Khaled Hosseini has a knack for heart-rending narrative. It was the case in his debut novel The Kite Runner and it’s the case in A Thousand Splendid Suns, his second novel. Thematically, the two are comparable. We have the child start in Afghanistan, we have two major characters who have a difficult and complicated relationship, we have the backdrop of civil war, coups and violence in both novels. Where A Thousand Splendid Suns differs is its characters.
The story initially follows the young girl, Mariam, who lives in a tiny mud hut in the Herat province of rural Afghanistan. She is a harami, essentially a child born out of wedlock, and as such is shunned by her father, Jalil Khan, (save for his false smile plastered visits every Thursday). Mariam’s prying into her father’s life gets her sent away to Kabul to marry a moderate shoemaker named Rasheed who is thirty years older than she is. Mariam, unfortunately cannot bear him the son he craves, and becomes distant and irritable towards her. Laila is the daughter of a woman-about-town in the area of Kabul Mariam finds herself. She is a blonde head-turner and turns the head of Tariq, a childhood friend. Tariq leaves Afghanistan under the oppression of the Taliban and Laila, once old enough, is taken in by Rasheed as a wife, with the intent of her giving him a son.
The relationship between Mariam and Laila is initially one of intense bitterness, but they eventually form a bond of an almost sisterly quality, despite their age gap of close to fifteen years.
The one problem I had with A Thousand Splendid Suns is that is feels somewhat regurgitated. It was an excellent novel, I have to admit first, and a powerful, emotional and moving read which evoked intellectual ideas as well as brought a tear to your eye. But, so was The Kite Runner. Some of the themes which Hosseini concentrated on in The Kite Runner were very similar to some of the themes portrayed in A Thousand Splendid Suns. They are still good themes and excellent to read, but they just hark too much back to his other work. It’s true enough to say that he writes about Afghanistan and he can’t write anything but the truth of what it was like and what happened there but I feel there could have been more to put the two apart.
The novel has its differences in that the protagonists are women, and as such are significantly oppressed during the novel. The idea that blame will always find a woman is a powerful one and certainly holds true in the narrative. The other notable difference is the lack of America in the novel compared to its predecessor. Hosseini moved to America and became a novelist, much like The Kite Runner protagonist, Amir. There are brief mentions of America in A Thousand Splendid Suns but it’s far more grounded in the east.
To put it simply, A Thousand Splendid Suns isn’t Hosseini’s best work, but only because it lacks the raw power of originality which his debut novel held so clearly. I’d recommend it as a good book to read, if you’ve already read The Kite Runner and enjoyed it. But for me, it has a bitter hint of a formula that works about it which knocks a few marks off a great book. The praise it’s been draped in speaks for itself though. It’s definitely worth your time. But read his first book first.
-THIS REVIEW CONTAINS SPOILERS FOR UNDER THE EAGLE, IF YOU INTEND TO READ IT, MY REVIEW CAN BE FOUND HERE–
Simon Scarrow’s difficult second novel is a damn sight better than his first one. The journey continues for Cato and Macro, through the bitter wilderness of South East England, about ten years after their fellow Romans seriously annoyed a group of Israeli Christians for crucifying their Lord and Saviour. The novel takes off about four days after the end of the previous one. The Second Legion are reeling from a messy victory against the British and the prospect of continuing a campaign in which the battles get bloodier and bloodier with no sign of any let up.
Cato has developed nicely from the first novel in the series. He’s more confident at fighting, and following the rhythmic process of thrusting a shield out then goring a man in the throat. For a scholarly young man he’s surprisingly ineloquent at public speaking, especially in the position of second in command in his century which he stumbled into one novel previously. He is also dreadfully mournful of the departure of his young lover Lavinia and pines for her throughout the novel, using her image as a reason to fight. These flaws and fumblings build up to make a nicely rounded character. The same, unfortunately, cannot be said for his centurion.
Macro seems to have gone backwards. For a series which is purportedly about both Cato and Macro, his character goes from the complex hard outer shell with a softer centre – like a crème egg – to a man who is as brutish and simple. Cato has evidently more on his mind than to worry about giving him reading lessons as the entire plotline regarding Macro’s illiteracy seems to have been ousted and the novel passes by with just one solitary mention of it. It’s a great shame in my opinion. Macro was a complex and interesting character, and all though he is now depicted as a fearsome warrior, who fights by day and drinks the best wine the legion can offer by night, he’s lost a sense of vulnerability which Scarrow had so carefully built up in the last novel.
