the future of the relationship. For what it’s worth, as we already know, there’s a happy ending.

Jane Eyre isn’t simply about a romance—its focus on class and gender issues help it stand out, much like Pride and Prejudice a few decades earlier. I might argue that Pride and Prejudice carries wit and wordplay, thanks to Jane Austen’s style, but it’s only an interesting comparison.

Author Charlotte Brontë

However, there is something Jane Eyre has which Pride and Prejudice lacks . . . something I did not at all expect—horror. The mansion where Jane cares for Mr. Rochester’s daughter is, for lack of a better word, haunted. Sudden fires threaten to burn the place down, and eerie laughter can be heard through the halls at random times. The secrets of Mr. Rochester’s past endanger the lives of his staff and his daughter, giving the novel a sense of urgency, foreboding, and distrust—even in the happiest of scenes.

From a feminist standpoint, I think the idea is that there’s a particular horror for women trapped in social conventions designed by men. Jane seems to live her life entirely as a rebel, if only for the sake of remaining good and true to herself. But this is Victorian England—there are consequences when you choose to unreservedly be yourself. The consequences for Jane have something of a supernatural flair, making the novel that much more interesting. (The same Gothic influences appear in Wuthering Heights by Emily Brontë, Charlotte’s sister—blog post pending.)

But, Gothic influences aside, what makes this story great is Jane herself. She is an excellent heroine, knowing and understanding who she is and what she deserves. She faces the consequences of her actions, refuses to let her emotions cloud her judgement, and defends her body, spirit, and worth in the face of anyone who hurts her. Even when it costs her everything, she does what any person is supposed to do—she respects herself.

This may make her sound too fierce, or even too heartless to develop relationships with others, which couldn’t be further from the truth. Jane is also compassionate, grateful, and caring to everyone. Her childhood hardships could have hardened her, but instead, they made her more empathetic and kind; not many others could boast the same. Jane is the epitome of a good person in charge of their destiny, which is a rare find.

It’s been a while since I enjoyed something as much as Jane Eyre (besides Ulysses, that is). It is a really good story, and at the end of the day, that is the best thing a novel can offer.

My next book is The Great Gatsby by F. Scott Fitzgerald. I have read it before, so I already know what I’m getting into—a really good story.

Ulysses

May 24, 2017 / wordsmith2294

Good morning, class.

I’m not hiding my bias here . . . this is one of my favorite novels ever. I’ve read all 700 rambling pages of James Joyce’s Ulysses twice—once with the reassurance of a college classroom, and a second time “for fun.” I’ve mentioned it in almost half of the 100+ posts I’ve written for this blog (I recommend revisiting two of them: A Portrait of the Artist as a Young Man and Modern Literature; the review might help).

But I’m in the minority here. Most people who try Ulysses find it meandering and over-complicated. Even those that do like it tend to appreciate it from a distance, for how it changed history or defined a literary movement, but they don’t like to read it. I’m in the minority because I like experiencing the scope of the story, the empathy created by the characters, the literary connections, the “everything-is-connected”-ness of the details . . . I like it for exactly what it is, and not many people would say the same.

But, students, if I can show you why it made the 50-books list at all, maybe you can see why I like Ulysses so much.

Actor Milo O’Shea as Leopold Bloom in the movie version of “Ulysses” (1967)

The story takes place in Dublin, Ireland, over the course of one day: Thursday, June 16, 1904. Leopold Bloom, our “hero,” is a Jewish advertising agent roaming the streets of Dublin, and his internal monologue narrates the story in messy fragments. His thoughts wander over (among other things) the child he lost 11 years ago, his father’s suicide, and the affair that his wife, Molly, is currently having with another man.

Meanwhile, Stephen Dedalus (protagonist of the prequel, Portrait of the Artist) deals with his mother’s recent passing, his unbearable alcoholic father, and his cynical disdain for just about EVERYTHING (he’s a little nauseating). He roams Dublin’s streets as well, and he and Bloom spend most of the day almost meeting, until they run into each other in the last few chapters like destiny—a father longing for a missing son, and a son wishing for a better father.

