Feb. 26th, 2018 10:31 am
Gimme more
So, hey, I'm still reading books. Last week I finished Heinrich Böll's Gruppenbild mit Dame which I found very enjoyable. I found it interesting how he played with postmodernism without ever going whole-hog for it, but what really kept me engaged was the humour, even if it does somewhat misfire in an odd and unnecessary coda. It's also reaffirming how easy the German read, even if it did get densely bureaucratic at times. (Part of the humour comes from the punctiliousness of the narrator, who is ostensibly being paid by some mysterious public agency to write this book.)
I'm less thrilled that it took me more than two months to read the whole damn thing, but it was 400 pages of very dense type. Plus it's winter and my ambitions are dulled (but more on that later.) But I finished it, which is more than I can say of Laxness' Independent people or Albert's (i.e. Català's) Solitud. The latter is a reminder of just how far short my Catalan vocabulary falls of where I'd like it to be. It's not a fair fight--Albert uses expressions local to rural Girona (in nonstandard spellings) that aren't even in the Alcover-Moll--but it's humbling to be dusted all the same.
Now I'm sailing through Pachinko, the family drama about Zainichi Koreans that everyone seems to be reading now. Literally the same day I bought it, I got a message from a former coworker inviting me to a book group to discuss it. It's a fat book, too, but the prose is simple and there's little or nothing in way of subtext. Want to know what a character's motivations are? Don't worry, Lee will tell you. Don't look for any clever narrative tricks either; she's telling The Story of Koreans in Japan in the most straightforward way possible as if that should be enough for you.
Given that's her ambition, it's notable that she chooses to focus on an essentially middle-class family that's spared the worst hardships of being members of a despised minority in a foreign land. I suppose it's a combination of drawing from her own background, needing "relatable" protagonists for middlebrow readers, and wanting to highlight the discrimination by showing how it collides with the characters' ambitions.
It's also because being poor is boring. I wish I could find the quote now, but an article I read years ago now about the writing of Japan's marginalised groups talked about the difficulty of conveying the realities of poverty in prose because the day-to-day lived experience is so tedious and the public doesn't want tedious novels (or at least novels which are tedious in that particular way). Nakagami was one of the authors discussed and he pulls this off better than most by heading off in experimental directions, something you obviously can't expect of everyone.
In any case, I'll finish it, I'll talk about it, and then I'll move on to something more nourishing. Maybe Miéville's Embassytown? I really want to like him because he writes well and has terrific ideas but The city and the city was a disappointment. I'm not a fan of police procedurals generally and strip away the fantastic elements from that book and a police procedural is what you're left with--and not a very interesting one at that. It's a similar flaw to Lee's book, but I've got more affection for multigenerational family sagas even when the family's not all that fascinating.
I'm less thrilled that it took me more than two months to read the whole damn thing, but it was 400 pages of very dense type. Plus it's winter and my ambitions are dulled (but more on that later.) But I finished it, which is more than I can say of Laxness' Independent people or Albert's (i.e. Català's) Solitud. The latter is a reminder of just how far short my Catalan vocabulary falls of where I'd like it to be. It's not a fair fight--Albert uses expressions local to rural Girona (in nonstandard spellings) that aren't even in the Alcover-Moll--but it's humbling to be dusted all the same.
Now I'm sailing through Pachinko, the family drama about Zainichi Koreans that everyone seems to be reading now. Literally the same day I bought it, I got a message from a former coworker inviting me to a book group to discuss it. It's a fat book, too, but the prose is simple and there's little or nothing in way of subtext. Want to know what a character's motivations are? Don't worry, Lee will tell you. Don't look for any clever narrative tricks either; she's telling The Story of Koreans in Japan in the most straightforward way possible as if that should be enough for you.
Given that's her ambition, it's notable that she chooses to focus on an essentially middle-class family that's spared the worst hardships of being members of a despised minority in a foreign land. I suppose it's a combination of drawing from her own background, needing "relatable" protagonists for middlebrow readers, and wanting to highlight the discrimination by showing how it collides with the characters' ambitions.
It's also because being poor is boring. I wish I could find the quote now, but an article I read years ago now about the writing of Japan's marginalised groups talked about the difficulty of conveying the realities of poverty in prose because the day-to-day lived experience is so tedious and the public doesn't want tedious novels (or at least novels which are tedious in that particular way). Nakagami was one of the authors discussed and he pulls this off better than most by heading off in experimental directions, something you obviously can't expect of everyone.
In any case, I'll finish it, I'll talk about it, and then I'll move on to something more nourishing. Maybe Miéville's Embassytown? I really want to like him because he writes well and has terrific ideas but The city and the city was a disappointment. I'm not a fan of police procedurals generally and strip away the fantastic elements from that book and a police procedural is what you're left with--and not a very interesting one at that. It's a similar flaw to Lee's book, but I've got more affection for multigenerational family sagas even when the family's not all that fascinating.
Tags: