54. Lovecraft, H.P. "The Call of Cthulhu." 31 pages. 5.18.09.
"...all the earth would flame with a holocaust of ecstasy and freedom."
I have received numerous recommendations over the years for the work of horror legend H.P. Lovecraft, and have often been met with surprise when I admit that I had never read his work. While I am a horror and gothic enthusiast I always felt apprehensive about Lovecraft's work - after all, how could he possibly compare to such greats as Edgar Allen Poe and Sheridan Le Fanu?
Despite having the Tales of H.P. Lovecraft (edited by Joyce Carol Oates) sitting on my shelf, I decided to download Lovecraft's "The Call of Cthulhu" on my Kindle2 after seeing it mentioned in a group on LibraryThing. ( I apologize now, because I cannot for the life of me remember who brought it up recently, but it inspired me to give Lovecraft a try once and for all).
I am pleased to say that I was not disappointed. "The Call of Cthulhu" is a delightfully dark and twisted tale that has the ability to draw readers in from its first mysterious pages. The tale is presented from the point of view of a secondary source (the nephew and executor of a deceased professor) stumbling upon the research and first-person accounts regarding an ancient and malevolent entity by the name of "Cthulhu." As cult members practice dark arts in order to revive this creature from its watery depths, the narrator realizes with horror that it has already been done, and instills in readers a kind of apprehension that such a thing can be innocently done again, much to the detriment of all living creatures.
Lovecraft's style is at once elegant and non evasive, so his language adds to the understanding and delight of the reader as opposed to detracting from the story with superfluous prose. The evolution from nineteenth-century gothic literature is evident, which helps to ground the short story in a strong literary history, while allowing it to evolve into what audiences now call "horror."
Monday, May 18, 2009
53. Harris, Charlaine. Dead and Gone. 320 pages. 5.17.09.
Dead and Gone is the ninth (and latest) installment in Charlaine Harris' "Sookie Stackhouse" series, which had recently gained increasing attention thanks to the HBO series "True Blood" (the first season of which was based on Harris' first Sookie Stackhouse novel).
I was personally apprehensive about Dead and Gone after the extreme disappointment of From Dead to Worse. Following the seventh book (Altogether Dead), which would have allowed for any number of progressive and fascinating plot lines, From Dead to Worse seemed like Harris was backing away from a number of complicated ideas, and instead spent the novel working out the most shallow "happy endings" she could. It seemed to be a spineless attempt to smooth things over as quickly as possible, and as a reader I did not appreciate it. But now there is Dead and Gone.
The violence and horror of the series escalates as the plot turns towards Sookie's heritage, and the consequences of meeting her paternal great-grandfather. While there are other prominent events in the novel - such as shapeshifters revealing themselves to the world, following in the vampires' footsteps - this installment focuses more on Sookie and her own personal life as opposed to the consequences she faces as a result of working with vampires. As usual with Harris, loose ends from previous books are wrapped up (often in a very hasty and sloppy manner), but the bulk of the narrative is focused on Sookie's psychological development and coping abilities as she moves through a series of traumatic events.
What I found particularly compelling about this book was Harris' ability to relate the absolute horror of violent situations without lingering on gore. She gives her readers minimal details to allow them to understand the actions that have taken place, but doesn't use carnage to "sell" the events (as so many teen horror flicks do). While it seems odd to describe murder and torture in a modern vampire novel as "tasteful," that's the word that comes to mind when I think of the events in Dead and Gone. I think it adds greatly to Harris' credit as an author that she is able to depict the physicality of some very tragic events as secondary, while maintaining a focus on the plot and emotional consequences.
To fans who were disheartened by that last book I would suggest giving it another go - Harris may very well redeem herself.
Dead and Gone is the ninth (and latest) installment in Charlaine Harris' "Sookie Stackhouse" series, which had recently gained increasing attention thanks to the HBO series "True Blood" (the first season of which was based on Harris' first Sookie Stackhouse novel).
I was personally apprehensive about Dead and Gone after the extreme disappointment of From Dead to Worse. Following the seventh book (Altogether Dead), which would have allowed for any number of progressive and fascinating plot lines, From Dead to Worse seemed like Harris was backing away from a number of complicated ideas, and instead spent the novel working out the most shallow "happy endings" she could. It seemed to be a spineless attempt to smooth things over as quickly as possible, and as a reader I did not appreciate it. But now there is Dead and Gone.
