Book 3 of the Skinjacker Trilogy
Author: Neal Shusterman
Genre: fiction, fantasy, young adult
Publication info: Simon & Schuster, 2011
Pages: 500
Young adult fiction is a strange genre. I don't get why some mediocre or downright awful books, such as The Hunger Games or the Twilight saga (respectively), get all the attention, while well-written, gripping, stunningly creative books are forced to fly under the radar.
I am, of course, referring to Neal Shusterman's Skinjacker trilogy. It's no secret that I love these books. But I'd like to believe my love isn't misplaced. Maybe there's something out there that this trilogy resembles, but I haven't heard about it.
I was excited to see that Everfound, the final installment, was coming out much sooner than I expected. I ordered it pretty soon after it was released, and I'm glad it did. This book did not disappoint me, and if you have enjoyed both Everlost and Everwild, I'm sure you will enjoy this one too.
It picks up shortly after Everwild left off (if you haven't read that one, I wouldn't recommend reading my description here—it might spoil some things for you). Both of our heroes are in pretty bad situations. Nick "the Chocolate Ogre" has been turned entirely into chocolate and doesn't remember anything about who he really is. Allie "the Outcast" is a prisoner tied to the front of a train that carries the sleeping body of Mary Hightower. It is still months before Mary is supposed to wake up from her second death, and meanwhile her group is being led by the ruthless Milos, who is fiercely devoted to Mary and will do anything—to anyone—to win her love.
So the conflict begins right away, but there is also a new piece to the puzzle: Jix, a "furjacker" who can possess animals' bodies, has come from a mysterious kingdom in the south to find out what Mary is up to. Milos welcomes him aboard the train, but Jix has his own objectives and allegiances, so it's unclear whether he will be a help or a hindrance to Mary's (and Milos's) fanatical ambitions.
And the stakes have once again been upped. For one, the characters encounter a "scar wraith," a man who has some body parts that exist in Everlost. A single touch from a scar wraith will cause an Afterlight to vanish from existence. And Mary, of course, has become even crazier than ever (in her cool, collected way). Her goal is to bring the entire living world over into Everlost. The scary thing is, she might actually have the means to do it.
Everfound is an exciting and totally satisfying conclusion to the series. One thing I love about this book is how many obstacles and conflicts the author keeps throwing at the characters. Every time, it seems like they're not going to get out of it. Every time, it feels like a genuine danger. And the solutions sometimes come at a high price. I call that good writing.
If you've read the first two books of this trilogy, don't hesitate to pick up this concluding installment. You won't be disappointed.
Wednesday, May 25, 2011
Thursday, May 12, 2011
The Hobbit
or There and Back Again
Author: J. R. R. Tolkien
Genre: fiction, fantasy
Publication info: Houghton Mifflin, 1997 (originally published in 1937)
Pages: 272
Once upon a time, when I was a young boy, my dad would read to me before I went to sleep. I don't know how many books he read to me in all, but one that really stood out was J. R. R. Tolkien's famous novel The Hobbit. I could tell that this book, along with The Lord of the Rings, was something my dad loved, and he instilled that same love in me.
The problem was that, as a kid, I often fell asleep while he read aloud, and even while I was awake I didn't always understand everything. So after recently watching Peter Jackson's excellent film adaptations of The Lord of the Rings, I decided to go back and read the books again, beginning with the book that started it all, The Hobbit (which, you've probably heard, Peter Jackson is making into a film to be released next year).
What a fun little fantasy! I say "little" because, as I understand it, Tolkien wrote this book before developing the massively complex world of Middle-earth, the setting for his novels. This isn't to say that the world of The Hobbit isn't well developed, but it definitely feels simpler in comparison to the subsequent saga.
The tone is also quite a bit different. The narrator of this story is almost a character himself, interjecting his own thoughts here and there. My dad tells me it's meant to sound as if a hobbit were telling this story to younger hobbits around the hearth. All in all, the book feels aimed more at children than its sibling does.
That said, The Hobbit should appeal to children and adults alike. If you've read or seen The Lord of the Rings but have never experienced this story, you really ought to give it a shot. If nothing else, it is an important setup for the grand story to follow.
