Lake Geneva, 1816
Reality is water-soluble.
Now, what to think and say about this one? Unlike The Body in Question, I’m struggling because I’m thinking too much about this story. It’s bewildering, it’s scary, it’s also kind of soothing with showing you how humans and their ideas about identity, life and death have always been around and probably forever will be (in whatever shape).
This isn’t a retelling of Frankenstein, or maybe partly, or maybe only inspired by it. Mary Shelley gets a plot, so does Ry and Victor Stein. There’s layers and century-deep connections, but never in a Gotcha!-way.
Winterson surprised me with a memoir I liked (which doesn’t happen often, as recently mentioned), but I didn’t know what to expect with a novel of hers. After Frankissstein, I still don’t. I find it hard to believe that she could write something like this again, if it’s even a ‘this’.
I’d recommend this novel to everyone who allows themselves to be taken along for a ride. I’d also recommend it because I still don’t know how to place this story and would love to pick other people’s brains. While still in their heads, of course.
Frankissstein, Jeanette Winterson, Jonathan Cape London 2019
In the late spring of 1995, just a few weeks after I’d turned twenty-eight, I got a letter from my friend Madison Roberts.
I don’t mind unlikable protagonists, but in this case I very much wondered if the dislike was from knowing that a male author was writing a female character, that this female character just was too spineless, or that I just can’t handle aggressive passivity. Maybe all of the above. This, combined with the shortness of this novel, made my final amount of stars (the ones I don’t use) end up much lower than I expected when I read the summary of Nothing to See Here.
What is that summary, you ask? Well – screw up is asked to nanny two children that start burning at random moments. Bodies turning into flames without the kids hurting in any way. She is asked this by an old acquaintance she herself calls a friend and it all has to be on the down-low because the children are a politician’s.
This could have turned into scientific sci-fi, something with (a whiff off) magic realism or have this fire turn into something metaphorical, and make the entire story a commentary on class and the gap between haves and have-nots. Instead, there’s just ..situations. If Kevin Wilson solely wanted to communicate how sabotaging poverty and being directionless is, he succeeded. If he wanted me curious about his characters and the world they move around in – not so much.
Nothing to see here, Kevin Wilson, Ecco 2019
Ze gaan me opereren vandaag.
Het was een situatie waarin vijf sterren een realiteit waren, en die situatie maak ik niet vaak mee als veel-lezende zeur en extra kritisch persoon op Nederlandse auteurs. Maar verdorie: Erik Nieuwenhuis was mijn intense hekel aan open eindes vergeten. Lap, het boek had zelfs langer gemogen wat mij betreft!
Spoiler. Misschien is het niet eens een echt open einde, het verhaal kan best als afgesloten beschouwd worden. Maar er gebeuren vreemde dingen in het verzorgtehuis waarvan Michiel zich niet eens kan herinneren hoe hij er is gekomen en waarom hij er is. En er wordt steeds meer lucht gepompt in de ballon van ‘WAT DAN?’ maar de ballon ontploft maar niet.
Mensen die wel beter los kunnen laten, of het niet erg vinden om zelf de gaten in te vullen, zullen zeker genieten van het lachwekkende want langzaam in unheimlich verandert.
Is dit nu al het tweede Nederlandse boek dit jaar waar ik positief over ben?
Niemand vertelt je hier ooit wat, Erik Nieuwenhuis, Brooklyn 2019
8 x 26 min.
In the case of some shows you feel bad about not experiencing at the same time others did it. With some, the experience is just enhanced by going “Ooooh sh-!” to someone else.
And there’s plenty of moments like that in this TV-show about a woman who just keeps dying and doesn’t know why and can’t get out of this Groundhog day-situation. It being a woman played and written by Natasha Lyonne (you might remember her from Orange is the New Black) this groundhog is more like Final Destination when it comes to dying creatively.
With less than thirty minutes of runtime and eight episodes there’s not enough room for this element to get old: there’s just enough glimmers of clues to feel like you’re onto something just a bit before Nadia does.
The one con is that there’s going to be a second season: this could have been resolved, even in a possibly unsatisfying way in the last two episodes – easily. Now there’s the risk of things becoming stale.
Although Nadia’s back-to-life soundtrack might just be good enough to prevent that.
Russian Doll, Netflix 2019
The monster has been here.
More Charlaine Harris (True Blood and the like) than Eden Robinson, but you can’t always win,and at least I was entertained. Maybe I should have known better when discovering that there had been criticisms about this novel, but I very much enjoy the stories of indigenous people, so I was willing to risk it. On the other side, how could I have known if the author was doing something right or wrong with the very little I know about (North-American) indigenous people?
Anyway, hindsight is 20-20 and it wasn’t her representation of the Navajo – wrongfully or otherwise – that bothered me about this novel. It’s the characters, specifically the main character.
I understand that you’re a pretty tortured soul when you’ve gone through what Maggie has gone through and is still going through, but when it only leads to moping and lamenting – all the goodwill evaporates quickly. There are other characters that are more exciting, I would have loved to learn more about the world this plays out in, but instead I get ponderings-while-looking-in-the-mirror. If there would have been more sex and blood, I would have called this a Laurell K. Hamilton.
Coming down largely on the side of ‘meh’, you can skip this one for your dystopian, sci-fi and or not-just-white story needs.
