Allard Vegelien itibaren Balakhna, Nizhny Novgorod Oblast, Russia

inverkoophoekje

11/24/2024

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Allard Vegelien Kitabın yeniden yazılması (11)

2019-08-01 22:40

Volkan Konak Klasikleri 1 - TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından:

I just finished reading Brief Interviews With Hideous Men. This book is some kind of a literary masterpiece yeah. I just didn’t enjoy reading it that much. I understand what this book is supposed to be, and it’s very eye-opening to note what he is doing/trying to do/succeeding to do in any one of these stories, but it is simply not enjoyable to read. It is rather like– as a child does in one of the earlier stories in this book, the only story I enjoyed– finding yourself forced to leap off of a high-dive. Post-leap, there are several different ways to consider yourself as having grown somehow, but during the dive it is not at all entertaining. You may find yourself feeling harassed, terrified, bored, or any other of a number of unpleasant emotions, and when you are finished you will cry GOD I AM GLAD THAT IS OVER and you will go on living some kind of expanded life and cease to think much about said high-dive UNLESS you are one of those people who find themselves compelled constantly to do unpleasant things and therefore suddenly find yourself compelled, through this unpleasant childhood experience most other people are busy forgetting, to become a world-class high-dive leaper. The big thing is this: yes, it is clever to be all sorts of postmodern, and yes, those who can pull it off well are all geniuses and deserve much praise– and DFW can pull it off well, frequently– but this is still not the kind of thing that books were invented for. They’re not enjoyable as short stories. I don’t care if they are a ‘delight’ and a ‘harassment of the short story form’. I am not going to want to read short stories if the writer of the short stories wrote them in order to harass me. In the same way, though I would credit laudable creativity to an artist whose form of sculpture involved filling a room with knives, I would not particularly enjoy being in that room, and would instead feel a degree of tension of be a little bit upset. The only one of these stories I actually enjoyed was ‘Forever Overhead,’ a brilliant piece about a boy on a high-dive. I think it is stunning. Other sections– the first of the ‘Hideous Men’ sections, for instance, or ‘Church Not Made With Hands’, a story about a young family in a tragic situation– are wonderful also, but are, in the case of the first, not as easy to enjoy, or, in the case of the second, so buried into the abrasive unpleasantness of the rest of this excellently-written book that by the time the reader gets to it he or she is simply too mentally exhausted to even recognize that this story is well-done and pleasant instead of abrasive. Putting the book down does not help– remembering prior sections can so trouble or bore that reading onward simply becomes as unpleasant as they were, regardless of whether or not the bit you are actually reading is itself unpleasant. The writing gets to be its least-bearable when he starts to write totally ironically about how stupid it is to always be totally ironic. I don’t know if it’s possible to sarcastically criticise sarcasm without sounding like a jerk, even if you ARE DFW. The fact is this: when DFW wants to make you experience, as in ‘The Depressed Person,’ what it is like to enter the mind of a severely depressed person, he does it in such a way and with such accuracy and force that there is practically no room for the reader to reflect. That’s how genuine it gets. It is the same, though less so, with the bit about an honored playwright’s father who, on his death bed, insists on going on and on a bout how much he hates his talented son. DFW simply presents these relentless neverending trauma-filled paragraphs one after another as if he is pounding the reader’s head with a bloody brick, and the reader must shout ‘God, this is spectacular, DFW! Now please get the brick out of my eye!’ The question we should all be asking is NOT ‘Is this good?‘ The question should be, ‘Am I having a good time reading this?‘ It is a totally inescapable fact that wholly unpleasant things are rarely saved for posterity. Even upsetting or pathologically-focused books, like Crime and Punishment, are saved because there is something accessible or somehow pleasant about the reading experience that makes at least some of us refrain from hurling it out of a window. There is barely any such redeeming factor here. So. DFW is some kind of literary god. But it is now perfectly self-evident to me why more writers are not running around trying to be as horrifically postmodern as he was. It is soul-crushingly unhappy to be so postmodern. I do not mean to be crass, but these stories make it clear that DFW understands human agony and disgrace and depression. And he killed himself. So, I say this: it is okay not to like this book. Read it and perhaps admire it, but it is okay to dislike it. The reason you dislike it so much is that you have understood what DFW was trying to do. And the thing he was trying to do was not to write an accessible, edifying book, but to conduct ‘a harassment of the short story form,’ which is the opposite of what short stories are for. One does not go around trying to become a successful baker by baking breads which are a harassment of the mouth. There is a reason for this.

2019-08-02 03:40

Syd Barrett TrendKitaplar Kütüphanesi

Tarafından yazılmış kitap Tarafından: 1984 Yayınları

** spoiler alert ** Just too unrealistic, both Demetrius and Ty do not behave true to their characters. Even though after the Big Reveal, I'm supposed to understand why Demetrius doesn't behave like Las Vegas' No. 2 criminal who trafficks humans for the vice trade, I didn't. Instead, I was left wondering how he ever survived if he was such a softie. Unlike Ami, I wasn't put off by Demetrius allowing Ty (his 'pet' for the night) to be fucked by Arden's pet. This incident, I thought, was in keeping with the nasty, dangerous criminal that Demetrius is supposed to be. I may be reading a romantic suspense but I still expect the hero to act accordingly. In this case, Demetrius is supposed to be the scum of the earth as far as criminals go so dealing with Ty so callously is just par for the course (for Ty) and is what I'd expect. Even though Demetrius turns out to be something else (since this is a romance), he should be true to the part he was playing. Ty, I don't get him either. For an undercover cop who infiltrated one of the worst types (if not the worst) of criminal activities, he displayed an uncharacteristic reaction to Demetrius shooting Marcos, one of his men who was double-crossing him. It was if Ty never encountered bad men shooting someone (for whatever reason). He's a cop, for god's sake! And he's supposed to be one of the best which was why he was the one taking on this dangerous assignment and he was shocked and shaken because Demetrius shot one of his own men? And Dem didn't even do that in front of Ty so even less reason for Ty to be carrying on like a girl. But I wholeheartedly agree with Ami: Mexican Heat is still the undercover romantic suspense of all time.

Okuyucu Allard Vegelien itibaren Balakhna, Nizhny Novgorod Oblast, Russia

Kullanıcı, bu kitapları portalın yayın kurulu olan 2017-2018'de en ilginç olarak değerlendirdi "TrendKitaplar Kütüphanesi" Tüm okuyucuların bu literatürü tanımalarını tavsiye eder.