I must admit, this is honestly my only criticism. The novel is leagues better written than the previous one. Scarrow has nicely ironed out the cliché and the bizarre turns of phrase. The pacing is a lot better, and the climax is rightly where it should be, at the end (and what an end it is!). The other notable improvement is the politics in the novel. Where Under the Eagle bogged down in convoluted details, The Eagle’s Conquest deals with politics in the way a good thriller should. The wonderfully evil Tribune Vitellius sees to it that only the protagonists see him as who he really is, while he has Emperor Claudius on all fours, with a length of string around his neck like a leash.
Overall, it still shows as a second novel but Simon Scarrow is definitely finding his feet as a novelist at this stage. While there are some shortcomings, the novel is succinct, interesting, gritty and exciting. But please read the first one before this one.
The expression goes ‘never judge a book by its cover’. But John Wyndham’s The Chrysalids goes far beyond that. The cover in question is the image in the top left corner. It’s his name, in block caital letters, the title underneath and then an image of an alien lizard thing. It’s green. It has crab claws. It’s wearing armour which looks like it fell out of an early episode of Doctor Who and it’s carrying a rather brutal looking mace. One would surmise, and rightly so seeing as this alien sounding name is written above an alien looking creature, that it is a Chrysalid. One would be wrong.
This book has nothing at all to do with this apparent depiction of Chrysalids whatever they might be. This creature does not get a mention in the entire two hundred pages of novel. In fact, nothing even remotely like this creature gets a mention in this novel. But here I am, judging a cover by its book. A grossly misleading cover, I might add. But nonetheless, it’s a good book.
The Chrysalids is a novel about a boy called David Strorm who lives in the closeted, fundamentalist Christian village of Waknuk, in a futuristic projection of Labrador, in the Canadian province of Newfoundland. The villagers are obsessed with what they refer to as purity. A true form of person, if you will. Any deviation which crosses their path, they destroy. If a field is deemed to have too many variants from what is considered the norm, then it is burned. If a baby is born and is not considered the norm, then it is killed, and the mother is punished. David, as a child, meets a girl called Sophie, who has been living with the secret of having an extra toe on each foot and over the course of the novel he comes to realise he doesn’t fit the norm as well as he thought he did. David, and a collection of others from the village can communicate with each other with what they call thought shapes. It’s telepathy by another name, but it immediately put David and his friends in danger.
The book is good. The characters are interesting and well rounded; the plot is interesting, if a little predictable. As per with Wyndham’s work, there is a sense that everything will be okay. It came through very strongly in the Day of the Triffids that there was never any real danger to the protagonists and it feels similar here. The characters are too good at surviving for there to be any real urgency. It was this, perhaps, which made it such a demotivating read for me. It’s a book which you can put down. It just doesn’t carry you very well. I think the concept is very imaginative, and the characters portray it well. The sense of oppression is excellent and the communication between the characters is fantastic. But for me it can’t really carry it.
In the USA, this book is called Re-birth. It’s a title which makes a lot more sense to me. Potentially, it’s possible to surmise The Chrysalids is a reference to change, changing situations, attitudes, lives. It’s a novel about change. But as a title it’s an abstract way of saying this. It’s not often I prefer the American titles of novels but in this case I do. The cover on the other hand, I cannot see what it has to do with the novel, but thankfully, it’s hardly a point to stick at. Just be careful if you have an old Penguin edition of this book. I came into the novel expecting one thing and was left confused at the end and the cover was a large influence on my expectations.
Nevertheless, Wyndham writes brilliantly. His narrative style is relaxed yet interesting, he manages to avoid cliché neatly, while giving insightful commentary on a violent and twisted society brainwashed by their obsession with perfection. The novel was first published in 1955; I’d hedge a bet that he was drawing influence from the Nazi Aryan ideal. Overall, it’s worth a read, it’s a very interesting concept and well told, if a little slow, but it’s definitely worth the time spent reading it.