The violence and horror of the series escalates as the plot turns towards Sookie's heritage, and the consequences of meeting her paternal great-grandfather. While there are other prominent events in the novel - such as shapeshifters revealing themselves to the world, following in the vampires' footsteps - this installment focuses more on Sookie and her own personal life as opposed to the consequences she faces as a result of working with vampires. As usual with Harris, loose ends from previous books are wrapped up (often in a very hasty and sloppy manner), but the bulk of the narrative is focused on Sookie's psychological development and coping abilities as she moves through a series of traumatic events.
What I found particularly compelling about this book was Harris' ability to relate the absolute horror of violent situations without lingering on gore. She gives her readers minimal details to allow them to understand the actions that have taken place, but doesn't use carnage to "sell" the events (as so many teen horror flicks do). While it seems odd to describe murder and torture in a modern vampire novel as "tasteful," that's the word that comes to mind when I think of the events in Dead and Gone. I think it adds greatly to Harris' credit as an author that she is able to depict the physicality of some very tragic events as secondary, while maintaining a focus on the plot and emotional consequences.
To fans who were disheartened by that last book I would suggest giving it another go - Harris may very well redeem herself.
Monday, May 11, 2009
51. Kenyon, Sherrilyn. Seize the Night. 352 pages. 5.9.09.
52. Kenyon, Sherrilyn. Sins of the Night. 384 pages. 5.11.09.
From my point of view, Sins of the Night is fairly consistent with other Dark-Hunter novels. While the love scenes have grown more than a little repetitious at this point (Kenyon uses the same phrases, encounters, and descriptions time and time - and time - again), the book itself remains interesting and compelling, and fulfills all expectations of the genre.
HOWEVER, my one big complaint is about the Kindle version - once again, it is chock full of errors that complicate reading. At one point in the novel several pages are repeated, which momentarily left me wondering whether my Kindle has malfunctioned or if I hit a button without realizing it. No, it was just sloppy publishing. Like all the other Dark-Hunter books, Sins of the Night suffers from word omissions, misaligned text, and several other formatting errors. It wouldn't be so annoying if the Kindle version actually cost less than the book, but considering they have the potential to make so much more money from e-books (after all, I have to imagine "printing" costs are significantly reduced!), I would expect a higher quality publication.
52. Kenyon, Sherrilyn. Sins of the Night. 384 pages. 5.11.09.
From my point of view, Sins of the Night is fairly consistent with other Dark-Hunter novels. While the love scenes have grown more than a little repetitious at this point (Kenyon uses the same phrases, encounters, and descriptions time and time - and time - again), the book itself remains interesting and compelling, and fulfills all expectations of the genre.
HOWEVER, my one big complaint is about the Kindle version - once again, it is chock full of errors that complicate reading. At one point in the novel several pages are repeated, which momentarily left me wondering whether my Kindle has malfunctioned or if I hit a button without realizing it. No, it was just sloppy publishing. Like all the other Dark-Hunter books, Sins of the Night suffers from word omissions, misaligned text, and several other formatting errors. It wouldn't be so annoying if the Kindle version actually cost less than the book, but considering they have the potential to make so much more money from e-books (after all, I have to imagine "printing" costs are significantly reduced!), I would expect a higher quality publication.
Thursday, May 7, 2009
50. Wilde, Oscar. The Picture of Dorian Gray. 184 pages. +
I'm at a loss as to how to actually review The Picture of Dorian Gray. When pressed to name a favorite novel, I usually give Wilde's work in response; I enjoy it enough that I gave my son the middle name of "Dorian." I admire the wit and charm, and take great delight in the gothic elements. But to me the story is much more than just Dorian and his plight - it is the story of aestheticism, of 19th-century English culture, of the evolution of art, satire, and human relationships.
One of the things I have asked my students to focus on for our reading of the novel is something Wilde himself said about the book in a letter dated February of 1894: "I am so glad you like the strange coloured book of mine: it contains much of me in it. Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be - in other ages perhaps" (Gillespie ix). In truth, I believe this statement not only speaks to the creation of the principle characters (and throws an interesting light on the events of the novel), but speaks to the complexity of the ideas themselves.
My students are nearly as enthusiastic about the novel as I am, but it's such a joy to discuss in the classroom.
I'm at a loss as to how to actually review The Picture of Dorian Gray. When pressed to name a favorite novel, I usually give Wilde's work in response; I enjoy it enough that I gave my son the middle name of "Dorian." I admire the wit and charm, and take great delight in the gothic elements. But to me the story is much more than just Dorian and his plight - it is the story of aestheticism, of 19th-century English culture, of the evolution of art, satire, and human relationships.