Bilbo Baggins, a quiet hobbit living contentedly in his home in Hobbiton, is unexpectedly visited by the wizard Gandalf along with twelve dwarves. Before he knows it he is recruited for a daring adventure to recover the dwarves' treasure in the Lonely Mountain, guarded by the evil and selfish dragon Smaug. Bilbo isn't the traveling type (no hobbit is), but he comes to be as great an adventurer as anyone in the group.
The most important part of the story, though, is probably in the middle when Bilbo encounters a creature named Gollum and a magical ring that turns its wearer invisible. Sound familiar? It should.
Tolkien was the master of fantasy, I believe. And I also believe that no encounter with his masterful Lord of the Rings would be complete without a reading of this wonderful little story.
Author: J. R. R. Tolkien
Genre: fiction, fantasy
Publication info: Houghton Mifflin, 1997 (originally published in 1937)
Pages: 272
Once upon a time, when I was a young boy, my dad would read to me before I went to sleep. I don't know how many books he read to me in all, but one that really stood out was J. R. R. Tolkien's famous novel The Hobbit. I could tell that this book, along with The Lord of the Rings, was something my dad loved, and he instilled that same love in me.
The problem was that, as a kid, I often fell asleep while he read aloud, and even while I was awake I didn't always understand everything. So after recently watching Peter Jackson's excellent film adaptations of The Lord of the Rings, I decided to go back and read the books again, beginning with the book that started it all, The Hobbit (which, you've probably heard, Peter Jackson is making into a film to be released next year).
What a fun little fantasy! I say "little" because, as I understand it, Tolkien wrote this book before developing the massively complex world of Middle-earth, the setting for his novels. This isn't to say that the world of The Hobbit isn't well developed, but it definitely feels simpler in comparison to the subsequent saga.
The tone is also quite a bit different. The narrator of this story is almost a character himself, interjecting his own thoughts here and there. My dad tells me it's meant to sound as if a hobbit were telling this story to younger hobbits around the hearth. All in all, the book feels aimed more at children than its sibling does.
That said, The Hobbit should appeal to children and adults alike. If you've read or seen The Lord of the Rings but have never experienced this story, you really ought to give it a shot. If nothing else, it is an important setup for the grand story to follow.
Bilbo Baggins, a quiet hobbit living contentedly in his home in Hobbiton, is unexpectedly visited by the wizard Gandalf along with twelve dwarves. Before he knows it he is recruited for a daring adventure to recover the dwarves' treasure in the Lonely Mountain, guarded by the evil and selfish dragon Smaug. Bilbo isn't the traveling type (no hobbit is), but he comes to be as great an adventurer as anyone in the group.
The most important part of the story, though, is probably in the middle when Bilbo encounters a creature named Gollum and a magical ring that turns its wearer invisible. Sound familiar? It should.
Tolkien was the master of fantasy, I believe. And I also believe that no encounter with his masterful Lord of the Rings would be complete without a reading of this wonderful little story.
Tuesday, May 3, 2011
The Kite Runner
Author: Khaled Hosseini
Genre: fiction
Publication info: Riverhead, 2003
Pages: 371
It's been said that you can tell the quality of a book by how long it stays with you, by how much you think about it well after you've turned the last page. The Kite Runner was recommended to me as such a book, and I have to say I agree with the judgment.
This is not your usual coming-of-age story. For one thing, it's set mostly in Afghanistan (apparently the first book by an Afghan author to be written in English). On top of the profound story, you get to learn about what life is like in this country far from the United States. You learn about kite fighting and kite running, Afghan codes of honor, and the devastation of war. For this reason alone it's an eye-opening book.
But what impressed me even more was that even though it is set in a different culture, many of the themes dealt with were quite familiar to me. They are themes that go deeper than our separate cultures and into our common humanity: friendship, the father-and-son relationship, betrayal, guilt, fear, love, redemption. If anything, this book shows that all across the world, we are more alike than we sometimes think.
The narrator of the story is Amir, the son of an affluent man known as Baba. His best friend, although he won't always admit it, is Hassan, the son of Baba's servant. The reason Amir doesn't always admit to being friends with Hassan is that Hassan is a Hazara, a member of an ethnic group considered lower-class in Afghanistan. Although they grow up basically as brothers, it becomes clear early on in the book that Hassan is much more devoted to Amir than vice versa.