Apologies for the lateness of this review! I’ve had a fair bit to do this week. I will also be missing next week’s review post and all of my P365 posts as I will be away on holiday. So expect a load of posts next weekend. 🙂
So, it’s been a while, but this series is back, with the finicky world that is the Sonnet. And as if to make matters worse, I’ll be looking at two different types. The Shakespearean Sonnet and the Petrarchan Sonnet. There are more types, there are several types, but unfortunately I am not the great bard and cannot spend my entire day writing sonnets, so I’m just going to be covering the top two as it were.
There are a few key components in a sonnet which is why they are generally pretty fiddly to write. Firstly, they have a strict rhyming pattern which varies based in the type of sonnet you’re writing. They must be fourteen lines in length and each line must have ten syllables in iambic pentameter. They are either split into distinct sections, an octave (eight lines) and a sestet (six lines) or three quatrains (four lines) and a couplet (two lines). Sonnets also generally contain a volta, or ‘turn’ which is the point in the poem where the narrative changes. It commonly occurs on line nine, but with the two I have written for this post, they of course don’t.
Iambic pentameter is simple. Iambic – stressing every second syllable. Pentameter – in a group of five iambs (ten syllables).
the MAN is LOOKing AT the WINdow PANE.
There is, as is often the case with poetry, some license that can be had with this. There are plenty of sonnets which have a line of 8, 9 or 11 (or there abouts) syllables. It doesn’t make it not a sonnet. However, it’s generally good form to not have another stressed syllable or it tends to throw off the rhythm of the poem. By no means either is pentameter the only option, it’s simply the most commonly found. Sonnets can be written in tetrameter (four iambs), or even hexameter (six iambs) and still be a sonnet. The only rules which generally must be adhered to are the rhyme scheme and the number of lines.
A common subject for sonnets is that with the change in rhyme scheme at line nine, the subject also changes or turns on itself. Sonnets are often about a disparity between two lines of thinking, a change of mind or heart and often it’s this vibrant change of form which signifies it. However the volta can come at a different point in the poem, such as with the couplet at the end, or at any point in the latter half of the poem.
Petrarchan Sonnets weren’t created by Petrarch, but rather by various Italian renaissance poets, hence its alternative name: The Italian Sonnet. A Petrarchan Sonnet is split into an octave and a sestet. The octave always has the rhyme scheme:
Whereas the sestet’s rhyme scheme varies between:
CDECDE, CDCDCD, CDDCDD, CDDECE or various other formations of Cs Ds and Es, usually starting with CD.
Take me to a place that I’ve not yet seen.
Somewhere beyond the dull world that I know
to a new place where the street lamps glow,
where traffic is loud and air is unclean.
I’m tired of this nothing where I have been
I’m tired of stillness, of nowhere to go.
I’m tired of stagnancy, nothing to show.
This cottage is empty, and I am unseen.
I’ll pack up my bags and I’ll move away
I’ll run like a deer from a speeding car
And reach my new world, never looking back.
But I could sit here and say this all day
If ever I leave, I wouldn’t go far.
Just the old farm, with the overgrown track.
In my example, I have chosen to use the CDECDE format, and to have the volta on line twelve. In my mind this man is an old farmer, who longs for the buzz of living in the city but knows he’d never really be willing to leave his home and doesn’t really want to anyway.
The rhyme scheme for the Shakespearean sonnet is far more uniform than that of the Petrarchan variety:
As you can see, the poem is split into three quatrains and a couplet, rather than the traditional split of the Petrarchan sonnet. The volta is still commonly found on line nine, which is the case in my own example. The couplet is often inset in the Shakespearean sonnet, and acts as a summing statement for the sonnet as a whole. Notably, however, in my pictured example at the top of the, the volta is on line thirteen.
The Reluctant Construction Worker
He walks with his back bent low to the ground,
lifting the bricks and then placing them down,
his trowel on the clay makes a grating sound.
His slow but sure progress expands the town.
The earth beneath him is compacted tight,
he works in the dust, the grit and the dirt,
the soil is baked from relentless sunlight,
sweating, the worker removes his T-shirt.
He closes his eyes, remembers his past,
and looks at the land his work has defiled
he’d thought that those places he loved would last
but, these were the woods where he played as a child.
