Noruwei no Mori

Norwegian Wood is a story about love, sex, relationships, and the complexities which define and effect the interactions of the human species. A novel centered around loss and pain, Haruki Murakami paints a picture of late 1960's Tokyo fraught with confusion, emotion, and the breaking down of the human mind. Norwegian Wood is in many ways a beautiful tale of tragedy and confusion. The style and cadence of Murakami's writing, and specifically his dialogue hold a distinctive, snappy honesty rarely found. The chracters are flawed, real, and therefore that much easier for the reader to invest in as we follow them along these winding roads of instability and small victories. The bluntness with which chracters unfold topics and events of their lives is refreshing, though occasionally jarring.

Written originally in 1987, and dealing with the 60's there was a sense of era about the novel that really seemed to capture the spirit of the times - which though enjoyable for the atmosphere of it, occasionally left me feeling I was a bit young to fully appreciate all the underlying currents of the time period in which the novel was set. [myself having been born in 1988] Never-the-less the feel of the novel was an authentic and wonderfully mystical one, permiated by a love of music, free spirits and soft revolutions which coloured the novel and its tragedies with all the more clarity.

A complex novel which attempts to unravel the logistics of the soul, sanity and love and death, Murakami questions convention and loyalties as the main character, Toru Watanabe stumbles his way from adolescents into full-blown accountable adulthood.

Toru is a resolutely optomistic character that finds himself hopelessly in love with his deceased best friend's girlfriend Naoko. Despite her sweetness and beauty, Naoko remains emotionally unavailable as she constantly attempts to unravel the sickness within her own mind - a reoccuring theme that is never directly explained nor defined, as mental strangeness and 'brokeness' becomes a concept of relativity which continually infiltrates chracters and relationships as the story unfolds.

In stark contrast to the quaint Naoko is Midori - the spunky, outspoken, short-skirt wearing character from Watanabe's classes. Midori adds a sense of uncertainty, adventure and bluntness to Watanabe's life previously missing, and he and Midori become odd but close friends. As Watanabe manueveres his way through university, he continually finds himself re-evaluating and analyzing not only his relationships, but the way in which he interacts with those closest to him.

Because of this constant evaluation of relationships, the novel is completely interwoven with explicit interactions of sex and erotic encounters. Though this certainly adds merit to Watanabe's inner dilemas - namely, the fine lines between love, sex, romantic relationships and friendships - the explicit nature was certanly more than my person taste appreciated, and is something to keep in mind and be advised of for readers.

Despite these less than appealing scenes, the novel is a well written stylistic tale of the downfalls in human nature, and the inexplicable connections humans form with one another.

Never Let Me Go

The acclaimed novel Never Let Me Go by Kazuo Ishiguro is a wonderful balance of ignorance and knowledge: "The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way." Kathy, the novel's main character and narrator recalls being told this in her childhood years at Hailsham boarding school - this qoute sums up the way in which Kathy interacts with the reader for the majority of the novel: from the on set, the narator [kathy] makes it clear that she is a 'carer' but it is left to the reader to piece together bits of information - just as the students did at Hailsham - in order to get a grasp on what a 'carer' in the novel's context, even is.

The novel outlines the coming of age, and subsequent years of Kathy, Ruth and Tommy within the greater context of a rare boarding school in east Sussex. Though the reader is not told a great deal about the school or the students outright, as the novel progresses through the first few chapters, it is clear that these are not ordinary students, and the Guardians do not treat them in the way you might expect. It's hard to pinpoint exactly when you realize that the youths are not so much students as they are walking donations to be used commodity-style. Once this concept is grasped, it is a quick jump to full realization that the students are in fact copies of 'original' citizens used as 'donors' for their vital organs. The reader is eventually told this outright, but it is with a sense that you already expected what was coming - somehow, you knew it was coming. "All children have to be deceived if they are to grow up without trauma." This is the same way the students interact in Hailsham, piecing together concepts and understandings without fully knowing the full picture. The effect of such subtle revelation is one of intimacy with the characters and leans towards a greater connectivity with the would-be unrelatable environment of the novel.

Though the clone/donor concept is certainly not an original one, Never Let Me Go certainly does not seem overdone, nor repetative. The style and manner in which it is written - and more specifically the careful subtle ways the three main characters maneuver through a world frought with inevitability, truly draws the reader in and puts a touching spin on an idea that might otherwise be considered "sci-fi'. Instead the novel is expressly drama, coming of age, and sentimental, exploring the complexities of knowledge and innocence, through revelation and careful curiousity. In this manner Ishiguro explores what it means to serve a societal purpose, what it is to really live, and the human soul (and what evidences might be used to prove such a thing exists).

