Friday, December 27, 2024

Sally Rooney to Percival Everett: The 24 best books of 2024

 https://www.bbc.com/culture/article/20240605-andrew-ohagan-to-scarlett-thomas-12-of-the-best-books-of-2024-so-far

Rebecca Laurence and Lindsay Baker

Simon & Schuster/ Faber/ Doubleday

From an intense tale of two brothers to a stunning Booker winner – the very best fiction of the year.

Intermezzo by Sally Rooney

Launched late in the year

to the feverish fan hoards was the fourth instalment in the so-called "Rooneyverse". In a slight departure from the norm, Intermezzo's protagonists are two men: Peter, 32, a talented but troubled barrister, and his 22-year-old chess-prodigy brother, Ivan, both working through grief and family tensions following their father's recent death. Elsewhere, however, there were plenty of Rooney's familiar beats to be enjoyed – tangled relationships, frequent sex, philosophical debates and deceptively simple but assured prose. "Intermezzo is perfect – truly wonderful" writes The Observer, "a tender, funny page-turner about the derangements of grief, and Rooney's richest treatment yet of messy romantic entanglements." Its review concludes by asking: "Is there a better novelist at work right now?" While The New York Times' critic was enchanted, writing: "Intermezzo is Sally Rooney with a bit more butter and cream. Yes, please, waiter. Call me a fool for love, but this oft-jaundiced reader found this meal to be discerning, fattening, old-school and delicious." (RL)

Scribner/ Riverhead Books/ Bloomsbury

Flint Kill Creek by Joyce Carol Oates

If you like your fiction noirish and nerve-shredding, look no further than the latest offering from US literary powerhouse Joyce Carol Oates, the author of more than 60 novels. In Flint Kill Creek, her characters face various macabre situations within a collection of a dozen short stories, with titles including Bone Marrow Doner, The Phlebotomist and Happy Christmas. It is a "grimly satisfying" collection of tales, says Publishers Week. "In each case, Oates's prose is surgically precise, and her appetite for the grotesque falls on the right side of lurid." The protagonists of each tale are bewildered by what is happening around them, thrown off balance, and face chilling, unhappy outcomes. "Yet, in thrall to a master manipulator of words," says the New York Journal of Books, "readers will grit their teeth and turn another page in this collection. The stories in Flint Kill Creek are unforgettable – although many may wish they could forget." (LB)

Small Rain by Garth Greenwell

"From a tale of great pain" The New Yorker writes of Small Rain: "… a rare kind of story - it becomes one so difficult to render that it is thought to be impossible: a story of ordinary love, ordinary happiness." The US writer Garth Greenwell is known for his first two novels, What Belongs to You (2016) and Cleanness (2020), and as a great writer of bodies and sex. With Small Rain, he turns his attentions to another corporeal concern – that of illness and pain. The novel centres on a poet, who is struck down one day with a searing pain and near-fatal illness that confines him first to the ER and then the ICU, as the Covid-19 pandemic rages. "This is a frightening, penetrating, ultimately illuminating novel…", writes The Observer. "Reading it you feel as though you were holding a single grain of rice in your hand which, upon examination under a microscope, reveals itself to be engraved with the history of the world." (RL)

Creation Lake by Rachel Kushner

Shortlisted for the Booker Prize, Rachel Kushner's fourth novel Creation Lake tells the story of Sadie Smith, a 34-year-old US undercover agent who infiltrates a radical eco-activist commune called Le Moulin in a remote region of France. Having insinuated herself into the anarchist group, she then becomes intrigued by an elderly philosopher, Bruno, and his rejection of modern life. Kushner draws the reader in with her "dead-on language" and the "threat-alert atmosphere of the world she imagines", according to NPR. "Creation Lake is an espionage thriller sealed tight in the soiled plastic wrap of noir," it says, and "Kushner is a dazzling chronicler of end times". The Times Literary Supplement calls the novel "a mesmeric, cool and deeply intelligent exploration of (among other things) early man's relationship to time and space. It is huge in scope, finely mapped by Kushner." (LB)

Farrar, Straus and Giroux/ Weidenfeld and Nicolson/ Penguin Random House

All Fours by Miranda July

"Gutsy, funny, wise, chaotic, dirty, panic-inducing", writes Vulture of July's second novel, which follows an unnamed 45-year-old semi-famous artist, as she embarks on a road trip to escape her partner and son. Instead, she winds up in a nearby motel where she proceeds to redecorate her room and start a wild affair with a young, aspiring hip-hop dancer. Described by some as a "perimenopause novel", All Fours documents the chaotic, all-encompassing period of a woman's mid-life, rarely featured in literature, with wry humour and explicit detail. "July's characteristic dry observational style can turn with equal ease to insouciant aphorism or to the lyrical eloquence with which she writes the extravagant, ungendering, transfiguring sex that takes the narrator to extremes of her own inwardness while forcing new kinds of contact and honesty", writes The Guardian. Vulture's critic describes All Fours as: "one of the most entertaining, deranged, and moving depictions of lust and romantic mania I've ever read". (RL)

Bright I Burn by Molly Aitken

Molly Aitken's 2020 debut The Island Child – about the power and danger of a mother's love – was a critical triumph. Her second has been equally well received, and is based on the true story of the first Irish woman convicted of witchcraft, Alice Kyteler (1280-1325). Bright I Burn portrays a formidable but humane heroine with a love of power, sex and wealth, who gets through four husbands, all of whom come to a suspicious end – whereupon an ambitious bishop condemns her as a witch. Alice's voice is interspersed throughout by the commentary of a chorus of judgmental villagers. "The novel moves through the decades in sharp, poetic vignettes," says Publishers Week. "It adds up to a fiercely intelligent and often surprising examination of a woman's choices and their consequences." The Irish Times, meanwhile, describes Bright I Burn as "mesmerising", and "an imaginative, very stylishly written and entertaining book". (LB) 