The work must be done, the foreman commands,
He has no qualms for his worker’s lost lands.
This is the sister poem to the first one, the character being the polar opposite of the farmer in the first one, he is a city working builder who laments the loss of the countryside, but cannot do anything about its destruction. Sonnets are frequently also elegies, or poems about love of one form or another. I tried to stay true to form with my examples.
So there you go! I hope someone finds this humble post useful, and if there’s anything you want me to clarify or add, please just ask! I may do another post in the future about the less commonly used sonnet forms. If you’re looking for sonnets which are better than mine, well, just look for Shakespeare’s although I’m sure you already have!
If anyone has a suggestion for a future topic for me to cover then feel free to drop it in the comments!
The cover is literally draped in praise. The Times, The Telegraph, Conn Iggulden, Eoin Colfer. Most of it selectively quoted from a series of mediocre reviews. The Left Hand of God by Paul Hoffman was sickeningly over-marketed back in 2010. You could barely move around a book shop for the posters of the (admittedly pretty nice) book cover. Publishers fought tooth and nail to get a piece of what could have been “the next Harry Potter”. Unfortunately, “the next Harry Potter” it failed to be. The novel was almost universally a disappointment to several reviewers and readers. The hype which surrounded it fizzled just as quickly as it rose up, and now The Left Hand of God and its sequels are condemned to the annals of failed fantasy literature.
Frankly, this sucks, because it’s really not bad. This novel is a prime example of how money loving publishers yammering for the next big hit can completely ruin a book. If it had been published on the sly, it wouldn’t have sold anywhere near as much but it wouldn’t have been battered by critics who were expecting an absolutely earth-shaking triumph of a novel.
It was also marketed completely wrong.
The novel was in the YA section. Its protagonist is fourteen and as soon as the suits got that they immediately billed it as teen fiction. It’s really not teen fiction. The darkness and themes are harrowing, the settings bleak and dystopian and the ideas are very complex. Teens might have liked it, but it’s not for them.
The Left Hand of God follows a boy called Thomas Cale, an escapee from the pseudo-Catholic concentration camp of The Sanctuary of the Redeemers. Hoffman explores religion with a machete, creating a twisted and terrifying force which has kidnapped thousands of young boys for forced military training. Upon reaching an age at which they’re ready to fight, they are duly sent off to engage in trench warfare with the imaginatively named ‘Antagonists’ and never heard from again. Cale and his two companions, Kleist and Vague Henri escape the Sanctuary and flee to a faraway city of colours, debauchery, gambling and luxury. Memphis… Memphis. Hoffman’s naming is fantastically irritating. We have Memphis, which is one hundred miles south of… York. Inhabitants of Memphis include the inexplicable IdrisPukke, the feared assassins Jennifer Plunkett and Daniel Cadbury, the mob leader, Kitty the Hare and a high ranking army official, Solomon Solomon. I honestly feel that a rework of the names of this novel would give the entire experience a lot more depth and immersion. It’s a minor point, however. I can live with bad naming.
As it stands, it’s a reasonably good story, well told and packed with interesting concepts and ideas. It’s a bit muddled, unfortunately, and far from the watertight narrative trilogies it competes against. Cale is what brings the book up in my estimations. He is one of few fantasy anti-heroes. He’s a violent, narcissistic sociopath and doesn’t bat an eyelid while he brings foes twice his size to the ground in a pool of blood. He could so easily be a villain, but he isn’t. That’s what really stands out to me.
This novel has had a hard time, and my nit-picking over the poor naming and a slightly incoherent plot line is rather unfair. The book couldn’t live up to the hype and unfortunately that’s what killed it. It’s four years since that hype though, so why not pick it up and give it a go now? I was pleasantly surprised with the motion of the story. It’s a good, fast and exhilarating read. It’s not perfect, but it’s only a couple of things which keep it from being a highly rated book. They are quite significant things, but overall I enjoyed reading it despite its flaws. I liked the atmosphere, the characters, the action I liked in particular. It’s just a shame it didn’t live up to the impossible to reach standards it set for itself.
