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In the interests of getting my booklist up to date, everything pre-September is below, with notes as-is. 'ware incomplete thoughts and cryptic notes.

A reread of The Checklist Manifesto: How to Get Things Right (Atul Gawande) (2009) which has become indirectly relevant to my professional interests.

Peter Pan (or, Peter and Wendy) (J. M. Barrie) (1911):: Foray into Gutenberg as part of smartphone-as-ereader testing. Meh. This is a story which is a narrow, crisp window on a moment in a particular island nation's history; it does not transcend the constraints of the very dated writing to speak to the wider human condition.

Seven Years in Tibet (Heinrich Harrer) (1953, with new 1996 intro material): Mountaineer on Himalayan expedition is caught in India during the outbreak of WW2 hostilities, escapes from detention multiple times until it sticks in '44, stays in Tibet until fleeing ahead of the Chinese invasion of '50-'51.

And it is charming, in this colonialist "white guy out on a limb" way: quotes under the cut )

Finally finished Les Miserables (Victor Hugo) (1863) in June. No one warned me Les Amis could move into Occupy or the less outrageously unaffordable parts of the Bay area without missing a beat. I will refrain from excessive commentary sharing my feelings on Hugo's feelings, but wow, Hugo has a lot of strong emotion tied up in the inevitable forward progress of humanity. He also has a lot to say about the inequalities of the present day. And the one fuels the other, in a happy-for-fans spiral of narration and digression.

Finished a fast skim of The Amber Spyglass (Philip Pullman) (2000). I like Pullman's writing best when he's making up and exploring new places and people; Amber Spyglass has too many people, places, themes, plots, and a few Better Ideas piled all on top of each other and can't really support the weight.

In anticipation of the new Baz Luhrmann film, I revisited The Great Gatsby (F. Scott Fitzgerald) (1925). My appreciation for its literary tricks has increased with age, proportional to disinterested neutrality elevating to loathing of every. Single. Character. There may be an interpretation of Nick Carraway that isn't "go and do something with your life, kid", but until it's propounded to me, it's tough to imagine which characters I'd invite to a dinner party. (Guests ought to be interesting; nice may be optional. I would pay money for some configurations of interesting-not-nice character dinner parties.)

Bricked

Jun. 29th, 2013 10:17 am
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After nearly six months, I have finished Les Miserables! On my original "before the end of June" timetable, even.

Still absorbing the ending - Marius, don't give in to the blackmailer, silly man - but feel free to kick off discussion in comments.
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For reasons which don't need exploring at this juncture, I am trying to finish the last 300-odd pages of the Brick by, say, next Friday. Book four - Les Amis, Marius, Marius moping after Cosette, Eponine's death, digressions into the inevitable progress of history from darkness to light - was such a drag that I deliberately took a break before starting book five.

And in book five, I read Enjolas' impassioned words as he realizes that no one is coming and there will be no revolution. "Citizens, the nineteenth century is great, but the twentieth century will be happy." (p1191) But from this end of the century, I must suggest that, no, the 20th C was not happy. There was not the uplifting of men. Enjolras is charismatic, and wrong. So wrong. A riot in the streets is not a great way to enact progress or equality.

So that is why I am finding the last two-fifths of Les Miz a reading challenge. Dying for your principles is easy. Living for them is way harder.

Does Hugo recognize this? I think so: Valjean is the major protagonist, not Enjolras. Valjean generally wants to live. But I am not sure, because Hugo also likes to kill characters left, right, and center. So it's hard to figure out whether I am receiving the message Hugo is trying to send.
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I finished the second... section? Book? ...of Victor Hugo's Les Miserables (1862), continuing to switch between the Brick and the Gutenberg translation as appropriate. Hugo is not writing in the 20th century novel format, he is expounding his feelings in narrative format. So one reads about dolls, and femininity, and convents, and other things too. Note that all the quotes are from the Gutenberg translation. )

When the "who needs an editor" conversation comes 'round again, I'm throwing Les Miserables into the ring for Hugo. There's these moments, like the burial of Mother Crucifixion, which are awesome, and these pithy bits about the soul of France buried in "Waterloo", but much of this is obscured by Hugo's fundamental indifference to narrative momentum (my interpretation).

After heroic slogging through Waterloo and the convent, I got bogged down early in the third book and set aside the Brick for a reread that would free up a few brain cells. Well, that was the intent.