"We all complete. Maybe none of us really understand what we've lived through, or feel we've had enough time."

What is to Become of Us?

The latest from Douglas Coupland, PlayerOne: What is to Become of Us? is yet another reason to praise the snappy, poignant unique style that has come to identify the author. His short sentenced, internal-monologue type narratives lend themselves too quick reads that rely not on the events of the plot, but on each character's perception, interpretation and introspective comments.

Player One is a modern day novel that focuses on the commentary of 5 individuals all stuck in an airport lounge for 5 hours during a sudden and riotous Natural Oil crisis. Each character is given their chance to explain and reflect on the occurring events in a unique manner, focusing primarily on issues of faith, death, life and the 'after' that so often punctuate Coupland's work.

"For a brief moment she thinks of the pizza-sized black circles cartoon characters throw onto the ground – portable holes – which they jump into to escape difficult situations. In her mind, that’s where people go when they die: down Daffy Duck’s hole."

Each character has their unique take on faith, the meaning of living, and the weight of sin and death. It is this analysis, or this series of events which facilitate the analysis, that provides the meat of the story. With each new conversation and event the characters re-evaluate their perceptions of North American culture, their own values, and try and make sense of their purpose in life - or, indeed, whether or not they have them. From the scientifically and socially ‘abnormal’ yet beautiful Rachel who’s various brain anomalies prevent her from recognizing metaphors, faces, laughter or social norms, to the recovering alcoholic bartender Rick, Pastor turn thief Luke, witty single mom Karen, and the charismatic yet creepy ‘Monster’, the lot of them, a so-called “depressing grab bag of pop culture influences and cancelled emotions” contradict, compliment and question each other’s views of their world and the place they have in it.

Regardless of your religious, spiritual or scientific understandings of the world, PlayerOne makes you stop and think. Question things. See new perspectives. This, ultimately, is the signature of Coupland. He questions life and its functions, and therefore poses something new and interesting for the reader to ingest, digest, and do with what they will.

And though the subject matter may sound sort of heavy, the subtle humour, punchy style and short time frame of the novel keep it relatively light and easy reading, so that the reader does not get bogged down with concepts of Eternity, Sin and Justice, and the very concept of life as a story.
A well balanced, smart novel, easily enjoyable but just about any audience willing to approach with an open mind.
“Most big moments in life and death are quick – those key moments that define us probably fill less than three minutes altogether.”

Shelf Life

There is no greater joy than book shopping.

okay, that's not literally true, but it truly is one of my favourite things. I love browsing through the bookstore, walking the tall aisles. Sometimes I just want to get lost there all day and sit on the floor amidst all those stories, all those voices, all the potential books i have yet to read. I suppose I could do this more acceptably at a library, but frankly, a lot of public libraries [at least in mississauga] are not nearly that appealing. They are neither cool and modern nor old and historic - they just are in all their dumbed down suburban grossness. Do you know what I mean?

Anyway, as much as I love the concept of libraries - I want my own. I can't wait to acquire so many of my own books that I need a whole room for them. Oh, luxury! That's why I love book stores, I love buying books. Aquiring them, owning them, bringing them home with me to join the collection.

I went out looking for a very specific book, Norwegien Wood the other day, that my cousin recomended to me. He'd told me about it ages ago, and his brother and my sister have both read it as well. So i bought that. And then the guy at the bookstore who was [unnecessarily] helping me find it also recommended Never Let Me Go. which for the record seems to be completely different, but, I liked the sound of that too, so I bought that.

Looking at my bookshelf there are a few books that I have purchased and have yet to read - Player One by Coupland being one of them, and I'm having a bit of difficulty deciding what to read next. With the long awaited One of Our Thursdays is Missing finished, I had moved on the some classics - I'm desperately lacking in my classic read count - so I'm working through Jane Eyre 'again'.

All that being said what did I read nearly 200 pages of today? The Deathly Hallows. I couldn't help it. With the last Harry Potter movie being released next week, I felt I had to pick it up and read through it all one more time.

It;s been a book buying and book reading wonderful whirl of chaos these past few days. I'm hoping to get through as many as possible in the next couple weeks, and I've got the time for all of them, but deciding which to bring with me to the beach tomorrow? Now that will be beyond difficult.