James Joyce, author of Ulysses (1922)

And then, without giving too much away, the novel ends by giving Molly Bloom a voice of her own—the final chapter is her epic monologue reaching beyond the confines of the single day. She rambles through cataclysmic run-on sentences on sex, love, marriage, memory, and femininity, and fondly remembers the day when she agreed to marry Leopold.

There are too many literary references to count, but the most important ones are about The Odyssey by Homer. Bloom is Odysseus, journeying from his home and back (boiling down 20 years into one day), trying to return to his “son” (Stephen/Telemachus) and his wife (Molly/Penelope). The terrifying Cyclops becomes the bigot spouting his beliefs in the bar, while the visit to the underworld becomes a funeral, and the entrancing witch Circe takes the form of a prostitute in a brothel.

These Odyssey references, where the name Ulysses comes from, give the novel it’s epic-ness. The length of this one day is impressive, so filled with detail that it overflows at the seams, and it still doesn’t capture every single moment of the day. The ancient has been updated to match advances in technology and societal evolution, but it still meets the same archetypes it’s known for.

Most importantly, Bloom is a modern Odysseus—less a warrior, more a gentle soul. He is kind to animals, has a love for science, and empathizes with Molly’s extramarital desires. Unlike most men, he knows he doesn’t own her, and that she could be suffering just as much as he is over their long-lost child. He leaves only room in his heart for compassion, making him more of a hero than anyone else in the story . . . because a modern hero isn’t someone physically strong, but rather someone who performs simple acts of kindness.

Statue of James Joyce in Dublin, Ireland

So, even though there are literary reasons why Ulysses is a masterpiece, it’s Bloom’s compassion and empathy, found throughout the novel, that make this book good. It may be hard to see under the complicated language and plot, but this novel has more love on any one page than most novels can show in a hundred. Joyce handles grief, prejudice, hope, sex, depression, death, longing, wonder, and life, all with a deep and profound love.

Sometimes, it surprises me how I’m in the minority in liking this book, and then I flip through its pages and remember—this novel is HARD to read. It’s an experience that nothing can replace, and for that reason it belongs on the list, but it is not a book you just pick up and read!

If you are going to try it, and you don’t have a literary professional standing nearby at all times, you might try reading a guidebook along with it—I recommend Ulysses and Us: The Art of Everyday Living by Declan Kiberd. It’s pretty focused on understanding the intentions behind the novel, and it helped me find the love within Ulysses. I also recommend any and all online resources—a summary won’t replace the novel, but it will help you understand what on earth is happening.

I may be a 23-year old blogger, but I think I understand Ulysses, so feel free to ask me questions after class (a.k.a. in the comments below). I absolutely didn’t cover everything here, but I’ve got plenty more to say on this subject if you want to know more. Seriously, ask me questions—all I want to do is talk about Ulysses all day.

Now that I’ve finished Ulysses, I’ve started reading Jane Eyre by Charlotte Brontë. Whenever I tell people this, they stare, like reading Ulysses and Jane Eyre outside of school isn’t normal behavior. It seems perfectly normal to me.

Anyway, I’ll see you for class next week.

Prof. Jeffrey

Off-Topic: Modern and Postmodern Literature

May 17, 2017 / wordsmith2294

Hello again, class.

We’ll have a bit of a history lesson today, and talk about literary periods. Historical context can redefine a piece of literature, and something that’s always helped me with reading older texts is understanding which period of history it came from. The Victorian Era, for example, was the era of Great Britain during the reign of Queen Victoria. I know little bits about Victorian society, belief systems, social stigmas . . . each one increasing my understanding of novels and poems of the time. It’s basic reading strategy any good blog professor should know.