Salem Falls is my third Picoult. As such, it is, unfortunately, doomed to the blight of comparison. You can expect a lot of referring back to Second Glance and The Pact in this review. Salem Falls follows the same structure as The Pact; there is a formulaic build up, climax and then the court case which takes up the latter third of the book. It’s a tried and tested formula and still feels fresh in Salem Falls. I would go as far as saying it works better than that of The Pact insofar as the characters are much more interesting and varied. The backstory that there is, is hard hitting and concise and the events in the present dwell more in the characters than in the prison the protagonist ends up in.
Speaking of the protagonist, Jack St. Bride must be the most unfortunate man in fiction. He is a stranger in the town of Salem Falls, having just been released from an eight month prison sentence. He was serving time for a rape which never happened, but the people of the sleepy little New Hampshire town don’t know this. The majority of them are ready to froth at the mouths and run him out of town. The few sympathisers he has are Addie and her family, owners of the aptly named Do-or-Diner. Jack’s already marred reputation is even more dashed on the pavement when he is, yet again, accused of rape, and of course it’s up to the familiar face of Jordan McAfee (The Pact) to get him off.
Looking back at The Pact after reading this, I can really see where Picoult fell down in that novel and excelled in this one. The characters in Salem Falls have interesting quirks and personality flaws. My favourite being Jack’s obsession and extraordinary expertise at Jeopardy! Overall they are very well rounded. None of them are filler. Although some do occupy the rather nameless space in the background, these are not in any sense central to the narrative. The list of interesting characters is far, far longer than these few. There is a harrowing sense of realism to them, which is a common trope in Picoult’s work. Jack and Addie both have the ghosts of their pasts at the back of their minds. Jordan McAfee is more or less the same (if a little diluted) as he is in The Pact. The ‘prosecution’ side of the story is rather more expanded as well. Gilly Duncan is a fascinatingly complex teen girl, who has, with a quartet of friends, turned to pagan religion and her father is leading the town against Jack.
Salem Falls, finally, holds close the one amazing point I had about Second Glance. The research is phenomenal. Reading Picoult is like having a lesson on topics you would never have known of otherwise. It’s truly unique. The novel is intertwined with quotes from The Crucible. Salem Falls is her answer to it, however the witches are the one’s doing the prosecution and the victim is the loner in town. It’s a clever reversal and fits nicely into a very intelligent book. I recently heard someone refer to Jodi Picoult’s novels as “Chick Lit,” but I honestly don’t see the comparison. Salem Falls appeals to me after all, a twenty-one year old English guy. I see it as crime fiction most of the time. And who doesn’t love getting into the gritty deathmatch which is a courtroom drama?
Ian McEwan has a way with words most other writers can only imagine having. He has an almost Joycian level of complexity with his style, but it seems somewhat more accessible. On Chesil Beach is a novella full of this level of writing. It’s very impressive to read.
But does that make it worth reading?
The novella follows the two lives of a couple of newlyweds. The narrative is primarily set on the evening of their wedding. Edward Mayhew is a ‘sixties businessman, and Florence Ponting is a nationally recognised violinist. There is disparity between the two sides of the relationship. Florence is asexual, Edward isn’t. Progress is slow through the book as about three-quarters is given over to just the night of their wedding and flashbacks about how and where they met and segments regarding the development of their relationship. The remaining quarter rushed through most of the rest of Edward’s life. It reminded me of a cycling sprint race where they look over their shoulders at each other for most of the duration of the race then go like hell for the last forty seconds. However this section seems to be more of an epilogue than an end, and as such, it works quite well and leaves you with something to think about after you’ve finished.
One issue I had was the characters as neither Edward nor Florence come across as particularly likeable. Where this isn’t necessarily an issue in a lot of fiction, I find in here it becomes one because of how close you are to the characters. Almost every action, inaction and thought they display as their wedding night is described. You’re inseparable from their being. Again, it’s clever, but it’s not a place I as a reader felt comfortable in. The novella did make me feel uncomfortable in places. The detail is extremely graphic and each emotional response bears a lot of weight. But I didn’t enjoy reading it in the same way I have enjoyed other books. Perhaps it’s too real; the slow motion aspect of the novel leaves nothing to your imagination. It lays every detail on the bed and asks you what you think about it. Or perhaps I was simply frustrated with the two characters. Florence seems very self-obsessed. She talks about how the thought of sex with her husband revolts her. Edward is completely oblivious and naïve to any possible other way of thinking as well. It begs the question of why the couple thought they’d be good for each other at all.