The Safekeep by Yael Van der Wouden

Shortlisted for The Booker Prize this year, Van der Wouden's sharp and sexy debut novel is set in The Netherlands 16 years after World War Two. Its protagonist is Isabel, an uptight, controlled and humourless figure who lives alone in her family's countryside home, shunning outsiders, intimacy and joy. All this begins to be broken apart when her brother's girlfriend, Eva, comes to stay. Amid the sweltering heat of the summer, tensions between the two women simmer, and truths are uncovered, leading to the plot's central, devastating revelation. "A quietly remarkable book" writes The New York Times of The Safekeep: "the story is resolved in such a bold and tender way that it becomes not merely clever, but indelible." The Washington Post praises The Safekeep as: "the rare novel about World War Two, the Holocaust and their aftermath that succeeds in feeling fully, intimately human". (RL)

Penguin Random House/ Macmillan

The Hypocrite by Jo Hamya

What happens when we stop idolising our parents and the generation above us? This is the question tackled in The Hypocrite, UK author Jo Hamya's second novel, shortlisted for the Nero Book Awards. A 20-something playwright publicly lampoons her chauvinistic father with a play based on her memories of a Sicilian holiday that father and daughter shared 10 years previously. As the novelist father watches the play unfold, the novel explores art, family dysfunction and generational tension. "What Hamya brings to this modern debacle, besides a precision of language and an aptitude for structure that ought to make her contemporaries quake, is a tenderness you don't see coming," says The AtlanticThe Chicago Review of Books praises the "immaculate character crafting" of the novel. "I was engrossed in this father-daughter duel from the first page to the very last. A novel chalk full of wrongdoings, generational feuds, and rude awakenings, The Hypocrite is a story that will stick with you long after you put it down." (LB)

Martyr! by Kaveh Akbar

"Incandescent" writes The New York Times of the award-winning poet Akbar's first novel. Its protagonist is Iranian-American immigrant Cyrus Shams, whose family is shattered after his mother's death (her plane was shot down by a US Navy warship). The troubled hero becomes obsessed with martyrs – Bobby Sands, Joan of Arc – and with martyrdom, in his search for a meaningful death "The novel itself is almost violently artful, full of sentences that stab, pierce, and slice with their beauty," writes The New Yorker. "This is a novel that comes at you from every conceivable direction," writes The Observer, "some playful, some whimsical, others grimly intense." In its review – and the book was subsequently selected as one of the paper's 10 novels of the year – The New York Times writes: "what Akbar pulls off in Martyr! is nothing short of miraculous." (RL)

Our Evenings by Alan Hollinghurst

Class, sexuality and politics are the themes that Alan Hollinghurst often returns to in his masterful novels, which have included The Swimming Pool Library (1988) and the 2004 Booker-winner The Line of Beauty. And Our Evenings, in which the late middle-aged narrator Dave Win shares the trajectory of his life, revisits these themes. Dave's story unspools, from childhood to growing into adulthood as a gay man of a generation that reached maturity not that long after the decriminalisation of homosexuality. Over the years, Dave welcomes his freedoms, faces intolerance, finds love and loses it, encounters an old adversary, all against a backdrop of constant social and cultural change. "The events keep coming, but the quiet moments that receive such loving attention are the real treasure," says The New Statesman. "The depiction of Dave's mother Avril, their closeness is palpable and deeply moving." The Guardian says: "Hollinghurst is precise about sentiment in ways that puts loose sentimentality to shame." He is "above all an appreciator," it adds. "That capacity for appreciation acquires new emotional and political meaning here, in the finest novel yet from one of the great writers of our time."(LB)

Viking/ Simon & Schuster/ Penguin Random House

The Empusium by Olga Tokarczuk

Set in 1913, the Nobel Laureate's latest is subtitled "a Health Resort horror story", in which an ailing young man travels to a sanatorium in the Silesian mountains. As he observes the rituals and conversations of the men around him, strange and mysterious disturbances begin to infiltrate and interrogate their environment. Published 100 years after The Magic Mountain, The Empusium sets up a knowing reference to – and subversive contemporary dialogue with – Thomas Mann's European classic. "Though the novel describes itself as a 'horror story'," writes The Spectator, "it's more a salutation to the power of the natural world and a celebration of difference." The Atlantic says The Empusium is: "a masterful novel, with a breadth of possible readings", while The Irish Times calls it: "a striking reaffirmation of literature's genius for nuance in a world darkened by murderous polarities". (RL)

The Proof of my Innocence by Jonathan Coe

The satirical novels of Jonathan Coe are steeped in the British experience – from the Thatcher years in What a Carve Up! (1994) to the sweeping 1970s-set The Rotters' Club (2001). His new novel The Proof of my Innocence darts between decades, from 1980s Cambridge to 2022 at the time of the short-lived rise and fall of former UK Prime Minister Liz Truss. The 23-year-old protagonist, English graduate Phyl, is living with her parents, working a zero-hours job in a sushi chain. The story moves into cosy-crime mixed with dark academia mode when Phyl is faced with a shocking death. "The premier satirist of great British crapness is on killer form in this gag-a-minute mystery," according to The Observer, while The Guardian describes Coe as "the laureate of Britishness". It adds: "The Proof of My Innocence is full of energy. It's a madcap caper, a sideways memoir, a tricksy jeu d'esprit that is also a quiet defence of fiction in a post-truth age, and enormous fun to read." (LB)

Macmillan/ Simon & Schuster/ Grove Atlantic

Caledonian Road by Andrew O'Hagan

"A sensational state-of-the-nation novel with a cast of dozens" is how the Irish Independent describes Caledonian Road, Andrew O'Hagan's most ambitious novel yet. Having won the Christopher Isherwood prize for Mayflies, and been nominated for the Booker, the Scottish author has now written a sweeping, London-set, satirical novel that has been compared to the social novels of both Dickens and Tom Wolfe. It tells the story of 52-year-old Scot Campbell Flynn, a celebrity writer and academic, as he encounters an ensemble cast of characters, from minor royals and Russian oligarchs to human traffickers and grime artists. It is an "addictively enjoyable yarn," says The Guardian, "with the swagger and bling of an airport bestseller and an insider's grasp on the nuances of high culture… a book simultaneously dazzled and disgusted by the city it depicts". (LB)

My Heavenly Favourite by Lucas Rijneveld

Lucas Rijneveld, together with his translator Michele Hutchison, won the 2020 International Booker prize for his debut, The Discomfort of Evening. His latest, "a dazzling addition to the oeuvre of an author with prodigious gifts" according to The Guardian, is set in a farming community in the Netherlands, its narrator a 49-year-old vet who is fixated on a 14-year-old girl. Reijneveld's creation is, writes the FT, "a relentless, demanding novel" which nevertheless confirms the writer's "singular, deeply discomforting talent". Comparisons with Nabokov are inevitable, but Rijneveld "squares up deliberately to Lolita" writes The Guardian, "taking a more serious approach to their shared subject". (RL)

Green Dot by Madeleine Gray

Green Dot follows the snarky but self-aware 24-year-old Hera as she attempts to find connection and meaning in her life, taking a job on a news website, and soon falling for an older married journalist, Arthur. Despite cynicism in all other areas of her life, she becomes besotted with him, and – despite herself – begins to long for a conventional, picket-fence happy ever after. A debut novel, Green Dot has been widely praised, and compared favourably with the likes of Helen Fielding's Bridget Jones and Meg Mason's Sorrow and Bliss. The Irish Times observes that "despite the arch and exuberant writing style, there is a bleak undercurrent to the book". iNews describes it as "a brilliantly bawdy novel… a Fleabag-style debut [that is] actually worth the hype". (LB)

Viking/ Penguin Random House/ Simon & Schuster

The Sleepwalkers by Scarlett Thomas

Billed as "Patricia Highsmith meets The White Lotus", the new novel from the author of the acclaimed The End of Mr Y is a wildly original summer thriller that begins as a just-married couple arrive at their luxury hotel on a Greek Island – reeling from the dramas of their wedding, and withholding secrets from one another. Told through letters, torn notebook pages and transcripts, The Sleepwalkers wrongfoots and surprises the reader at every turn, descending into a dark, Gothic mystery. "Through her bold storytelling," writes The New York Times, "The Sleepwalkers becomes a work of peculiar, gonzo genius." (RL)

Wild Houses by Colin Barrett

The first novel by short story writer Colin Barrett is set in a small town in Ireland. A sweet-natured teenage boy, Doll, is kidnapped by a local gang, taken as collateral for his elder brother's crimes. It's "a superb Irish tale of violence, loyalty and loss", says the Telegraph, and maintains the "energy and verve" of his previous stories. The Washington Post calls it "an electric thriller", with masterful touches of comedy, as "tense moments suddenly burst with flashes of absurdity or comic exasperation". Praising the novel's authentic feel, the Post adds: "Barrett's dialogue, spiked with the timbre of Irish speech and shards of local slang, makes these characters sound so close you'll be wiping their spittle off your face… The craft of Wild Houses shows a master writer spreading his wings – not for show but like the stealthy attack of a barn owl." (LB)

Change by Édouard Louis

When Édouard Louis's coming-of-age memoir-as-novel The End of Eddy was first published in 2014, it turned the then barely 20-something into a global literary sensation. Like the works that followed, such as Who Killed My Father? (2018) and A Woman's Battles and Transformations (2022), Change, first published in France in 2021 as Changer: méthode, is a companion piece to Louis's other works, which together make up a kind of Louis literary universe of interconnected characters and timelines. Change is, according to The Telegraph, "the most nuanced and candid portrait of Louis's life yet", while the TLS writes: "Change displays exhilaratingly the boldness of invention that underlines the author's desperation to explain himself, his constant search for better ways to express the contradictions inherent in his violent struggle for freedom from violence." (RL)

Parasol Against the Axe by Helen Oyeyemi

Hero Tojosoa accepts an invitation that she was expected to turn down, and finds herself on a chaotic hen weekend in Prague, hosted by her estranged friend Sofie. As the group of women converge to celebrate, each of their individual versions of the past come together too, and we are reminded that all stories can have many different perspectives. The novel abandons conventional narrative, turning into several stories within the story, and becoming unexpected in many ways for both the reader and the characters on the page. "The bold, lucid, and experimental latest from Oyeyemi portrays Prague as a city of dreams and mysteries," says Publishers WeeklyAnother Magazine, meanwhile, praises Parasol Against the Axe's originality: "Oyeyemi's vision is vast and enigmatic, carried by sentences so crisp and lithe, this is like nothing you’ve ever read before." (LB)

Graywolf/ Atlantic Books/ WW Norton & Company

Choice by Neel Mukherjee

"A strangely uplifting, exquisitely droll heartbreaker of a book," writes The New York Times of Choice, the latest novel from the author of the Booker-shortlisted The Lives of Others. Beginning with the story of Ayush, an editorial director at a London publishing house, Choice is divided into three distinct but interconnected narratives that cross the globe, together exploring ethical dilemmas and the notion of free will through the contemporary concerns of climate change and global poverty. Choice is "a brilliant, bleak, moral maze of a novel" writes The Guardian, which offers no easy answers. (RL)