Then one day, something happens that alters their relationship forever. In this terrible moment, Amir's brotherly love for Hassan is tested, and it fails. After that they drift apart, not because Hassan feels betrayed, but rather because Amir is overwhelmed with guilt. Although this pivotal moment in their friendship (I won't say exactly what happens) is painful enough by itself, it is really the guilt tearing them apart that is the most saddening.
But where there is guilt, there is also the possibility for redemption. Years later, Amir receives a phone call from an old friend who tells him what I believe is the main message of the story: "There is a way to be good again." Amir does find a way, but once again he will be tested, even more deeply than before.
It's a profound story, one that I definitely will be thinking about for a long time. I should warn you, though, that it is not exactly a pleasant story. Some of the central story elements (such as the pivotal moment I vaguely described above) are very disturbing, and at times they even caused me almost tangible pain to imagine. There is also a bit of offensive language that usually I would not tolerate, but for some reason I was able to get through it this time.
A lot of good stories have disturbing and painful aspects to them. What's important, I think, is what the story does with them. In The Kite Runner, it's not the pain that's the focus, but the redemption. There is a way to be good again. Even when you feel you've done something horrible, even when you feel beyond hope, there is a way to be good again. That message rings true with me. I hope it does with you too.
Genre: fiction
Publication info: Riverhead, 2003
Pages: 371
It's been said that you can tell the quality of a book by how long it stays with you, by how much you think about it well after you've turned the last page. The Kite Runner was recommended to me as such a book, and I have to say I agree with the judgment.
This is not your usual coming-of-age story. For one thing, it's set mostly in Afghanistan (apparently the first book by an Afghan author to be written in English). On top of the profound story, you get to learn about what life is like in this country far from the United States. You learn about kite fighting and kite running, Afghan codes of honor, and the devastation of war. For this reason alone it's an eye-opening book.
But what impressed me even more was that even though it is set in a different culture, many of the themes dealt with were quite familiar to me. They are themes that go deeper than our separate cultures and into our common humanity: friendship, the father-and-son relationship, betrayal, guilt, fear, love, redemption. If anything, this book shows that all across the world, we are more alike than we sometimes think.
The narrator of the story is Amir, the son of an affluent man known as Baba. His best friend, although he won't always admit it, is Hassan, the son of Baba's servant. The reason Amir doesn't always admit to being friends with Hassan is that Hassan is a Hazara, a member of an ethnic group considered lower-class in Afghanistan. Although they grow up basically as brothers, it becomes clear early on in the book that Hassan is much more devoted to Amir than vice versa.
Then one day, something happens that alters their relationship forever. In this terrible moment, Amir's brotherly love for Hassan is tested, and it fails. After that they drift apart, not because Hassan feels betrayed, but rather because Amir is overwhelmed with guilt. Although this pivotal moment in their friendship (I won't say exactly what happens) is painful enough by itself, it is really the guilt tearing them apart that is the most saddening.
But where there is guilt, there is also the possibility for redemption. Years later, Amir receives a phone call from an old friend who tells him what I believe is the main message of the story: "There is a way to be good again." Amir does find a way, but once again he will be tested, even more deeply than before.
It's a profound story, one that I definitely will be thinking about for a long time. I should warn you, though, that it is not exactly a pleasant story. Some of the central story elements (such as the pivotal moment I vaguely described above) are very disturbing, and at times they even caused me almost tangible pain to imagine. There is also a bit of offensive language that usually I would not tolerate, but for some reason I was able to get through it this time.
A lot of good stories have disturbing and painful aspects to them. What's important, I think, is what the story does with them. In The Kite Runner, it's not the pain that's the focus, but the redemption. There is a way to be good again. Even when you feel you've done something horrible, even when you feel beyond hope, there is a way to be good again. That message rings true with me. I hope it does with you too.
