Norifumi Kudeken itibaren Bourg-du-Bost, France

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04/28/2024

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2019-04-11 05:40

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“With whom else but Blacqueville might I have shared my amusement with America? Not the Americans who looked at me at every moment as if to ask, Are you not awestruck by the wonders you behold? Is this not a miracle? Do you not envy this, admire that? It was not until we approached the lower tip of Manhattan Island when my friends found matters of their own to attend to, that I could no longer be distracted from the painful fact that my pockets contained no single gold coin, nothing but a verbose letter of credit composed in English by the hand of my enemy.” I was so looking forward to reading this one. I had read and loved Peter Carey’s True History of the Kelly Gang, and Parrot & Olivier in America was on the shortlist for several awards. Unfortunately, it did not live up to my expectations. Inspired by the life of Alexis de Tocqueville, Carey presents Olivier, the young nobleman who is forced to come to America as another revolution threatens France and the heads of the remaining aristocracy. Not trusted by his family, an Englishman, Parrot, is hired to spy and simultaneously keep Olivier from harm’s way. The stories of both Parrot and Olivier were interesting, right up until the two came together in America. From that point on, it was confusing and a bit on the dull side. Carey’s writing is quite good, but it really doesn’t make up for the lackluster tale here.

2019-04-11 08:40

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I just can't bring myself to love this play, although I believe I understand what Shakespeare is doing here. He takes a fairy tale plot, adds a fiercely realistic setting (complete with a pointless war and friendly fire), adds a desperately mismatched romantic couple (Helena, a commoner and a control-freak, a woman of great passion and intelligence, obsessively smitten with the noble Bertram, a proud, shallow boy), tops it off by giving the comedy a mindlessly optimistic title and then spending most of his effort not just making the title come true, but making it come true in such a formulaic, makeshift fashion that the reader must mentally modify that jaunty title by the addition of a dozen cautionary interrogation points. The comic fop and braggart Parolles--sort of a cross between Pistol and Malvolio--helps out some, both thematically and as comic relief, but the whole thing still leaves me feeling a little creepy, with a bad taste in my mouth. But then . . . maybe that's the way Shakespeare wanted me to feel? I don't think so, though. I believe his intention is a little more ambitious than that. He is certainly criticizing the forms and conventions of comedy, but I believe he also wishes to transcend them by producing a kind of meta-comedy--the sort of thing he would soon accomplish in Measure for Measure. In Measure for Measure, he succeeds by 1) distancing the reader by making the entire universe of the play slightly surreal, and 2) using the Duke as a God-like figure, thus inviting the reader to adopt an Olympian perspective for him or herself. Shakespeare tries something similar in All's Well That Ends Well, using 1) the radical disconnect between fairy tale and harsh realism in the plot, and 2)providing us with three ancient characters of good will--the King of France, the Countess and Lord Lafeu--who speak much about the nature of Time, suggesting the widened perspective and wisdom which may accompany Time's contemplation. As I said, he "tries" something similar, but I don't think he quite brings it off.

Okuyucu Norifumi Kudeken itibaren Bourg-du-Bost, France

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