Victim by Andrew Boryga

"I wasn't trying to play the victim until the world taught me what a powerful grift it is." This is the opening sentence of Victim, a novel presented as the memoir of flawed protagonist and Bronx native Javi Perez, who plays the game of tragic storytelling to his own advantage. Javi learns that his background – murdered father, single, struggling mother, best friend an imprisoned gang member – is the perfect route to fame and fortune, and he is soon creating – and selling – stories around his identity in order to gain recognition as a writer. This shrewd "hustling Icarus", as the New York Times Book Review describes him, is at this centre of this "energetic and deeply satisfying debut novel". The Southern Review of Books praises the author's mastery of character: "Boryga's character development is exceptional. He draws the reader into Javi's psyche, experiencing his constant rationalisations, the fear of being caught, and the occasional pangs of guilt." (LB)

Blessings by Chukwuebuka Ibeh

Blessings tells the story of shy protagonist Obiefuna's struggle to fit into a society where homosexuality is criminalised, homophobia is unquestioned and where any gender non-conformism is condemned. When he is caught in a clinch with another boy, his conservative, dogmatic father is outraged, sending him off to a strict Christian boarding school. First love and first enmity soon follow, as Obiefuna matures and learns how the world works.The Observer describes Blessings as a "an emotive, affecting debut", achieving "a blend of the particular and the universal, glossing traditional storytelling with a literary finesse that adds style without scaring the horses". It is a "sublime coming-of-age tale, " says the Guardian. "In a novel of secrecy, silences and silencing, Ibeh's sentences throughout are fastidiously pruned." (LB)

James by Percival Everett

For anyone previously unfamiliar with Everett's decades-long career, they will likely know him now, after his acclaimed 2001 novel, Erasure was turned into the Oscar-nominated 2023 film American Fiction. Everett's latest is a reimagining of Mark Twain's The Adventures of Huckleberry Finn from the point of view of the enslaved Jim, which hits all the familiar narrative beats of its inspiration while creating a dazzling (and very humorous) new work. "Gripping, painful, funny, horrifying, this is multi-level entertainment," writes The Observer, "a consummate performance to the last." (RL)

Worry by Alexandra Tanner

The candid, funny narrator of Worry is Jules, a 28-year-old aspiring writer from Florida. Having moved to Brooklyn following college, she is working in an uninspiring job and spending her spare time endlessly scrolling influencers on social media, when her troubled younger sister Poppy turns up, needing a place to stay. Together, the siblings navigate the battles of adulthood, with the airless apartment the claustrophobic setting for their regression, internet addiction and co-dependence. "A fabulous comic novel of young adult angst," is how The New York Times describes Worry, in which the "fixations, disappointments, aversions and maladjustments of adulthood" are laid bare. The Washington Post points out that the novel is "paced like the internet: petty micro-dramas create a sense of movement, but mostly nothing happens". Ultimately, says the Post, Worry is a "a bitingly funny, extremely online novel about sisterhood". (LB)

 

Wednesday, May 22, 2024

Check Out the Original 1851 Reviews of Moby Dick

 https://getpocket.com/explore/item/check-out-the-original-1851-reviews-of-moby-dick?utm_source=pocket-newtab-en-us

 

The very first reviews of Herman Melville’s leviathan-sized opus of obsession, revenge, and whaling practices.

On the occasion of its 170th publication anniversary, here are the very first reviews of Herman Melville’s leviathan-sized opus of obsession, revenge, and meticulously detailed whaling practices.

“To convey an adequate idea of a book of such various merits as that which the author of Typee and Omoo has here placed before the reading public, is impossible in the scope of a review. High philosophy, liberal feeling, abstruse metaphysics popularly phrased, soaring speculation, a style as many-coloured as the theme, yet always good, and often admirable; fertile fancy, ingenious construction, playful learning, and an unusual power of enchaining the interest, and rising to the verge of the sublime, without overpassing that narrow boundary which plunges the ambitious penman into the ridiculous; all these are possessed by Herman Melville, and exemplified in these volumes.”

–London Morning Advertiser, October 24 1851

This is an ill-compounded mixture of romance and matter-of-fact. The idea of a connected and collected story has obviously visited and abandoned its writer again and again in the course of composition. The style of his tale is in places disfigured by mad (rather than bad) English; and its catastrophe is hastily, weakly, and obscurely managed … The result is, at all events, a most provoking book,—neither so utterly extravagant as to be entirely comfortable, nor so instructively complete as to take place among documents on the subject of the Great Fish, his capabilities, his home and his capture. Our author must be henceforth numbered in the company of the incorrigibles who occasionally tantalize us with indications of genius, while they constantly summon us to endure monstrosities, carelessnesses, and other such harassing manifestations of bad taste as daring or disordered ingenuity can devise…
We have little more to say in reprobation or in recommendation of this absurd book … Mr. Melville has to thank himself only if his horrors and his heroics are flung aside by the general reader, as so much trash belonging to the worst school of Bedlam literature—since he seems not so much unable to learn as disdainful of learning the craft of an artist.”

–Henry F. Chorley, London Athenaeum, October 25 1851

“Of all the extraordinary books from the pen of Herman Melville this is out and out the most extraordinary. Who would have looked for philosophy in whales, or for poetry in blubber. Yet few books which professedly deal in metaphysics, or claim the parentage of the muses, contain as much true philosophy and as much genuine poetry as the tale of the Pequod’s whaling expedition … To give anything like an outline of the narrative woven together from materials seemingly so uncouth, with a power of thought and force of diction suited to the huge dimensions of its subject, is wholly impossible … [Readers] must be prepared, however, to hear much on board that singularly-tenanted ship which grates upon civilized ears; some heathenish, and worse than heathenish talk is calculated to give even more serious offence. This feature of Herman Melville’s new work we cannot but deeply regret. It is due to him to say that he has steered clear of much that was objectionable in some of his former tales; and it is all the greater pity, that he should have defaced his pages by occasional thrusts against revealed religion which add nothing to the interest of his story, and cannot but shock readers accustomed to a reverent treatment of whatever is associated with sacred subjects … [T]he artist has succeeded in investing objects apparently the most unattractive with an absorbing fascination. The flashes of truth, too, which sparkle on the surface of the foaming sea of thought through which the author pulls his readers in the wake of the whale-ship,—the profound reflections uttered by the actors in the wild watery chase in their own quaint forms of thought and speech,—and the graphic representations of human nature in the startling disguises under which it appears on the deck of the Pequod,—all these things combine to raise The Whale far beyond the level of an ordinary work of fiction. It is not a mere tale of adventures, but a whole philosophy of life, that it unfolds.