Trail of Lightning, Rebecca Roanhorse, Simon & Schuster 2018
When you first critique lands about ten minutes in, it’s hard to not view a film without bias. Why is everyone involved white, even the people in the ‘old-timey’ videos the main character views?
Then there’s the non-nuanced use of the soundtrack. A good soundtrack builds upon the scene, sharpens the emotions you are already feeling. In this case we got THINGS ARE SCARY pressed upon you while things weren’t all that scary. Or emotional. And lights flickering with no reason don’t mean that we’re worried either, just that we want an explanation about wiring suddenly being faulty when we’re looking for someone.
Is there anything nice to be said about this film? Not really – maybe that with small tweaks it could at least be a commentary on sovereign AI and its relationship with humanity, but that’s been done before – and better – as well. Even the explanation of the things happening is extremely unclear – did I nod off somewhere along the almost two hour ride?
So all in all, it’s just not much of anything. If someone’s mid-parting is the thing I’m irked about most, it doesn’t say any good about the plot. You can’t replace it with music bits either, nor flickering lights.
Good thing about all this is that at least it’s an utterly disbelieving dystopia: more sensible humans would have given up before any AI could get involved.
I Am Mother, Netflix 2019
People wishing to time travel go to Houston Intercontinental Airport.
Is dystopia less scary to me when it happens in the past? For someone that doesn’t like dystopian stories, this is the second one I read in two months.
This time it’s an epidemic and time travel that gets us where we end up; although – we end up in the past. The protagonist is sent into the future from the eighties, and ends up in 1998. Oof, isn’t that an awful long time ago?
Of course, because that’s how it goes, things go quite awry, and Polly has to adjust not just to a new time, but to new surroundings and societal rules. This being a dystopian story – things didn’t improve.
The twist of this story – it masquerading as a love and time travel story, while it really isn’t – is also the most appealing feature of it. Besides that it’s too muted, lamenting and passive to feel anything but a tinge of relief of having finished this.
An Ocean of Minutes, Thea Lim, Penguin Random House 2018
‘They’ve found the pilot.’
I’ve owned this book for ages, and I’m pretty sure that I read it before or at least partially. Per story line my opinion fluctuated on it, and as a harsh, firm book owner, this book will be donated soon.
I’m sure both the cover as the summary will draw several eyes, though. There’s things going on, it’s science fiction without having too much science, there’s shenanigans and hijinks, and – both a pro and a con – a lot of different story lines for everyone to find something of their liking.
Because there is a young man traveling through the USA to surprise his girlfriend, but there’s also a recluse math genius, and that plane. There’s a very secret government agency, more secret-y people and a machine that might impact/ruin/improve everything.
Besides the several story lines that can make you feel so-so about this story, there’s also something strangely stilted about it. What if fewer lines would have been added, and more world-building to the rest? Why does the ending feel like the author just didn’t feel like writing any more, and should we view all this as a commentary on life, coincidences and authorities, or is that looking for something that isn’t there?
All that makes The Coincidence Engine more a collection of gimmicks than a mind-blowing, eye-opening story. Or even just full-time entertaining.
The Coincidence Engine, Sam Leith, Bloomsbury 2011
Mitch was smiling so big his back teeth shone in the soft light of the solar-powered lamp we’d scavenged from someone’s shed.
I don’t like post-apocalyptic stories; they make me very nervous. With the way the people in power are ignoring environmental and societal issues, it’s – for me – not that hard to believe that sooner than later we’ll be scavenging food and fighting for survival. It’s not something I enjoy thinking about, so why did I still start The Marrow Thieves?
Because of the author and the point of the view of the story: indigenous people. I always try to read more by indigenous writers, books using indigenous stories (although that’s a whole other (potentially sticky) kettle of fish), and this one made it sound more sci-fi-ish than “the world has gone to the crapper and humans are terrible”. We all make mistakes, sometimes.
Cherie Dimaline keeping the story short (less than 200 pages) and the characters very recognisable and deserving of your support prevents you from leaving this story feeling absolute despair. Yes, humans are terrible. Also yes: humans have family, hope and determination.
I still hope we don’t need those in a post-apocalyptic setting.
The Marrow Thieves, Cherie Dimaline, Cormorant Books 2017
By the time Briddey pulled into the parking garage at Commspan, there were forty-two text messages on her phone.
“You were so busy discovering if you could, that you didn’t spend time wondering if you should”, to paraphrase a certain fictional character involved with dinosaurs. Another subtitle could have been ‘Communication, are you sure it should be endless?’
And all that while I was recommended this novel as good representation of the romance genre. Maybe I should have known better, this author wrote Doomsday Book.
That doesn’t mean there isn’t any romance (although it’s a spectacular slow burn), it just means it’s surrounded by the scientific element of getting an implant that will make you sensitive to the emotions and moods of your loved ones. Sounds like a bad idea, right?
It turns worse when some things happen that shouldn’t and some shouldn’t that should. Willis spends a lot of time on lore, which a bit too often leads to “I can’t tell you that right now!” cop outs. It’s the only frustrating thing about the novel, and the only thing that brings the tempo down.
Honestly, with certain elements going haywire, you could even use this book as an argument for taking internet- and social media use down a tad. The romance, and the lore, are bonuses.
Crosstalk, Connie Willis, Gollancz 2016