Friday, March 25, 2011
Alice's Adventures in Wonderland & Through the Looking-Glass
Author: Lewis Carroll
Genre: fiction, fantasy, nonsense
Publication info: Penguin, 1998 (originally published in 1865 and 1871, respectively)
Pages: 357 (including both novels and lots of supplementary material)
This is another one of those books that falls into the why-didn't-I-read-this-a-long-time-ago category. I guess I just assumed that, having seen the 1951 Disney movie and the more recent film directed by Tim Burton, I was familiar enough with Wonderland and its strangeness.
But let me tell you something: Those movies do not come close to how weird the Alice stories truly are. You think Tim Burton is weird? Lewis Carroll makes Burton's work look as imaginative as the tax code.
You'll just have to read these books to know what I'm talking about. But let me also warn you that I really mean what I say when I categorize them as nonsense literature. If you try to dig any meaning out of them, you're going to have a heck of a time. Lots of scholars have tried to do that, and I honestly think they were wasting their time.
I don't really know how to begin describing these books. In Wonderland, Alice chases a white rabbit down a hole and ends up in a bizarre dream world. You probably know that much already. But as I said before, it is unbelievably bizarre. So many things go unexplained, like the Duchess's cook who periodically hurls dishes at the Duchess's head, and the baby that Alice rescues from the Duchess's apparently cruel treatment but that eventually turns into a pig. Many of the more familiar elements are there: the Cheshire Cat, the croquet game with the Queen of Hearts, the mad tea party. It's funny how I continued to expect to find out why these characters were doing all the weird things they were doing. It took a long time for me to figure out that nothing is going to be explained.
In Through the Looking-Glass, much to my surprise, Alice travels to a completely different world with an entirely new cast of characters. In this story she finds herself participating in a giant (and barely recognizable) game of chess. She meets the Red and White Queens, Kings, and Knights, and all sorts of other interesting people. It is in this story that you see most of Carroll's famed wordplay (including that fantastic poem, "Jabberwocky"). But at the end, once again, you're left scratching your head with wonder.
You have to wonder what kind of mind could create such stories. I did, and that's why I appreciated the biographical introduction in this edition. After reading about Carroll's (or rather, C. L. Dodgson's) life, I'm convinced that if he were alive today, he would be in prison. His relationships with young girls, particularly the girl from whom he got the name of his main character, were more than a little disturbing.
Still, these books are well worth reading. It was nice to escape to such a strange world after being immersed in textbooks for so long. I also really liked the pictures, drawn by John Tenniel. I've never seen a story interact so well with the illustrations before. At some points the narrator even says something to the effect of "If you don't know what I'm talking about, just look at the illustration." These illustrations are anything but superfluous.
If you want to read something a little different—okay, really, really different—give the Alice books a try.
Genre: fiction, fantasy, nonsense
Publication info: Penguin, 1998 (originally published in 1865 and 1871, respectively)
Pages: 357 (including both novels and lots of supplementary material)
This is another one of those books that falls into the why-didn't-I-read-this-a-long-time-ago category. I guess I just assumed that, having seen the 1951 Disney movie and the more recent film directed by Tim Burton, I was familiar enough with Wonderland and its strangeness.
But let me tell you something: Those movies do not come close to how weird the Alice stories truly are. You think Tim Burton is weird? Lewis Carroll makes Burton's work look as imaginative as the tax code.
You'll just have to read these books to know what I'm talking about. But let me also warn you that I really mean what I say when I categorize them as nonsense literature. If you try to dig any meaning out of them, you're going to have a heck of a time. Lots of scholars have tried to do that, and I honestly think they were wasting their time.
I don't really know how to begin describing these books. In Wonderland, Alice chases a white rabbit down a hole and ends up in a bizarre dream world. You probably know that much already. But as I said before, it is unbelievably bizarre. So many things go unexplained, like the Duchess's cook who periodically hurls dishes at the Duchess's head, and the baby that Alice rescues from the Duchess's apparently cruel treatment but that eventually turns into a pig. Many of the more familiar elements are there: the Cheshire Cat, the croquet game with the Queen of Hearts, the mad tea party. It's funny how I continued to expect to find out why these characters were doing all the weird things they were doing. It took a long time for me to figure out that nothing is going to be explained.