–London John Bull, October 25, 1851

“Not only is there an immense amount of reliable information here before us; the dramatis personae … are all vivid sketches done in the author’s best style. What they do, and how they look, is brought to one’s perception with wondrous elaborateness of detail; and yet this minuteness does not spoil the broad outline of each. It is only when Mr. Melville puts words into the mouths of these living and moving beings, that his cunning fails him, and the illusion passes away … The rarely imagined character [Ahab] has been grievously spoiled, nay altogether ruined, by a vile overdaubing with a coat of book-learning and mysticism; there is no method in his madness; and we must needs pronounce the chief feature of the volume a perfect failure, and the work itself inartistic. There is nevertheless in it, as we have already hinted, abundant choice reading for those who can skip a page now and then, judiciously … Mr. Melville has crowded together in a few prefatory pages a large collection of brief and pithy extracts from authors innumerable, such as one might expect as headings for chapters. We do not like the innovation. It is having oil, mustard, vinegar, and pepper served up as a dish, in place of being scientifically administered sauce-wise.”

–William Young, New York Albion, November 22, 1851

“A new work by Herman Melville, entitled Moby Dick; or, the Whale, has just been issued by Harper and Brothers, which, in point of richness and variety of incident, originality of conception, and splendor of description, surpasses any of the former productions of this highly successful author … [T]he author has contrasted a romance, a tragedy, and a natural history, not without numerous gratuitous suggestions on psychology, ethics, and theology. Beneath the whole story, the subtle, imaginative reader may perhaps find a pregnant allegory, intended to illustrate the mystery of human life. Certain it is that the rapid, pointed hints which are often thrown out, with the keenness and velocity of a harpoon, penetrate deep into the heart of things, showing that the genius of the author for moral analysis is scarcely surpassed by his wizard power of description.”

–George Ripley, Harper’s New Monthly Magazine, December, 1851

“Thrice unlucky Herman Melville! … This is an odd book, professing to be a novel; wantonly eccentric; outrageously bombastic; in places charmingly and vividly descriptive. The author has read up laboriously to make a show of cetalogical learning … Herman Melville is wise in this sort of wisdom. He uses it as stuffing to fill out his skeleton story. Bad stuffing it makes, serving only to try the patience of his readers, and to tempt them to wish both him and his whales at the bottom of an unfathomable sea … Mr. Melville cannot do without savages so he makes half of his dramatis personae wild Indians, Malays, and other untamed humanities … What the author’s original intention in spinning his preposterous yarn was, it is impossible to guess; evidently, when we compare the first and third volumes, it was never carried out … Having said so much that may be interpreted as a censure, it is right that we should add a word of praise where deserved. There are sketches of scenes at sea, of whaling adventures, storms, and ship-life, equal to any we have ever met with … Mr. Herman Melville has earned a deservedly high reputation for his performances in descriptive fiction. He has gathered his own materials, and travelled along fresh and untrodden literary paths, exhibiting powers of no common order, and great originality. The more careful, therefore, should he be to maintain the fame he so rapidly acquired, and not waste his strength on such purposeless and unequal doings as these rambling volumes about spermaceti whales.”

–London Literary Gazette, December 6 1851

“Mr. Melville never writes naturally. His sentiment is forced, his wit is forced, and his enthusiasm is forced. And in his attempts to display to the utmost extent his powers of ‘fine writing,’ he has succeeded, we think, beyond his most sanguine expectations. The truth is, Mr. Melville has survived his reputation. If he had been contented with writing one or two books, he might have been famous, but his vanity has destroyed all his chances for immortality, or even of a good name with his own generation. For, in sober truth, Mr. Melville’s vanity is immeasurable. He will either be first among the book-making tribe, or he will be nowhere. He will centre all attention upon himself, or he will abandon the field of literature at once. From this morbid self-esteem, coupled with a most unbounded love of notoriety, spring all Mr. Melville’s efforts, all his rhetorical contortions, all his declamatory abuse of society, all his inflated sentiment, and all his insinuating licentiousness … We have no intention of quoting any passages just now from Moby Dick. The London journals, we understand, ‘have bestowed upon the work many flattering notices,’ and we should be loth to combat such high authority. But if there are any of our readers who wish to find examples of bad rhetoric, involved syntax, stilted sentiment and incoherent English, we will take the liberty of recommending to them this precious volume of Mr. Melville’s.”

–New York United States Magazine and Democratic Review, January, 1852

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This post originally appeared on Literary Hub and was published October 18, 2021. This article is republished here with permission.