My two favorite periods of literature are Modernism and Postmodernism (which are more like one 2-part period, but I didn’t write the textbooks). More than being the eras of some of my favorite works, I think the majority of the books on the 50-books list could fall in the categories of modern or postmodern literature. That alone makes it worth knowing what these categories mean and how they apply to novels on the list.

(Disclaimer: I am summing up entire textbooks worth of information into a blog post. It’s a LIMITED analysis.)

Modern writer F. Scott Fitzgerald, author of “The Great Gatsby.”

Modern literature doesn’t actually mean “modern” like new or contemporary. It sort of meant that at the time, but that period is about a hundred years old by now. When people talk about modern literature, they’re usually referring to the first half of the 20th century, ending around the same time as the end of WWII. That period of history was, on a worldwide scale, sheer chaos.

Both World Wars, the Great Depression, political movements for women’s rights, the Harlem Renaissance, introduction of Freud’s theories, the roaring 20’s, advances in technology . . . these are fractions of the chaos of the time. Traditions were breaking down, becoming fragmented copies of the old world. Questions were asked about morality, society, sexuality, religion, government, the future—questions that were never considered before.

Modern Writer Ernest Hemingway, works including “The Sun Also Rises” and “The Old Man and the Sea.”

The art reflected the chaos. Novels like The Grapes of Wrath and As I Lay Dying were chaotic in the most complicated ways; they broke the rules of grammar and storytelling, and they sacrificed old traditions to make room for greater truths. Poems like T. S. Eliot’s “The Waste Land” and W. B. Yeats’ “The Second Coming” broke the rules of poetry and removed the comfort of structure.

The dates are shifty for Modernism, so they are just as shifty for the sequel, Postmodernism. Ending with WWII and working through the Cold War and the later half of the 20th century, the Postmodern Era shares a lot of similarities to Modernism. The chaos of the 50s, 60s, and onward, the continuing breakdown of traditional values, the Vietnam and Korea conflicts, the birth of nuclear power, the Civil Rights movement . . . the chaos continued.

Postmodern poet Allen Ginsberg, author of “Howl.”

But one of the key differences was how the artists responded (which is why it gets a different name in the textbooks). The artists of the modern era were more afraid of the chaos, and the art was used to help them cope with it. But postmodern artists celebrated the chaos; they relished in the collapse of the old and the strangeness of the new.

Novels like The Catcher in the Rye, The Color Purple, and On the Road fall in the postmodern category. These writers took the previous generation’s fear and apprehension and transformed it into a movement that praised the breaking of tradition. Novels like these lived into the chaos of the time.

Postmodern author Margaret Atwood, author of “The Handmaid’s Tale.”

But as I said, the reason I chose these two periods for today’s lesson is not just because they’re my favorite, but because they sum up most of the books on the 50-books list. Before the 20th Century, elements of modern and postmodern literature can be seen popping up among the best of literature. Novels like The Picture of Dorian Gray and Pride and Prejudice and even older pre-novel works like Hamlet and The Canterbury Tales have elements reflecting the chaos: the depths of psychology, the fear of advancing technology, the downfall of conventionality, the inherent wrongness in rules of morality and religion.

Personally, I think all of literature was leading toward the birth of modern works. Questions about race asked by Oroonoko and Robinson Crusoe are answered by literature from the Harlem Renaissance. The heavily structured language of the Victorian Era’s A Christmas Carol and The War of the Worlds led to the deconstruction of language in A Portrait of the Artist as a Young Man. Early women writers like Aphra Behn and Jane Austen opened the doors for modern and postmodern writers like Virginia Woolf and Alice Walker. There’s no Ulysses without Dante’s Divine Comedy.

That’s my theory, anyway. And I like it for the same reason I like Ulysses: the “everything-is-connected”-ness of it all. Granted, it’s not a very scholarly theory, but it puts the “story” in “history.”

As I finish up Ulysses, you’ll hear more of this theory—next week is the big one!

Until then, enjoy your week.

Prof. Jeffrey

On The Road

May 10, 2017 / wordsmith2294

Welcome back, class.

