There’s a lot of people out there who are doubtful about sci-fi. Isn’t it all weirdly phallic spaceships flying about and aliens shooting at each other using an assortment of weapons that look like someone took the contents of a kitchen drawer and went bananas with a can of spray paint and some furniture polish, they wonder? And, yes, there is that. But kitchen utensils notwithstanding, I’ve always been an unabashed lover of the genre. So it was a source of endless delight to me to discover that one of my favourite early 20th-century writers had written a short story set in a dystopian world run by something known only as the Machine.
Ladies and gentlemen, pray mind the spoilers!
Oh my poor, poor Classics Club list. I made it in 2014 and infused it with all the optimism of my more youthful days. I was convinced I would read 100 classics (including such hefty tomes as War and Peace and Ulysses – ah the vanity of youth) in four years. Five years on and I’ve made it about 10% of the way through that list. So I’m guessing I’ll be done with it sometime around my sixtieth birthday. Hooray for me!
This book was #61 on that list, and since I somehow associated the month of March with E.M. Forster books about Italy (I read Where Angels Fear to Tread and A Room With a View in some long-ago March and since then the association has been fixed in my brain), I thought I’d read another classic that features Italy heavily. Well, last March I managed to make it about five chapters into The Portrait of a Lady before giving up. This year I was determined to make it all the way through.
Be prepared for sexy, sexy vampire fun. Oh, and spoilers.
If you know anything about vampires in folklore and fiction, you will probably know the following:
- The vampire myth developed somewhere in Eastern Europe. It was all about fears of the dead coming back to life and visiting their family members to make life difficult for them, and also, because we’re dealing with Folk Legends, may have at least partly been invented by women eager to cover up the fact that they’d been fooling around with other men after their husbands had shuffled off this mortal coil. Folk legends can be so quaint and innocent and lovely like that.
- Surprisingly, the vampires of ancient folk legend rarely actually sucked blood. Which basically means that they more or less just… sucked.
- Vampires did not, under any circumstances, sparkle.
“I do declare, these spoilers are simply shocking!”
The essence of this review is basically that I loved Hester and I’m not even sure if there’s really anything more to add.
That’s partly because I can’t quite put my finger on why I liked this book in the first place. One of my least-favourite topics in the world plays a large role in this book: banking and finance. For me, this is about as interesting a topic as a book about the finer points of Watching Paint Dry.
But something about Hester grabbed me right from the very beginning. Set in a small town where the Vernon family own a prosperous and seemingly stable town bank, it begins with a crisis that could see the bank collapse and the family lose all their wealth and status in one fell swoop, because the head of the family is a bad businessman. But along comes his cousin Catherine Vernon and despite suffering from a rather terminal case of Being Female, nevertheless manages to save the bank using her own money. She goes on to raise the bank back up and rule the entire Vernon clan with an iron fist.
Although I’m sure there’s a lot of people who are fascinated by the many nuances of the field of Artificial Intelligence – the myriad applications of this new technology, the ethical issues, the many ways in which AI has already begun infiltrating our lives in subtle ways – I think I’m not wrong when I say that most people will pick up this book with one simple question on their minds: viz., what is the likelihood that we will be wiped out by evil killer robots within the next ten to fifty years; and, if we are, will they at least be sexy killer robots à la Battlestar Galactica, or will they be more like Arnie in Terminator (i.e., terrifying)?
This book does discuss the possibility of killer robots, of course. Its conclusions on the topic will not leave the technologically paranoid quaking in their boots, but the more sensitive reader may nevertheless finish this book with a slight sense of diffuse dread, because Walsh makes clear that even though robots probably won’t want to kill us out of hatred or spite (yay), they might do it… well, accidentally (erm… yikes?).
This book is #39 on my Classics Club list.
2017 has dawned with the words ‘dystopic future’ hovering on more than a few people’s lips. ‘Dystopia’ and ‘utopia’ are loaded terms, of course – one man’s ‘post-apocalyptic nuclear wasteland created by the greed of power-hungry and irresponsible capitalists and world leaders’ is another man’s ‘strategically-managed relocation solution with wonderful future prospects following the end of the nuclear winter’, although I’m not sure I’d really want to meet the person who thinks like that.