 

 

Sunday, April 28, 2024

The Sympathizer - Phim Cảm tình viên

 

Phim Cảm tình viên: Cảm nhận sau suất chiếu ra mắt bộ phim của HBO

https://www.bbc.com/vietnamese/articles/cyx6lgew1qdo https://www.bbc.com/vietnamese/articles/c3g03x2l5vzo https://www.bbc.com/vietnamese/articles/c4nvv4q9jk9o Phim Cảm tình viên: Cảm nhận sau suất chiếu ra mắt bộ phim của HBO • Bùi Văn Phú • 4 tháng 4 2024 https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/51b4/live/625a6650-f1aa-11ee-a0d9-0bccfe78f605.jpg
Tối thứ Hai ngày 1 tháng Tư, nhà văn Nguyễn Thanh Việt đã gặp gỡ khán giả ở miền bắc California để giới thiệu bộ phim “Cảm tình viên” – The Sympathizer – dựa trên tiểu thuyết cùng tên đã đưa tên tuổi của ông lên đỉnh văn đàn Mỹ với giải Pulitzer 2016. Năm 2021, hệ thống truyền hình HBO đã chọn tiểu thuyết gián điệp này để chuyển thể thành phim và sau ba năm thực hiện, bộ phim sẽ được chính thức tung ra chiếu vào ngày 14/4 tới đây. Khoảng 150 khách mời đã có mặt tại rạp AMC - Eastridge Mall, San Jose để xem tập đầu tiên, trong 7 tập, mỗi tập dài 60 phút. Buổi chiếu phim ra mắt do HBO và Gold House tổ chức, cùng sự hợp tác của A24, CapeUSA, Vietnamese American Roundtable và Diasporic Vietnamese Artists Network (Mạng lưới Nghệ sĩ Việt Nam Di cư). Nhiều khách đến sớm đã nhận được quà tặng là tác phẩm “The Sympathizer” ấn bản mới nhất. Ai đã đọc tác phẩm này thì biết cảm tình viên chính là điệp viên hai mang, một đại úy cảnh sát làm việc ngay trong văn phòng Tư lệnh Cảnh sát Đặc biệt do một ông tướng có tên Trưởng là cấp chỉ huy. “I am a spy, a sleeper, a spook, a man of two faces”, câu dẫn nhập vào tiểu thuyết đã mô tả nhân vật chính: một điệp viên, nằm vùng, quỉ quái, hai mặt.
https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/0042/live/78444b20-f1aa-11ee-97f7-e98b193ef1b8.jpg Cảnh phim cảm tình viên trong nhà tù cộng sản Phần giới thiệu của bộ phim đan xen hình ảnh cảm tình viên (diễn viên Hoa Xuande) tìm cách lấy thông tin mật từ văn phòng của ông tướng (Toan Le), những cảnh gặp gỡ, trao đổi với nhân viên CIA (Robert Downey Jr., vừa được trao giải nam diễn viên phụ xuất sắc của Oscar 2024), là cảnh nữ cán bộ giao liên cộng sản (Kayli Tran) bị bắt vì nhận tài liệu, bị tra tấn nhưng không chịu khai ra người đã chuyển tài liệu mật chính, là cảm tình viên đang ngồi trong phòng thẩm vấn cùng nhân viên CIA và an ninh của Việt Nam Cộng hòa. Không gian là Sài Gòn vào tháng 4 năm 1975 khi chiến tranh ngày càng lan gần đến thủ đô, với pháo kích vào thành phố, người dân tìm đường di tản, trong khi ông tướng vẫn tin vào Hoa Kỳ, tin vào Kissinger, còn người của CIA khuyên ông nên ra đi. Có lúc trong phim vang vang lời ca: “Đại bác đêm đêm dội về thành phố, người phu quét đường dừng chổi đứng nghe… Từng vùng thịt xương có mẹ có em” của Trịnh Công Sơn, mà có người lính cho nhạc sĩ là cộng sản, có người chỉ coi ông là một nghệ sĩ phản chiến. Khi quyết định đem gia đình ra đi, xe của ông tướng chạy qua đường phố trong tiếng hùng ca: “Khỏe vì nước kiến thiết quốc gia, đoàn thanh niên ta góp tài ba…” là một bi hài kịch Việt Nam mà Nguyễn Thanh Việt muốn nói lên xuyên suốt tác phẩm. Nhiều hình ảnh của Sài Gòn hiện lên, như quá khứ tháng Tư hiện về. Xe chạy qua trụ sở Hạ viện, nơi dưới chân bức tượng Thủy quân Lục chiến có một trung tá cảnh sát vừa dùng súng tự sát. Ông tướng và đoàn tùy tùng giơ tay chào tiễn biệt rồi chạy ra phi trường Tân Sơn Nhất.
Nguồn hình ảnh, UGC https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/df93/live/bf298380-f1a9-11ee-a9f7-4d961743aa47.jpg Chụp lại hình ảnh, Bối cảnh Sài Gòn xưa được dựng tại phim trường Thái Lan, hình ảnh được chia sẻ trước khi phim hoàn thành Bốn là người lính Việt Nam Cộng hòa, nha sĩ Mẫn theo cộng sản và cảm tình viên, ba người cắt máu kết nghĩa với nhau. Khi cuộc chiến đến hồi kết thúc, Mẫn ở lại và cảm tình viên cũng muốn ở lại để chung tay xây dựng đất nước. Nhưng như biết trước rằng ông tướng khi qua Mỹ sẽ tiếp tục chống cộng, tổ gián điệp cộng sản muốn gài cảm tình viên đi theo ông, để tiếp tục theo dõi hoạt động của người Việt chống cộng ở Mỹ, như thế sẽ giúp cho tổ quốc nhiều hơn, vì cảm tình viên từng sống ở Mỹ, hiểu về văn hóa xã hội Hoa Kỳ. Gia đình Bốn và cảm tình viên vào được bên trong phi trường giữa cơn hỗn loạn và đạn pháo đã giết chết vợ và con của Bốn. Còn hai người lên được máy bay di