Jack Kerouac’s On the Road fits nicely between two other novels I’ve read for this blog: The Grapes of Wrath and The Catcher in the Rye. Kerouac’s novel has the same nonconformist, rebellious attitude as The Catcher in the Rye (with a little less teen angst), but Catcher is all in the narrator’s head. Though just like The Grapes of Wrath, On the Road has the sense of a sweeping American portrait. For its 1950s setting, it describes the entire country poetically and perceptively, which is why it makes the list.

But as good a reason as that is, I wouldn’t say On the Road was worth my time—and that’s entirely because of the story and the characters. The narrator, Sal, develops a friendship with a man named Dean Moriarty, and the story is about the many cross-country road trips they make with each other. They rarely have enough money, which never bothers them, and they find ways to enjoy the chaos of living on the open road—speeding recklessly across the landscape, sleeping around, drinking, and finding money where they can.

These two characters, with their rotating roster of friends and lovers, are always crossing the country or waiting until they can cross the country again. They can’t seem to stay in any place for long. My theory is that they are looking for happiness—something they’ve never had with the people in their lives or the jobs they’ve settled for. What they do along the way in their search doesn’t matter to them, because they aren’t happy . . . which means they can break the law, dispose of people in their lives like trash, and succumb to whatever they feel like doing at any moment.

Author Jack Kerouac

There is an appeal to their lives—they can abandon anything that ties them down, and hit the open road with more energy than anyone else. There is something impressive about their ability to relinquish everything. This is Kerouac’s connection to the Beat generation of literature—a group of artists after WWII who celebrated the beaten-down-ness and the beauty of their lives. This group found interesting ways to challenge social norms while creating new methods of art, and On the Road is one of the most powerful novels that sum up the Beat generation of artists.

But the idea of abandonment is taken too far, at least for me, by the way the characters treat others. Sal and Dean just as easily abandon the rules of kindness, and their recklessness never fails to hurt others. Their sexism and homophobia also get under my skin, even if it fits with both their lifestyle of abandonment and American society of the time. They are powerful characters, but they are incredibly unlikable.

Still, On the Road always comes back to what makes it special: a poetic voice that captures America. The road trips show off the variety of American landscapes and people—the frontier of the West, the wilderness of the East, the oppressive humidity of the behind-the-times South, the jungle of Los Angeles and the cloudy closeness of New York . . . it’s all remarkable through Sal’s eyes. I can’t to justice to Kerouac’s language, so that you’ll have to read yourself.

Up next is a novel I’ve been reading for a while, alongside the last several books I’ve posted about. I’ll probably need more than a blog post to write about James Joyce’s Ulysses, but I’ll try to keep it short! But it’s one of my favorite novels of all time, and I can hardly wait to tell you why you should read it.

Until next week,

Prof. Jeffrey

The War of the Worlds

April 26, 2017 / wordsmith2294

Hello again, class.

The War of the Worlds already had a lot going for it when I picked it up—I love a good story about aliens. For all of the novel’s pitfalls, it makes up for it by being one of the earliest science fiction novels ever written, inspiring sci-fi for years to come.

The narrator details the horror of aliens attacking Earth—the Heat-Rays, the giant tripods, the freakish shapes of the creatures themselves, the death, the chaos, the destruction of towns and homes . . . it’s all portrayed as graphically as a Victorian-Era novel can be. The narrator spends most of his time trying to get back to his wife, who may be dead already, and his journey shows him the diversity of both the Martians’ attacks and the chaotic human response.

Don’t get me wrong—The War of the Worlds is a little dated. It’s well over a hundred years old, and sounds too much like Charles Dickens describing aliens and battle, which is jarring. Parts of the novel stumble over themselves, like when the narrator tells the story of what happened to his brother. Any modern writer wouldn’t bother explaining why two people are telling the story, but that’s too complicated for H. G. Wells’ audience—Wells’ is very careful in making his narrator explain the leap in the story.