Amidst all this talk of a dystopic future, where greedy capitalists have succeeded in grinding down the poor and middle classes and filling the rising oceans with plastic and ring-pull cans, 2017 seems like a good time to revisit the origins of the terms Utopia, and consequently Dystopia. I’m sure I’m not the only person who feels like Thomas More’s 1516 work Utopia, which gave us the term and presented us with one of the earliest examples of a utopian text, is still remarkably relevant today.
This book is #65 on my Classics Club list.
Right. I didn’t have a whole lot to say about Howards End, so I decided to go away and read some reviews to see what other people are saying about the book. And it seems like all the reviews, positive or negative, seem to more or less agree on a few main points:
1. The novel is about class. Some other stuff too, but people mostly seem to agree that it’s about class. Because there’s three families, and two of them are rich enough and marry one another, and one is not. This is all very sad and tragic and allows Forster to make some profound comments on the way that class works in the twentieth century. Don’t ask me what they are, I just know they’re profound.
William Shakespeare’s STAR WARS seems to be written with a very specific audience in mind: one that both loves and knows the Star Wars movies (sci-fi nerds, myself included), as well as the works of Shakespeare (history and lit nerds). Which would seem to be a weirdly specific demographic, but in actual fact just goes to show how both Star Wars and Shakespeare can cross boundaries of genre and appeal to readers/viewers with all kinds of different tastes. Let’s face it, a lot of time it just isn’t helpful to make assumptions about what preferences for certain genres say about a person, because it’s almost always a lot more complicated than we’d like to think.
A mashup of Shakespeare, traditionally seen as the epitome of olde-worlde England (despite how often his plays are re-imagined in various contexts), and Star Wars, a seemingly futuristic story nevertheless set “a long time ago, in a galaxy far, far away” (or, as Doescher has it, “In time so long ago […] / In star-crossed galaxy far, far away” [Prologue]) would seem to be a weird combination.
Mystery fans beware! SPOILERS ahead!
This book is #63 on my Classics Club list.
I’m not exactly known for being the most up-to-date when it comes to posting my book reviews. This is usually because I’ll finish a book, write a review, and then let it sit on my hard drive for months, until I finally remember to post it up, usually about two years after I wrote it (and that’s not even an exaggeration). In the case of The Moonstone, however, I made the crucial mistake of reading it in November last year and avoiding the writing of the review itself (and only about ninety-five per cent of the reason is because I didn’t have anything particularly interesting to say about it. The other five per cent is, predictably, that I’m just lazy).
So when I finally came to write this review, I couldn’t remember a darned thing about the plot, characters, or themes. Which is especially concerning considering I also watched the 2016 BBC adaptation of the novel, and still can’t remember anything beyond the fact that the guy who plays Godfrey Ablewhite has fantastic cheekbones, and that Sarah Hadland can still make me laugh. So if you’re hoping for an in-depth postcolonial reading of Collins’ novel, I’m afraid I’m going to disappoint. But if, like me, you are a newcomer to The Moonstone, you may find the following facts, dredged only by dint of great effort from the quagmire of my brain, to be quite useful.
This book is #31 on my Classics Club list. There’s also some spoilers below.
Molière was a French actor and playwright who was popular with the French aristocracy. At the time he was considered a comedic genius, presumably because he had impeccable timing. You can tell because he died after collapsing onstage during a performance of a play entitled The Imaginary Invalid, in which he played a hypochondriac. You can’t make this kind of stuff up, people.
Tartuffe is one of Molière’s best-known plays. It’s basically about a brilliant and witty housemaid called Dorine who works for a family of absolute nitwits. Or at least it would be, if I had my way. In actual fact, Dorine, while being the only character in the play I didn’t actively fantasise about drowning, is not the main character in this particular story. Instead, that honour perhaps goes to Tartuffe, although the man doesn’t actually make all that many appearances onstage.