tản. Phần cuối của tập một giới thiệu sơ qua về cuộc sống của cảm tình viên ở khu vực Little Saigon, California, về những ngày trong nhà tù cộng sản là chủ đề chính cho những tập kế tiếp trong bộ phim. Mở đầu phần thảo luận, giám đốc điều hành của Vietnamese American Roundtable là ông Philip Nguyễn và cũng là người điều hợp chương trình đã rót rượu Hennessy để mời nhà văn Nguyễn Thanh Việt, chúc mừng việc hoàn tất bộ phim, chào mừng tác giả trở lại San Jose, nơi ông đã lớn lên và để mừng thành phố này là nơi đầu tiên chiếu ra mắt giới thiệu “The Sympathizer”. Trong phần thảo luận với nhà văn, khán giả được biết là vì không được quay ở Việt Nam nên phim được thực hiện tại Bangkok. Qua tập phim đầu khán giả vừa được xem, khung cảnh tái dựng khá giống khung cảnh Sài Gòn năm 1975.
Nguồn hình ảnh, Getty Images https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/e4b9/live/3a1067d0-f23b-11ee-a9f7-4d961743aa47.jpg Chụp lại hình ảnh, Sài Gòn năm 1975: Nhiều người xếp hàng bên ngoài Đại sứ quán Mỹ đón xe buýt tới sân bay Tân Sơn Nhất để sơ tán bằng đường hàng không (ảnh tư liệu) Phần còn lại của phim được quay tại vùng Los Angeles mà mọi người đang chờ đợi xem cảnh trí cùng những tình tiết về cuộc đời, về hoạt động của cảm tình viên giữa lòng cộng đồng người Việt tị nạn cộng sản sẽ căng thẳng, hồi hộp như thế nào. Tuy là tiểu thuyết giả tưởng, nhưng tác giả cũng đã cấu trúc câu chuyện với nhiều nhân vật như một cựu tướng mở quán rượu; như nhà báo bị ám sát chết hay những cái chết vì chính trị hay vì tình, tiền là những nét đặc thù của cộng đồng người Việt tại Mỹ. Về ảnh hưởng của tác phẩm đối với độc giả gốc Việt, theo nhà văn nó đã giúp cho họ có cái nhìn đa chiều hơn về cuộc chiến. Ông nhấn mạnh đến sự việc đây là một tác phẩm qua các góc nhìn của người Việt. Cũng như trong bộ phim, ông hãnh diện khi có đến 90% các vai trong phim đều là diễn viên người Việt từ các châu lục khác nhau như Hoa Xuande, Toan Le, Kayli Tran, Fred Nguyen Khan, Kiều Chinh, Kỳ Duyên, Vy Le, Alan Tong v.v… Chính vì thế mà tác phẩm Sympathizer, dù được trao giải Pulitzer 2016 của Hoa Kỳ, nhưng đã có những phê bình khen chê từ độc giả gốc Việt và trong nước đến nay vẫn chưa có bản dịch tiếng Việt. Khi được hỏi làm sao người Việt trong nước có thể xem bộ phim này, Nguyễn Thanh Việt cho biết HBO không phát hình tại Việt Nam, nhưng chắc chắn không muộn lắm sau khi trình chiếu thì cả triệu người Việt trong nước sẽ được xem qua bản sao chép lậu. Nhà văn vừa nói vừa cười như cho thấy vấn đề kiểm duyệt và nạn vi phạm bản quyền trong nước là có thật.
Nguồn hình ảnh, Getty Images https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/ba06/live/f1585890-f1a9-11ee-97f7-e98b193ef1b8.jpg Chụp lại hình ảnh, Nhà làm phim Hàn Quốc Park Chan-wook đảm nhiệm vị trí đạo diễn cho 3 tập đầu của series phim Ba tập đầu của bộ phim với đạo diễn Hàn Quốc Park Chan-wook, một nghệ sĩ đã có những tác phẩm điện ảnh thu hút đông khán giả như “Oldboy”, “The Handmaiden”. Các tập sau là do Don McKellar đạo diễn. Cuộc chiến Việt Nam đã chấm dứt từ năm 1975, nhưng sau 49 năm vẫn còn là đề tài tranh luận giữa người Mỹ với nhau cũng như trong cộng đồng người Việt khắp nơi. Chính tác giả Nguyễn Thanh Việt, qua những tác phẩm và bài viết liên quan đến chiến tranh và về cộng đồng người Việt, cũng là đề tài tranh cãi tại hải ngoại. Nguyễn Thanh Việt cũng nhận ra những điều đó và kể lại câu chuyện ông gặp một cô gái gốc Việt tuổi chừng đôi mươi đã nói với nhà văn rằng: “Trong gia đình tôi, ông là người bị ghét thứ nhì, người bị ghét nhiều nhất là Joe Biden.” Tiếc là ông Philip Nguyễn đã không có câu hỏi tiếp theo cho tác giả, là khi nghe cô gái nói thế, nhà văn đã có phản ứng ra sao. Tác giả dạy đại học cộng đồng và là một nhà báo tự do từ vùng Vịnh San Francisco, California. Related links: https://www.bbc.com/vietnamese/articles/c3g03x2l5vzo
https://www.bbc.com/vietnamese/articles/cyx6lgew1qdo https://ichef.bbci.co.uk/ace/ws/800/cpsprodpb/ae89/live/783d3710-f97d-11ee-97f7-e98b193ef1b8.jpg
Ảnh hậu trường khi quay phim The Sympathizer ở Thái Lan
Tài tử Hollywood Robert Downey Jr đăng ảnh chụp với dàn diễn viên gốc Việt lên Facebook cá nhân
Ảnh hậu trường khi quay phim The Sympathizer ở Thái Lan https://www.bbc.com/vietnamese/media-46634956 Nữ diễn viên Kiều Chinh kể chuyện từ Sài Gòn tới Hollywood 26 tháng 12 2018