And, of course, the science is more than outdated . . . it’s plain wrong. Your science lesson for today: no Martians like the ones described live on Mars. The science is beyond fringe, and the theory of intelligent life on any planet in our solar system is just shy of impossible. It’s an interesting thought, but we all know the idea of aliens on Mars is closer to fantasy than sci-fi.

Movie Poster for The War of the Worlds (1953)

That doesn’t make The War of the Worlds bad . . . just dated. One of the strongest scenes, occurring over several chapters, involves the narrator trapped in a house with a panic-stricken man who keeps talking about the end of the world. He’s too loud, threatening to give away their position, and the narrator fights him to keep him quiet. The narrator kills him in the process. Wells isn’t just adding to the drama, here; this character’s loss of rational thought is a natural human response, and so is his murder by the narrator’s hands.

Wells is providing a pure account of the story, and letting the scientific, ethical, and horrific implications speak for themselves within each reader—leaving us only with a well-told story. All the best sci-fi/fantasy stories do this; they give us the story purely, and let us debate over scientific and moral hypotheticals. These are the kinds of stories that stand the test of time.

Author H. G. Wells

Like any good sci-fi novel, The War of the Worlds speaks through metaphors—aliens in stories are never just aliens. For Wells, a British man at the height of the British empire, the aliens are a distant unconquered people, with the power to vanquish Britsh forces. Wells is showing us that Britain’s treatment of smaller kingdoms and weaker people will come back to haunt them. The Martians treat humans as mercilessly as the British treated, for example, people of African nations.

It is a little too “white man’s burden;” the fear of the Martians can feel a little like fear of the “other-ness” of minority groups and foreign people. It’s subtle, but it’s there, and it’s worth noting how dated a philosophy it is. Even so, it seems to be a message of mercy, which is always good to read.

Next up, I’m jumping forward to Jack Kerouac’s On the Road—dropping the science fiction for a little more 1950s American grit. It’s not my cup of tea, but I’m always surprised by a good book—I’ll let you know what I find.

Until next week,

Prof. Jeffrey

A Bend in the River

April 12, 2017 / wordsmith2294

Another book finished! Welcome back, class.

V. S. Naipaul’s A Bend in the River is a difficult novel. Stephen King once wrote that a person can write about anything, as long as they tell the truth (from his book On Writing). I could go out on a limb and say that every author on the 50-books list has done this—they’ve told their own truths. With A Bend in the River, Naipaul has told his ugly truths, and they were difficult to read—truths about racism, lost souls in postcolonial Africa, disregarded marriages, violence, and the decay of humanity.

The main character, Salim, is a shopkeeper in a small town on a central African river. He witnesses the chaos of an unnamed country around him: a rebellion against the old order, the establishment of a new order and a new leader, and its subsequent corruption and collapse. Meanwhile, Salim rotates through relationships with a series of characters, including an old family servant (whose loyalty decays like the country around them), a woman with whom he begins an abusive affair, and the son of one of his customers who rises through the country’s political ranks.

The characters all seem to be parts of a moving (or, rather, dying) machine. Sometimes, when a story does this well, the story and characters are given more meaning (I can’t say it enough—Ulysses is my favorite example of this). But A Bend in the River is more about meaninglessness . . . about being trapped in a dying system, unable to fix it and unable to escape. This is a place where hope becomes bitterness, narrated by a cynical man.

Salim’s cynical tone is the story’s greatest weakness. If it isn’t clear already, I didn’t enjoy reading the novel, and it’s mostly because of the philosophies and opinions of an unlikable narrator. Salim looks down on any dark-skinned people and acts violently towards the married woman he sleeps with. He seems to view this African country as better off under rule from Europe, as opposed to being allowed to exist on its own. He sounds always above everyone in his life.