Phonetically Speaking

Have you ever read a book written completely Phonetically?
It's an experience, I'll tell you that.

First off, let's explain what I mean by phonetic writing.
Phonetics (from the Greek: φωνή, phōnē, "sound, voice") is a branch of linguistics that comprises the study of the sounds of human speech. It is concerned with the physical properties of speech sounds (phones).
So, when I say Phonetic writing, what I am referring to would be writing that is written as you would hear it. IE if you were to write a characters speech 'with an accent'. It's the idea that if I were to read the writing out loud, exactly how it is written, i might sound [ish] exactly as that character would.

A wonderous example of this, and the one on which I am now blogging, is the one and only Trainspotting by Irvine Welsh.
"Life's boring and futile. We start oaf wi high hopes, then we bottle it. We realize that we're aw gaunnae die, withoot really findin oot the big answers. We develop aw they long-winded ideas which jist interpret the reality ay oor lives in different weys, withoot really extending oor body ay worthwhile knowledge, about the big things, the real things. Basically, we live a short, disappointing life; and then we die. "

[one of the few interesting quotes that didn't contain a slew of swear words and the like.]

The book in itself, is an experience, made all the more 'authentic' [if I am allowed to say that] by the language in which it is written. It is not only dialouge that is written in the Scottish phonetic, but the entirity of the novel - internal monologue, narration etc which really helps to pull you in to the mindset and lifestyle of each of the characters. There is something thatp ulls you in that extra bit with the phonetic that makes the reader feel not only as if they were in the experience, but as though they were on a different level of intimacy with that character - not to mention upholding the authenticity of setting, situation etc within the narrative.

Phonetic written is an underappreciated art, I think. Have you ever tired to write a character with an accent? You probablly just ended up stating that they had a smooth tone, or a brotosh drawl. Writing an entire novel in common day slang, cultural dialect is something else all together. With Trainspotting in particular, it is all about a lifestyle - the characters being various individuals connected to or [more usually] deeply submerged in the drug world of the Scottish poor. Without the language, without the grit and grime of it, the entire narrative would lose it's punch, unravel, and be another fluff piece trying to make a statement about druggies.

Instead it becomes a living breathing story of individuals, of a way of life, that encompasses a mindset with its faults, failings, desires and demands perfectly situated in street pub life of the characters.

Though reading phonetic writing can take a bit of time to get used to, and the first two pages might turn you off - it can be easy to become lost and/or have no idea what is happening, what anyone is saying, and what the heck 'ken' means, I urge you, dear reader, to push through for a little while and I promise the full flavour of the novel the style of writing will not disappoint.

a Note to the Publishing World:

Now I know that this post is going to come across sounding bitter, resentful, and potenially pretentious, but honestly it has to be said.

WHY in the name of all that is good, do publishers think it is a good idea to release complete BUNK?

Seriously.

I am not one to easily hate a book. While I don't necessarily love every single thing placed under my nose (contrary to popular belief) I do enjoy most, and hating a book for hatings sake, is not in the mix. But, if you manage to write a piece of literature that is 900 pages of complete idiocy, I might just have a few words.
Though naming names is essentially pointless, I would like to point out a few things NOT TO DO when writing a book.

I realize that having published a grand total of zero novels, novellas, poems, essays or anything at all what-so-ever my authority is lacking on this subject, but I think the validity of common sense still stands:

If your book is long, make sure there is a REASON it is long. 900 pages is an epic, so if your plot line can be summarized in under a minute, and envolves only one half-hearted plot twist, you can probablly cut out about half of your manuscript. And that isn't to say that back story, detail and the like should be removed - on the contrary - but there is a difference between filler for fillers sake, and actually impactful writing.

On a genre specific note, if you are writing a Fantastical novel (and trust me, I don't hate all fantasy novels on principle - see 'Favourite Book' list) then you BETTER follow a set of rules. I realize that as the author you get to create these rules, and that they may or may not coincide with logic and or the natural laws, but if you intend to do something outside the norm, create a set of standards, a set of laws - the books own logic, and STICK to it. Nothing drives me more crazy then when an author creates or changes rules simply for convenience. As in: JUST KIDDING you thought the mountain was in his way? now he can FLY.
no.
you can't change things like that. If he flys now, he needs to have been able to fly all along, or acquired the skill in some pointed and/or menaingful way. That's just consistancy issues, really.