In Through the Looking-Glass, much to my surprise, Alice travels to a completely different world with an entirely new cast of characters. In this story she finds herself participating in a giant (and barely recognizable) game of chess. She meets the Red and White Queens, Kings, and Knights, and all sorts of other interesting people. It is in this story that you see most of Carroll's famed wordplay (including that fantastic poem, "Jabberwocky"). But at the end, once again, you're left scratching your head with wonder.
You have to wonder what kind of mind could create such stories. I did, and that's why I appreciated the biographical introduction in this edition. After reading about Carroll's (or rather, C. L. Dodgson's) life, I'm convinced that if he were alive today, he would be in prison. His relationships with young girls, particularly the girl from whom he got the name of his main character, were more than a little disturbing.
Still, these books are well worth reading. It was nice to escape to such a strange world after being immersed in textbooks for so long. I also really liked the pictures, drawn by John Tenniel. I've never seen a story interact so well with the illustrations before. At some points the narrator even says something to the effect of "If you don't know what I'm talking about, just look at the illustration." These illustrations are anything but superfluous.
If you want to read something a little different—okay, really, really different—give the Alice books a try.
Thursday, March 24, 2011
The Writer's Journey
Mythic Structure for Writers
Author: Christopher Vogler
Genre: nonfiction, writing instruction
Publication info: Michael Wiese Productions, 2007 (3rd edition)
Pages: 406
It's been a good long while since I last posted to this blog, but that doesn't mean I haven't been reading. Sometimes when life gets crazy, you just can't read as much, or at least as fast. I know that sounds like a contradiction to what I said at the beginning of this blog. I guess I just haven't always been good at following through with my intentions.
I've still been reading a bit, though. The Writer's Journey is one of those books I was always eyeing at the bookstore. I read about it online and always looked out for sales and other excuses to buy it. But I never did—until a dear friend made it possible by giving me a gift card to a bookstore (probably one of the best gifts someone could give me). So I felt like it was finally time to buy this book, and of course read it.
What this book basically does is take myths from many cultures and distill them into a pattern that writers can use for their stories. Referring frequently to the work of mythologist Joseph Campbell, the author describes several of the most important character archetypes—the hero, the mentor, the shadow, the threshold guardian and more. And then he describes the major segments of the Hero's Journey. All along the way he explains how a writer might apply these principles to a story, and he demonstrates them with examples from major films. Questions at the end of each chapter also help apply the principles that are explained.
I liked this book. It was fun to think about stories I've read or movies I've seen and see how they fit into the patterns described in the book (I couldn't help but think of Tron: Legacy most of the time). Now, I must confess I haven't been doing a lot of writing of my own lately. But I haven't completely given up on writing, and when I finally bring myself back to it, I think I will find this book quite useful. Now that I know the structure of the book, it will now be helpful as a handbook when I design and build my own stories.
I especially like the essays at the end of the book, which were added in the third edition. In them Vogler explores some new topics in light of the Hero's Journey: polarity, physicality, catharsis. It's pretty interesting stuff. And finally, he takes the journey, applies it to the life of the writer (whence we get the title of the book), and gives the encouraging advice: "Trust the journey."
I'd recommend this book to anyone who likes to create stories. As Vogler says in the introduction, this isn't about formula but rather about structure and direction. The stories you want to create probably won't fit completely into these patterns, but you probably will find some helpful ideas in this book.
Author: Christopher Vogler
Genre: nonfiction, writing instruction
Publication info: Michael Wiese Productions, 2007 (3rd edition)
Pages: 406
It's been a good long while since I last posted to this blog, but that doesn't mean I haven't been reading. Sometimes when life gets crazy, you just can't read as much, or at least as fast. I know that sounds like a contradiction to what I said at the beginning of this blog. I guess I just haven't always been good at following through with my intentions.
I've still been reading a bit, though. The Writer's Journey is one of those books I was always eyeing at the bookstore. I read about it online and always looked out for sales and other excuses to buy it. But I never did—until a dear friend made it possible by giving me a gift card to a bookstore (probably one of the best gifts someone could give me). So I felt like it was finally time to buy this book, and of course read it.
What this book basically does is take myths from many cultures and distill them into a pattern that writers can use for their stories. Referring frequently to the work of mythologist Joseph Campbell, the author describes several of the most important character archetypes—the hero, the mentor, the shadow, the threshold guardian and more. And then he describes the major segments of the Hero's Journey. All along the way he explains how a writer might apply these principles to a story, and he demonstrates them with examples from major films. Questions at the end of each chapter also help apply the principles that are explained.
