Night Film

Everyone has a Cordova story, whether they like it or not.

Marisha Pessl loves her similes. Every subject and person gets a description added, no wonder that the book is so thick. After a while it gets noticeable, and – in my case – a bit annoying.

The first strike was having a male main character. I read female authors because they usually write female characters, and that thusly I don’t have to worry about a man mishandling/manhandling a woman and her life. Now I still have to read about the grumpy and socially disgraced male detective (oh wait, he’s a journalist).

Scott has a bucketload of issues, with casual sexism possibly the most annoying one. His side characters have the potential to be interesting, but never really get to be on the stage as a person.  Strike two.

The story in itself is pretty amusing, though. There’s a reclusive director with a cult-like following, a thin line between realistic horror and magical, all in a lush noir-light background. If there aren’t any movie/TV-plans yet, I can see them happening. Plenty of the similes can be dropped, the main plot is easily streamlined and there will be less time to navel-gaze for Scott. Everybody wins.

Night Film, Marisha Pessl, Random House 2013

The Mars Room

Chain Night happens once a week on Thursdays.

I changed my mind about this novel pretty much every other chapter. Probably because I expected one person’s story and got several, with almost all of those not being interesting to me. I don’t care about the male prisoner when the book is marketed as being about a woman in a female prison.

Anyway. Every chapter is a facet of the story, some just muddier than others. It is about Romy, a female prisoner. It doesn’t just show her story, but the circumstances that got her there and life in prison. And neither of those things are pretty.

With every chapter there is a slight shift in style, which could be a compliment to the author, but again adds to the feeling of ‘Am I here for this?’. Quickly, the story turns out to be another version of life in prison: you slog through and there is no light at the end of the tunnel.

The Mars Room, Rachel Kushner, Scribner 2018

Welcome to Lagos

Evening swept through the Delta: half an hour of mauve before the sky bruised to black.

I read books situated in South America and Asia and Africa to remember that Western culture and/or society isn’t the only one on this planet. With Welcome to Lagos I sometimes felt like I was ready a satire of how people think about African cultures. Surely it isn’t really like that? But when a (semi-)local is writing about it, you might take their word for it. And see that some known things about African countries aren’t exaggerated.

In this story the reader follows people from different walks of life that come together in Lagos. And Lagos is a creature, not just a city. The country of Nigeria is a beast, and the different people living in it are sometimes prey, sometimes predator. I’m not just talking about literal, military violence, but about poverty and corruption as well. And yet, these people find each other and connect in some way.

It’s a story about people functioning (in some way) in a country that isn’t even half way there on the road to whatever. As an ignorant white person I was surprised by the casual poverty and people abusing it, by the reach of the corrupted in power. As mentioned before – is it really that bad?

It’s with credit to the author that it doesn’t turn into one long complaint about the city and its civilians. Welcome to Lagos feels like something you could read for Anthropology class: to make sure you see the people not the system.

Welcome to Lagos, Chibundu Onuzo, Faber & Faber 2017

The Girl in the Spider’s Web

117 min.

I don’t really know what this movie wanted to be. Is it about Lisbeth and how trauma makes for dysfunctional people? A hacker thriller? Family saga? Complaint about evil authorities?  Because it might have been all of that, but the movie as it was, didn’t even manage to dip below the surface of any of it.

The-Girl-in-the-Spiders-WebThis is my first Lisbeth Salander-experience, so I can’t say how it works in comparison with the books or the other movies. I know a bit about the character, but only saw the flaws people have written about. She’s one-dimensional, and even when emotions are finally shown, it’s the soundtrack and close ups that show the importance of it. And why is she half naked so much?

This time a job of hers goes wrong, making her hunted by authorities and hardened criminals and maybe also by someone from her past as well. Lisbeth only seems to work with men, and except for ‘the American’ they’re all white as well. Will her name be cleared and the criminals get what they deserve? Will we care?

If Sony wanted to use this as an introduction, there should have been more introductions. If they want to James Bond this thing (who cares who plays Lisbeth), they should have trusted the character and not add extra fibs to round her out (and fail).

It’s just not all that, and a bit too long as well.

The Girl in the Spider’s Web, Sony 2018

Eleanor Oliphant is Completely Fine

When people ask me what I do–taxi drivers, hairdressers–I tell them I work in an office.

Seems like my streak of entertaining and enthralling reads is still going on. Hurray for making the right decisions!

Some people told me that this was a romance, making me frown a bit when getting to know Eleanor Oliphant. First of all, she isn’t in the right state of mind for a romance, secondly, a romance with whom? Do women always need a romantic relationship to show personal growth?

Luckily those people were wrong, Eleanor shows growth because she has to and wants to, and -gasp- is allowed a relationship with a man that isn’t a romantic one. Apologies, that’s a mild spoiler.

As I say so often: if this would have been written by a male author, and the protagonist male, it might have been viewed as Deep and slice-of-life instead of the quick rejection of calling it chicklit because it involves women living life. Eleanor Oliphant showcases character building, motivations and lessons learned without any of it being obnoxious. While being funny from time to time as well.

Eleanor Oliphant is Completely Fine, Gail Honeyman, Viking 2017

The Last Mrs. Parrish

Amber Patterson was tired of being invisible.

This was insanely fun, until it got serious, and then luckily got fun again. A story like a roller-coaster, no matter how big a cliche that is. It’s fast, gets a bit scary/ugly at some times, and gives you no break from it.

It starts out with Amber, who’s planning to take a rich woman’s husband and with that, a woman’s life. Take over, there’s no need for murder, although Amber definitely has some murderous thoughts from time to time. She feels grossly neglected by faith and luck and life, so honestly – shouldn’t she grab whatever she can?

Then there’s Daphne Parrish, the delicate rose whom refuses to recognise how good she’s got it, no matter how often she says she does. It’s easy to view Amber as a bit of an angry Robin Hood, but the Constantine sisters (the author exists out of a duo) flip that around, having the reader end up in the ugly part.

And all this with such a tempo that it feels like the story is being poured straight into your brain. I honestly can’t remember downsides to it; it just leaves you with such a ‘FUCK YEAH’ feeling that blemishes are blown away.

The Last Mrs. Parrish, Liv Constantine, Harper Collins 2017

Sing, Unburied, Sing

I like to think I know what death is.

There’s a kind of story that is elevated by the surroundings its in. Even though this is the case in Sing, Unburied, Sing, it isn’t always saved by those surroundings. The story is dark and muddy, and there’s no air bubbles to be found in this morass.

Here’s a small, hurting family in the societal backgrounds of the USA. They hurt because of deaths past and future, addictions and crimes. Jojo is the young teenager who the story evolves around, but his drug addicted mother gets to share her angle as well.

If there’s not enough unhappiness around these two, death starts interfering with the living, and the story starts to feel like something the ancient Greeks would use as an example for hell. No matter what you do, misery will follow.

I’m slightly disgruntled because of having read this. Not because it’s badly written or a sloppy story, solely because it’s just full of disgruntlement, big and small. You could read it for the slice of depressing life, but don’t expect any uplifting experience.

Sing, Unburied, Sing, Jesmyn Ward, Scribner 2017