One of the things I have asked my students to focus on for our reading of the novel is something Wilde himself said about the book in a letter dated February of 1894: "I am so glad you like the strange coloured book of mine: it contains much of me in it. Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be - in other ages perhaps" (Gillespie ix). In truth, I believe this statement not only speaks to the creation of the principle characters (and throws an interesting light on the events of the novel), but speaks to the complexity of the ideas themselves.
My students are nearly as enthusiastic about the novel as I am, but it's such a joy to discuss in the classroom.
47. Hamilton, Laurell K, Lim, Booth. Guilty Pleasures: Volume 2. 144 pages. 5.5.09.
48. Kenyon, Sherrilyn. Kiss of the Night. 382 pages. 5.6.09.
49. Le Fanu, Sheridan. Carmilla. 112 pages. 5.6.09.
I first came across J. Sheridan Le Fanu's 1872 novella as part of a graduate independent study of gothic literature. It quickly became a personal favorite, as well as an integral part of what will (hopefully) one day become my dissertation.
Carmilla tells the tale of a vampire (or oupire, as the peasants refer to them in the novella) who preys on young women; Carmilla becomes intimately attached to the daughter or ward of a wealthy family, and in her pursuit of love and friendship (and perhaps other things...) eventually drains her new found "friend" of her blood and her life. Predating Bram Stoker's classic tale by 25 years, and following the publication of Polidori's short story by 53 years, Le Fanu's tale is one of the first to popularize the figure of the vampire in 19th-century English prose, and has done much to help popularize the subject.
What I find particularly interesting about this work is the hybridization of traditional vampire legends (dating back to stories of Lilith herself) and the evolving contemporary vampire mythology of 19th-century England. Like traditional tales, Carmilla is represented as a young woman, and her victims often describe a sense of being strangled in their beds. However, the tale also presents elements of more contemporary ideas, such as a coffin full of blood and long needle-like fangs.
I won't go more in-depth for fear of turning a review into a chapter, but I can't praise Carmilla enough. It is a tale sure to delight anyone with interests in 19th-century prose, gothic literature, or vampires (or any combination thereof). LeFanu is a master of gothic tales, and Carmilla is a credit to his name and his craft.
48. Kenyon, Sherrilyn. Kiss of the Night. 382 pages. 5.6.09.
49. Le Fanu, Sheridan. Carmilla. 112 pages. 5.6.09.
I first came across J. Sheridan Le Fanu's 1872 novella as part of a graduate independent study of gothic literature. It quickly became a personal favorite, as well as an integral part of what will (hopefully) one day become my dissertation.
Carmilla tells the tale of a vampire (or oupire, as the peasants refer to them in the novella) who preys on young women; Carmilla becomes intimately attached to the daughter or ward of a wealthy family, and in her pursuit of love and friendship (and perhaps other things...) eventually drains her new found "friend" of her blood and her life. Predating Bram Stoker's classic tale by 25 years, and following the publication of Polidori's short story by 53 years, Le Fanu's tale is one of the first to popularize the figure of the vampire in 19th-century English prose, and has done much to help popularize the subject.
What I find particularly interesting about this work is the hybridization of traditional vampire legends (dating back to stories of Lilith herself) and the evolving contemporary vampire mythology of 19th-century England. Like traditional tales, Carmilla is represented as a young woman, and her victims often describe a sense of being strangled in their beds. However, the tale also presents elements of more contemporary ideas, such as a coffin full of blood and long needle-like fangs.
I won't go more in-depth for fear of turning a review into a chapter, but I can't praise Carmilla enough. It is a tale sure to delight anyone with interests in 19th-century prose, gothic literature, or vampires (or any combination thereof). LeFanu is a master of gothic tales, and Carmilla is a credit to his name and his craft.
Sunday, May 3, 2009
43. Hamilton, Laurell K., Green, Alves. The First Death. 128 pages. 5.1.09.
44. Kennedy, X.J. and Dana Gioia, eds. Literature: An Introduction... Vol. 2: Poetry. 38 pages (selection). January - May 2009. +
45. Kennedy, X.J. and Dana Gioia, eds. Literature: An Introduction... Vol. 1: Fiction. 74 pages (selection). January - May 2009. +
46. Sleator, William. House of Stairs. 166 pages. 5.3.09.
I decided to read William Sleator's young adult science fiction novel House of Stairs after reading an interesting description in the LibraryThing Group "Name That Book." However, the individual looking for the title of the book described a far more compelling novel than I found Sleator's book to be. The plot and characters are as static as the environment in which they are thrust, and reading the book through to the end seemed almost as mentally difficult as the "physical challenges" the teenagers faced. So little is actually interesting that the novel is beyond intellectual redemption, and it is a tremendous relief to have finished it. I can't think of a single individual or "type" to whom I would recommend this little disaster.