I reread The Golden Compass (Philip Pullman) (1995) and it was everything I remembered: breakneck action, plucky protagonist, mind-blowing worldbuilding, stunning cliffhanger. The Golden Compass establishes a world with several interesting deviations from ours - daemons, long-lived witches, the monolithic church, the Svalbard bears' high and inhuman intelligence, Dust, the alethiometer - that each contribute to the sudden yet inevitable climatic twist. The Subtle Knife (1997), second in the "His Dark Materials" trilogy, isn't as good: it tries to introduce a host of new characters on top of the first set, with their own attendant sub-plots. Not all of them are well-introducted, and several of them make the reader want to brain Pullman with his own sense of irony. It's not delicious, it's over-salted. Less than 50 pages into The Amber Spyglass (2000) I really wanted a completely different novel, one with about 10 less protagonists. It's okay to tell your "war against Heaven" story from one or two PoVs with the occasional omniscient breakout! In fact, it would evade a lot of problems with the unending enticements of infinite worlds, and the Mother Hangup, and that thing where the Roger thread almost entirely drops out in the second novel and comes back in a half-hearted way in the last book! Not to mention the siren call of the Great Man theory of history in a thematic muddle with the Kingdom of Heaven / Republic of Heaven / Other Republic of Heaven conflict. Also, the witches were awesome in the first novel and sorf of sidelined in the second and third novels, this makes me very sad.

So, His Dark Materials: starts with a bang, gets tripped up in its own themes. I'm still working through The Amber Spyglass, we'll see if I make it through, or do a "good bits" skim.

Continuing the theme of worldbuilding as a strength, Stray Souls (Kate Griffin) (2012) continues to rock the London of her Matthew Swift series, but will be a hard sell for people who aren't familiar with those novels. The protagonist, Sharon Li, barista and addict of self-help books, starts a facebook group and meetup for people with magical "problems" after she starts walking through walls, and gets sucked into solving one of Greater London's latest magical crises. The story's a little too wrapped up in whether Swift is going to pull strings offscene or have a more significant role (spoiler: he does). In this story, I am less concerned about what Swift and the angels are getting up to, because this is supposed to be about Sharon and her Magical Anonymous group. So that was less than awesome. I don't know if I'm parsing something more in the horror genre with urban fantasy sensibilities, or what, but some parts of the novel didn't mix well with over-lunch reading. On the plus side, I liked Sharon, and I like the ongoing theme of city living as grimy and smelly and buying on credit because you have no money, with clean well-kept offices being the exception and often tangled up in some eldritch horror. There's a sequel coming out this year; if Sharon is going to cross paths with the Midnight Mayor, I am pining for Sharon and Penny to hang out. Shaman and apprentice urban sorceress, what could possibly go wrong?

Numbers game: 3 total finished. 1 new, 2 reread; 3 fiction. Les Miz and The Amber Spyglass in process.
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For the holidays, I asked for and received epub copies of Laura Ingalls Wilder's Little House novels (1932 - 1943), most of which I reread over the first half of January. They have held up surprisingly well. I was worried about Little House on the Prairie, one of my favorites, where the Ingalls family tries to establish a claim on Native American land, anticipating the government will force relocation of Indian Territory. The novel is surprisingly not-awful at respectfully presenting the Native Americans' rights to treaty land and to be treated as human beings, despite the lens of the Ingalls' prejudices and manifest destiny. And, of course, the Ingalls depart Indian territory at the end of the novel, relocated when the army tells them to leave. The tone of the departure is that the Ingalls were the problem, not the Native Americans. So it's not perfect, but it dances between the attitudes of the time and the attitudes of a more modern era in a way I can live with.

At some point, I will reread Farmer Boy and On the Banks of Plum Creek, which for some reason I started and didn't finish. Oh right, my library hold for Scoundels came in.

Star Wars: Scoundrels (Timothy Zahn) (2013): IT'S A NEW ZAHN SW NOVEL AND IT'S HEISTFIC. WIN. Giant twist-revealing spoilers. )

Since then, I have been reading the Brick, also known as Les Miserables (Victor Hugo) (1862). The Brick's nickname is instantly explained when one holds the paperback 1,460 page Fahnestock and McAfee translation, published in 1987. I'm alternating it with Project Gutenberg's 1887 Hapgood translation as appropriate. So far I am through book one of five.

Notes so far: I am heavily influenced by [personal profile] cahn's reread, in conjunction with the [personal profile] skygiants reread. I didn't discover the bookmark function on the ereader until book 2 "Cosette", so I have very little to say about book 1. That's okay, because two opens with Waterloo, the famous 50 page break from narrative.

I am not an English major, nor do I play one online. )

I look forward to getting back to Valjean; one gets the impression Hugo is boxing him in with tangents, cutting off the lines of escape from revolution and social justice and striving for self-improvement until those are the only choices left.

Numbers game: 7 total finished; 7 fiction. 6 reread, 1 new. Working on Les Miz.

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