Gratuitous-ness. Oh my word, there is no point in putting in excessive violence, sex, drugs etc. just for the sake of. Obviously if the writing is specifically about that - see 'Trainspotting' for example - or if it is part of who a character is, it makes sense (its part of life, therefore makes sense) that's fine, but it is when you throw in seven instances of overly explicit scenes that really add nothing to the character development, plot, or story structure in any way shape or form that I might question your reasoning. If it is there just for shock value, what is the point, really? If I can take something out of the story, and it doesn't really effect the story - explain to me, why should it be there? I am not impressed.

And last but not least, EDITING. I've come across this in several of the books I have read recently, and maybe this is also because I have an increasing passion for editing - which sounds outrageous, how can you be passionate about something like that? (maybe the better word is aspirition) - but I find myself spotting the mistakes in things more regularly. One here and there is fine, but if I'm spotting grammar and spelling mistakes every third page, that's a problem. Edit. If you hate editing, or suck at it, hire an editor. [which I'm sure they all did... get a better one] I find this tends to happen more in books that were rushed to press, which makes sense, but is still highly unfortunate.

There are several other things that can make a book unreadable, such as lack of interesting character, etc, but these are just a few that drive me up the wall. It's extra infuriating knowing that there are plenty of good stories out there left unread and unpublished, when things like some of the above alluded to books are read in droves.
Bunk.

The Electronic Debate.

Kindle, Sony, Kobo. Any of these names sound familiar? they are the next generation, or, the side generation, or prehaps even the death of books. So what do we do about electronic book readers? Are they wonderful inovations that will bring new life and new readers to the book world, or do they in fact threaten the world of literature as we know it, fighting and replacing those beloved covers and bindings and forcing your local printing press out of business? That's the debate. I am an avid reader, and I love the feel of pages between my hands, the pungent smell of old yellowing tomes, and the new exciting smell of a best seller straight out of Chapters. IU can't help but to get a feeling of acomplishment and pleasure at bringing home the latest book to add to my collection. I have an extremely full book shelf - organized alphabetically from top to bottom - and crammed so full with my latest purchases that there is literally only room for one or two more books before I expand to a second case. And I love it. I have dreamed of the library I will one day have in the lovely little house I'll probablly never be able to find, and the book collection is starting now. So, why would an electronic book even be worth considering?

Well, for starters, there was a display at Chapters this weekend to promotoe the new launch of Indigo-backed Kobo. The latest e-book reader which has access to the entire chapters library. The device, retailing at only 149$ (a far cry from both the Sony and amazon's Kindle - which sells for 259$ for the 8" version, and 489$ for the larger version which includes twice as much memory.) it is a cheaper simpler device which does exactly what it says it will - allows you to read electronic books, and nothing more, which could be either a good or bad thing, though I like to think it's better - if you want to listen to music, get an ipod, if you want to read electronically, get a Kobo. I must admit the features of the Kindle are pretty awesome, though, but there is a good chance they would go unused by your average reader. Kobo is also a wonder company in that the systems allow you to use books collected from a variety of sources - not specifically "kobo" books - the interconnectivity seems like it would come in quite handy. And it is the only Canadian product, which is a good benefit.

Negatives:
Now an electronic book certainly does not have the benefits of paper books, or at least, not the same esthetics. Bookmarks no longer exist, you cannot feel the book, turn the pages, and have that nice comfort of paper under your fingers. I get such a sense of acomplishment after finishing a book - especially a large book, and feeling the last few pages turn. Actually holding the book and reading it feels a lot more significant when you finish - an accomplishment. Electronic books just don't have that. e-books are also electronic - mening you have to read them on a screen, an unatural surface which isn't really that wonderful for your eyes and a lot of people find it extremely frustrating or difficult to read for long periods of time.

Positives:
Portability. To me, that is basically the one and only main benefit. The e-books are extremely portable and light. They fit in your purse much better than the Lord of the Rings might (trust me, I've tried with my one volume edition) and are a lot lighter on your arm. To think that I could take all the novels necessary for my 5 english courses to campus each day with no more weight than your cell phone, I get a little excited. How awesome would that be? Travel too, would be much easier with a Kobo - you can bring one device, and your entire library instead of using up all your packing space on books. A benefit for sure.
Books are also cheaper, about ha;lf the cost in electronic version, which is a draw for those who don't realy like buying everey book they read for 25$ a hit.

SO, verdict? I don't know. There are uses for both, I think, and you can manage to have a library and an e-book at the same time. Balance. Different devices for different events and activities. I might just have to buy a Kobo. Let's hope it's not literary blasphemy.