It’s worth remembering that this novella is set in 1960’s southern England, it’s a different world to where we are now, post war, rationing may even have been in effect in some parts of the country. Edward fits into the Angry Young Man persona. He’s been denied fighting in the war due to the fact he was born during it and his tension is released in the form of arousal. The characters are oil and water and both have flaws which mean you cannot really side with either. It’s an interesting novella and the writing is shocking, beautiful and very well thought out. I couldn’t enjoy the book. But I could definitely appreciate the author’s skill in writing it.
There can be no doubt that The Lifeboat, Charlotte Rogan’s debut novel, is an interesting an engaging read. But whether or not I actually like the book is a different matter. The novel, narrated by the rather prim Mrs Grace Winter, is her memories and recollections of the sinking of The Empress Alexandra, a transatlantic cruise ship, and her time floating aboard an undersized lifeboat with thirty-eight other people, a couple of years after the sinking of the Titanic.
As far as plot goes, there isn’t a huge amount of it, which is understandable due to the nature of the novel’s setting. The ship sinks; Mrs Winter finds herself in a lifeboat; they are eventually rescued, and then there is a court case surrounding some of the events which occurred on the boat. As such the novel really needs to be outstanding on atmosphere and character development. The former it excels at until they are rescued. The three quarters of the novel set on the boat are a harrowing recount of a group’s determination for survival amidst a seemingly hopeless backdrop of waves, sharing out knife caught fish, ship’s biscuits and water for the progressively decreasing figure of thirty-nine and the constant dissension amongst the passengers.
The latter on the other hand is severely lacking. Because the novel is written in first person and past tense there is a significant distance between the reader and the situation. It’s beautifully described but you cannot feel anything for the character who you are essentially watching through the particularly cold and disclosing eyes of Mrs Winter. There is very little engagement with the other characters on the boat and twinned with the truth that none of them, least of all the narrator, are distinctly likable; you can’t really feel for them. They end up just as objects. There is no sense of remorse for the dead, nor relief for the living. It makes the concept feel deflated. The other issue is that there are simply too many people on the boat to align with. Thirty-nine people are said to be on the boat. But you quickly forget those other than the key characters of Mrs Winter, Mr Hardie; the only seaman on board, the officious Mrs Grant and her dogsbody Hannah and the wet and annoying Mary Ann. I am certain that at least half of the characters on the boat are unaccounted for even at the end of the novel, so how can you care that they lived or died?
The novel seems to be trying to make a statement, but it doesn’t seem to know which statement to make. It extensively addresses feminism and suffrage, but as it appears to be leaning towards that it veers off into religion. I couldn’t even call it a novel about survival or trauma. It’s a novel about a selection of cardboard cut-out stereotypes who find themselves in an extreme situation. But it’s the situation which wins the awards, not the characters. To be honest, the boat left bobbing in the ocean at the end as the survivors departed on a fishing boat was the only character I truly missed. If the first three quarters existed without the final one and if the novel had been in third person then perhaps it could have been better. Unfortunately it had a lot of shortcomings. It’s real saving grace is the description and the tension Rogan creates. I feel it’s a divider of opinions and you can only really know what yours is after reading it.
I’m not one to explain poems that much, but just for a small amount of context. I studied at Aberystwyth University and on several occasions found myself travelling between Aber and my home town. Just East of Aberystwyth there is a huge and impressive wind farm which we almost always passed on the way. It’s always been in the back of my mind, and I do find they have a certain romance to them.
The Wind Farm
Up on Rheidol
the brush grass, rough, windswept,
mingles with the gorse
which grew thick in the summer.
The October chill drains
Its colour. Green becomes buff.
The hillside is ragged,
Ruled by sheep.
There are no crops.
For the dull drone.
White pillars, each pristine,
Set with a propeller,
three blades, equally spaced.
The rotation is slow
at first, but speeds up
as a gust blows
in from the sea.
They stand tall like watchers
looking out over the hill
and the road.
and the irritable clouds.
There they stand. Innocently
battling the Westerlies.
There they stand and there
they will stand.