At this point, I would usually claim that the narrator is unreliable, and that the author uses the narrator as an extra form of commentary. Even if that’s true, the artistic element is too subtle to be of any benefit. It’s hard to forgive any of these qualities because there’s no catch, no twist . . . Naipaul does nothing to show that he doesn’t mirror the negative qualities of his character, which makes me question any of the truths Naipaul claims to support.

And yet, for all that disgusts me, the tone is also the novel’s greatest strength. With Naipaul’s cynicism comes careful, brilliant writing. The content may be bleak, but the way it’s portrayed is mesmerizing, and it never shows any narrative cracks. If you need a reason to read it, it’s because A Bend in the River is one of those rare pieces of excellent writing—each word fits like a puzzle piece to a grand and beautiful image.

In the same way, I could compare it to Graham Greene’s The Quiet American (which I’ve written about here), and lots of critics have compared it to Joseph Conrad’s Heart of Darkness (blog post pending). If only the story didn’t feel so rotten at the core, I could see A Bend in the River being one of my favorite novels ever written.

Next, I’m reading The War of the Worlds by H. G. Wells. I’m happy to put A Bend in the River behind me.

I’ve noticed that I have a tolerance for novels I don’t like (at least well-written novels I don’t like). I think that means that for any book, the plot can involve anything and the characters can do anything, and as long as the author knows what makes a story worth telling, I can read it. Some people can’t do the same—an unlikable character or a goofy plot makes them put a book down in a heartbeat.

Some books help you figure out what kind of reader you actually are. They’re worth something for that, even if you don’t enjoy the experience.

On that note, I’ll see you next week.

Prof. Jeffrey

Robinson Crusoe

March 29, 2017 / wordsmith2294

Welcome back, class.

An open-ended question for you: have you ever read a book that tells a story rather than shows it? Maybe it feels like it’s missing something? It lists plot and characters like a neatly organized budget, and maybe it uses beautiful language and is organized perfectly, but you finish it having expected something more than the author telling you exactly what happened?

Author Daniel Defoe

If you have, there’s a chance you might have preferred that—a book that gives you exactly what you ordered, and nothing more. You don’t want to be thrown off guard by emotions you weren’t prepared for. You want to be entertained, plain and simple. And yet, if you’re anything like me, you know full well that these are the books you forget you ever read.

Robinson Crusoe isn’t that bad. It’s not forgettable, at least. It’s a cast-away story, about a man stranded and forced to survive. Crusoe spends almost three decades on this island, and with all the appropriate twists and turns necessary for an exciting plot, Daniel Defoe captured a good story.

But it tells the story, rather than shows it, and I couldn’t enjoy it for that. Everything is there—themes, emotions, motifs, mystery, an adventurous ending, a really strong character and a timeless plot. But there’s this fundamental thing missing . . . a personality from the narrator. From such a well-known and acclaimed story, I expected at least that.

When it comes to novels like this, I like to think the reason it’s so praised is for what it has inspired. I’ve already noticed two very clear Robinson Crusoe references in other well-known novels, both on the 50-books list. My next novel, A Bend in the River by V. S. Naipaul (which I’ve already started), studies the “savagery” of the African continent in the same way that Crusoe assumes the same savagery of other races. James Joyce’s Ulysses, which boils down the twenty-year journey of The Odyssey into a day, subtly does the same thing with Robinson Crusoe’s thirty-year journey (and, not accidentally, gives Robinson Crusoe what it’s missing).

But the true successor to Robinson Crusoe is Life of Pi, which I wrote about a few months back. Pi’s journey is shorter, and yet filled with more personal detail in any one chapter than all of Robinson Crusoe. Even the spiritual elements of Robinson Crusoe are dwarfed by Life of Pi, which captures greater religious diversity and uses spirituality to support the story. With Life of Pi and with many other works, Robinson Crusoe has been surpassed.

Artist rendering of Crusoe’s shipwreck

Then there is the problem of racial treatment. Defoe’s use (or overuse) of the word “savage” strikes many hurtful racial chords. The relationship he ends up building with one of these men encourages the all the negativity of colonialism and racial superiority in a positive light, and it is so difficult to read simply for that. It’s only forgivable in terms of historical context, and even then—considering the continuation of racial struggles today—forgiveness is not the feeling I jump to first.

So why read it, then? It’s simple: it’s one of the world’s oldest English novels. We can trace more than half of modern literature back to Robinson Crusoe. It’s not the best reason to pick up a new story, but it’s good enough for any avid reader.

Of course, I have a personal bias against it. I’m probably not alone. It’s likely I and others missed the point—my investment was stained by my own issues with it. Yours might not be.

The racial concerns will continue in A Bend in the River, for better or for worse. I’ll get back to you as I read. Though novels like these bring up political questions towards art. It’s easy to praise a novel despite its racism when, racially, it doesn’t affect you; on the other hand, it’s easy to be unforgiving when historical prejudice gets in the way of a good book. If only life was simple.

On that sort-of-sour note, I’ll see you in class next week.

Prof. Jeffrey

March 15, 2017 / wordsmith2294

Welcome back, class.

With the exception of the final few Harry Potter book installments, The Curious Incident of the Dog in the Night-Time is the youngest book on the 50-books list, published in 2003. For me, it carried a stigma before I even began reading it—contemporary works are supposed to have a freshness about them, like they’re a new take on what’s been written before. When a novel like this is compared with The Lord of the Rings, Ulysses, and even the Bible, it has expectations to meet.

Meet them it did.

The Children’s Edition of the novel

Let’s not talk about plot yet. Let’s talk about how the first chapter is chapter two—every chapter afterwards is a prime number: 2, 3, 5, 7, 11, etc. Our main character, Christopher Boone, likes prime numbers, and how they explain the nature of life: like someone has taken all the patterns away, so that you could never figure out the rules.

Like I wrote last week, it is heavily suggested that Christopher has autism, which explains the interesting way he sees the world. It means that his brain limits his ability for social interaction, and that metaphors and abstract concepts usually mean nothing to him. Christopher is also incredibly smart, and the way he tells his story never ceases to prove that.

Author Mark Haddon writes Christopher’s voice matter-of-factly, so that all scenes sound the same. One scene may be Christopher enjoying a math problem, and the next may be Christopher trapped in public, surrounded by strangers that terrify him, with his pocket knife ready in his hand in case anyone touches him. It all sounds the same—Christopher struggles so much with empathy that Haddon forces us do the emotional heavy lifting.

The Original/Adult Edition of the novel

And then there’s the plot. The neighbor’s dog has been murdered—stabbed with a garden fork. Christopher loves dogs because he doesn’t have to figure them out (not like people). So when the dog is killed, Christopher decides—just like his favorite detective, Sherlock Holmes, would do—that he’s going to solve the mystery of who killed it.

His single father doesn’t care for this plan at all, so Christopher has to do his detective work in secret. Of course, he causes far too much mayhem, but the plot thickens with every passing discovery. And like any good mystery (and any good story, for that matter), it’s full of surprising twists, powerful character drama, and a sense of humor.

Haddon has said that this is a story more about difference than disability. Christopher’s view of the world helps with that . . . he sees people in ways others wouldn’t. We get to see his judgement of others on his journey, as well as others’ judgement of him. Similar to novels like The Catcher in the Rye and Ulysses, the characters start looking like cells in a body, each with their own roles and reactions, colliding every now and then for some good and honest tension. And because each character is fleshed out so well, The Curious Incident made it’s way on to the 50-books list.

Up next, I’m diving back into the past with Robinson Crusoe. The promising adventure story has a lot to live up to . . . I’ll let you know how it goes.

Prof. Jeffrey

Tag: 50 Books to Read Before You Die (Page 4 of 6)

The Wind in the Willows

The Great Gatsby

Jane Eyre

Ulysses

Off-Topic: Modern and Postmodern Literature

On The Road

The War of the Worlds

A Bend in the River

Robinson Crusoe

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