Monday, October 30, 2023

Dawn Powell

 Her writing was admired by Hemingway. Then her books — and body — disappeared

5:01 AM ET


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Tim Page, the Estate of Dawn Powell

This is the third story in The Unmarked Graveyard: Stories from Hart Island series from Radio Diaries. You can listen to the next installment on All Things Considered next Monday, and read and listen to previous stories in the series here.

 

Dawn Powell infiltrated the writing world by hanging out in bars and taverns around New York's Greenwich Village in the 1920s, rubbing shoulders with the likes of Ernest Hemingway and Edmund Wilson.

"She came from nowhere, she was no one," writer Fran Lebowitz told Radio Diaries.

But Powell had a voice. She had style. And she rose from obscurity by turning her gaze on the city of New York itself and its cast of characters. Over the coming decades, Powell wrote novels, diaries and more than a dozen plays — earning her renown, and even a National Book Award nomination.

Then, in 1965, she died. What happened next didn't go according to script.

A voice lost to the world

Powell had been clear in her will: she wanted her body to be donated to the Weill Cornell Medical Center for research. Yet five years after her death, when Cornell asked her executor, Jacqueline Rice, what to do with her remains, Rice left the decision up to the center.

So, unbeknownst to her family and friends, Powell was buried on New York's Hart Island — America's largest public cemetery. Then, all of her work went out of print.

A generational talent of New York was buried in its heart, but lost to the world and those who knew her.

 

 

Powell circa 1930, and an entry in her diary circa 1914.


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Tim Page, the Estate of Dawn Powell

Hart Island, located off the coast of the Bronx, has no headstones and no plaques. It's often seen as a place for those who went unrecognized in their lifetime — not for well-known writers.

Powell had been writing stories since she was a child. Growing up in Ohio, she endured considerable emotional abuse from her stepmother and often used writing as an escape. In 1918, she left Ohio for New York City, with dreams of being a writer.

"She knew that she was smart enough, good enough to be very good in New York, which is the most competitive place in the world," Lebowitz said.

Powell's humble beginnings in the bars of Greenwich Village turned into a career. In the coming years, she wrote witty pieces on New York life for magazines like The New Yorker and Esquire. Her career picked up steam when she began writing novels about New York: satirical, risque fiction about people who'd come to the city from a small town and indulged in its joys and vices. Her most well known novels include A Time to Be Born (1942) and The Wicked Pavilion (1954).

"She was a very smart, tough, sarcastic, woman who put all of that into her books," said Tim Page, a critic and author of Dawn Powell: A Biography. "She made fun of millionaires and communists. She basically thought human beings were silly and frivolous, but she loved them."

Powell's writing reflected her personal life. Her characters were often young people who ached for success and recognition, but rarely got it. Though her work was in the public eye (her last novel, The Golden Spur, was a finalist for the 1963 National Book Award), she did not reach the level of fame of other writers, male or female, in her era.

"Some critics thought she was mean," Page said. "All the very famous women writers were usually ending their stories with a man and a woman falling in love and living happily thereafter. Dawn had seen enough of life to realize, well, sometimes that's the case but it's not what usually happens in the world."

 

 

Powell's diary, December 1932.


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Tim Page, the Estate of Dawn Powell

Powell struggled with money for much of her life. She and her husband, Joseph Gousha, had a disabled son who needed costly medical care. By the end of her life, she also needed medical care of her own. She developed intestinal cancer, which led to her death.

While her will was specific about her body going to the Weill Cornell Medical Center, it didn't specify what to do with her body after its donation. In addition to being Powell's general executor, Jacqueline Rice was also her literary co-executor, largely responsible for her literary estate. When her client died, Rice simply stopped responding to inquiries from publishers and filmmakers. It was some time before Rice told Powell's family about where she had ended up.

Years later, Powell's great-niece Vicki Johnson was told by her mother about the burial on Hart Island, also known as a Potter's Field.

"My mom told me it was a Potter's Field, and it was just a place where people are buried who didn't have any money or no family to take care of them," Johnson said. "My grandparents would have certainly found a better resting place for her than where she was buried."

The effort to bring Powell's work back

Powell isn't the only well-known person buried on Hart Island. There's former child actor Bobby Driscoll, who starred in some of the most iconic Disney films of the time, like Treasure Island and Peter Pan — and even won a Juvenile Oscar by the age of 13.

Driscol fell into a pattern of substance abuse and run-ins with the law in his teenage years, ranging from drug smuggling to assault. He was found dead in his Greenwich Village apartment at 31. When no one claimed his body, he ended up on Hart Island.

The cemetery is also home to Rachel Humphreys — the muse and lover to Lou Reed, and the inspiration for several songs on his album Coney Island Baby. Though her official cause of death remains unknown, Humphreys died at the age of 37 at St. Clare's hospital, known for housing AIDS patients. Hers was among the many bodies sent to Hart Island during the AIDS epidemic.

Johnson and others insist Powell wouldn't have minded being buried at Hart Island.

"I think she'd be a little amused by the fact that she's buried with a Disney star and a rock and roller," Page said. "She loved New York. She told the truth about New York and I'm not sure she'd want to be anywhere else."

Dawn Powell circa late 1940s, early 1950s.


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Tim Page, the Estate of Dawn Powell

Though Powell's descendants have chosen not to remove her body from Hart Island, there has been a considerable effort to unbury her work. In 1987, her writer and friend, Gore Vidal, published an article in The New York Review of Books, praising Powell as one of American literature's lost greats. The article ignited interest in Powell in the writing world.

Steerforth Press also published a volume of Powell's diaries, edited by Page, in 1998. The Library of America put nine of her novels back in print in 2001.

These days, Powell has gained a cult-like following. Celebrities like Julia Roberts and Anjelica Huston have tried turning her books into films, and she's gotten a shout-out on the TV show Gilmore Girls.

"There will come a time when people will realize that she's one of America's greatest writers," Page said.


This story was produced by Mycah Hazel of Radio Diaries. It was edited by Deborah George, Ben Shapiro and Joe Richman. Thanks also to Nellie Gilles, Alissa Escarce, and Lena Engelstein of Radio Diaries.

This story is the third in a series called The Unmarked Graveyard: Stories from Hart Island. You can find other stories from Hart Island on the Radio Diaries Podcast.

 

Source:

https://www.npr.org/2023/10/30/1208533790/dawn-powell-writer-new-york-radio-diaries-hart-island