44. Kennedy, X.J. and Dana Gioia, eds. Literature: An Introduction... Vol. 2: Poetry. 38 pages (selection). January - May 2009. +
45. Kennedy, X.J. and Dana Gioia, eds. Literature: An Introduction... Vol. 1: Fiction. 74 pages (selection). January - May 2009. +
46. Sleator, William. House of Stairs. 166 pages. 5.3.09.
I decided to read William Sleator's young adult science fiction novel House of Stairs after reading an interesting description in the LibraryThing Group "Name That Book." However, the individual looking for the title of the book described a far more compelling novel than I found Sleator's book to be. The plot and characters are as static as the environment in which they are thrust, and reading the book through to the end seemed almost as mentally difficult as the "physical challenges" the teenagers faced. So little is actually interesting that the novel is beyond intellectual redemption, and it is a tremendous relief to have finished it. I can't think of a single individual or "type" to whom I would recommend this little disaster.
Tuesday, April 28, 2009
42. Beckett, Samuel. Waiting for Godot. 109 pages. 4.28.09.
Waiting for Godot is one of my favorite plays. The last time I read Samuel Beckett's monumental work I followed my reading with a 20+ page term paper on theatrical duality and the necessity of pairing for the formation of identity, so I think I'll spare myself (and others) an actual review of the play. It once again proves itself, and I am very glad I had the opportunity to return to it.
Waiting for Godot is one of my favorite plays. The last time I read Samuel Beckett's monumental work I followed my reading with a 20+ page term paper on theatrical duality and the necessity of pairing for the formation of identity, so I think I'll spare myself (and others) an actual review of the play. It once again proves itself, and I am very glad I had the opportunity to return to it.
Wednesday, April 22, 2009
41. Twain, Mark. Pudd'nhead Wilson. 196 pages. 4.22.09.
Anyone familiar with American slave narratives will quickly find that they have read the first 18 chapters of Twain's book, even if they have never before heard of the novel itself. While I am unsure where Pudd'nhead Wilson falls on a time line of slave narratives and African American literature, from a contemporary reader's point of view Twain's narrative is tired and uninspired. The story itself is without passion, and the narrator is largely detached from the events. Twain fails to establish an emotional base for his readers, and as such this novel comes across as a pale imitation of other accounts.
However, the final four chapters are outstanding. From chapter nineteen the "real point" of the novel comes to light, and the connection between a seemingly secondary character and the title is finally made clear. The events are widely dramatic, yet believable, and the sentiments largely missing from the rest of the book are present. While Pudd'nhead Wilson merely whimpers for the first 157 pages, it really goes out with a satisfying bang.
Anyone familiar with American slave narratives will quickly find that they have read the first 18 chapters of Twain's book, even if they have never before heard of the novel itself. While I am unsure where Pudd'nhead Wilson falls on a time line of slave narratives and African American literature, from a contemporary reader's point of view Twain's narrative is tired and uninspired. The story itself is without passion, and the narrator is largely detached from the events. Twain fails to establish an emotional base for his readers, and as such this novel comes across as a pale imitation of other accounts.
However, the final four chapters are outstanding. From chapter nineteen the "real point" of the novel comes to light, and the connection between a seemingly secondary character and the title is finally made clear. The events are widely dramatic, yet believable, and the sentiments largely missing from the rest of the book are present. While Pudd'nhead Wilson merely whimpers for the first 157 pages, it really goes out with a satisfying bang.
Monday, April 20, 2009
40. Moore, Christopher. You Suck: A Love Story. 328 pages. 4.20.09.
The sequel to Bloodsucking Fiends, You Suck has none of the novelty - and very little of the charm - of the original book. While a lot of the same humor is present, the characters lack the development of the first novel, and the plot itself seems redundant. You Suck is an amusing read, but don't expect it to be as delightful as the first.
The sequel to Bloodsucking Fiends, You Suck has none of the novelty - and very little of the charm - of the original book. While a lot of the same humor is present, the characters lack the development of the first novel, and the plot itself seems redundant. You Suck is an amusing read, but don't expect it to be as delightful as the first.
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