I liked this book. It was fun to think about stories I've read or movies I've seen and see how they fit into the patterns described in the book (I couldn't help but think of Tron: Legacy most of the time). Now, I must confess I haven't been doing a lot of writing of my own lately. But I haven't completely given up on writing, and when I finally bring myself back to it, I think I will find this book quite useful. Now that I know the structure of the book, it will now be helpful as a handbook when I design and build my own stories.
I especially like the essays at the end of the book, which were added in the third edition. In them Vogler explores some new topics in light of the Hero's Journey: polarity, physicality, catharsis. It's pretty interesting stuff. And finally, he takes the journey, applies it to the life of the writer (whence we get the title of the book), and gives the encouraging advice: "Trust the journey."
I'd recommend this book to anyone who likes to create stories. As Vogler says in the introduction, this isn't about formula but rather about structure and direction. The stories you want to create probably won't fit completely into these patterns, but you probably will find some helpful ideas in this book.
Saturday, January 8, 2011
Good Omens
The Nice and Accurate Prophecies of Agnes Nutter, Witch
Authors: Neil Gaiman and Terry Pratchett
Genre: fiction, fantasy, apocalyptic
Publication info: Workman Publishing, 1990
Pages: 296
Neil Gaiman is an incredibly creative writer. Terry Pratchett is an incredibly funny writer. Good Omens is what you get when you combine the writing powers of both of them. The creativity and hilarity is almost too much to take.
I may have mentioned before that it takes a lot for something that I read to make me laugh out loud. Well, I laughed quite a bit while reading this book. I think that's the book's greatest strength: its little moments of hilarity. The story as a whole is well put together, but it's not necessarily amazing. Individual scenes, though, are quite enjoyable.
Good Omens features an enormous cast of characters, making it hard to follow sometimes, but definitely never dull. Two of the main characters are Aziraphale the angel and Crowley the demon, who have somehow been friends through the millennia of Earth's existence. They both highly enjoy life on Earth and would hate to see it end, so when Crowley is tasked with placing the Antichrist into an English family, they are worried that the end is coming and decide to work together to keep that from happening.
As it turns out, the Antichrist (non-coincidentally named Adam) becomes a rather normal boy. At eleven years old, when most of the book takes place, he does the sorts of things that any boy his age would do. But when he starts to come into his demonic powers, things spin quickly out of control.
I recall one reviewer labeling this book as "irreverent," and I would have to agree. This is not a story for someone whose religious convictions are easily offended. If however, you are confident in your convictions and can see this book for what it is—a farce—I think you will heartily enjoy it, as I did. Don't put too much stock in the story or its philosophical implications (I think Terry Pratchett generally tries too hard in that respect). Just sit back and enjoy.
I should warn you that there is a bit of strong language and some innuendo. It's disappointing in that regard. Definitely not appropriate for children. Overall, though, Good Omens is a hilariously fun romp.
Authors: Neil Gaiman and Terry Pratchett
Genre: fiction, fantasy, apocalyptic
Publication info: Workman Publishing, 1990
Pages: 296
Neil Gaiman is an incredibly creative writer. Terry Pratchett is an incredibly funny writer. Good Omens is what you get when you combine the writing powers of both of them. The creativity and hilarity is almost too much to take.
I may have mentioned before that it takes a lot for something that I read to make me laugh out loud. Well, I laughed quite a bit while reading this book. I think that's the book's greatest strength: its little moments of hilarity. The story as a whole is well put together, but it's not necessarily amazing. Individual scenes, though, are quite enjoyable.
Good Omens features an enormous cast of characters, making it hard to follow sometimes, but definitely never dull. Two of the main characters are Aziraphale the angel and Crowley the demon, who have somehow been friends through the millennia of Earth's existence. They both highly enjoy life on Earth and would hate to see it end, so when Crowley is tasked with placing the Antichrist into an English family, they are worried that the end is coming and decide to work together to keep that from happening.
As it turns out, the Antichrist (non-coincidentally named Adam) becomes a rather normal boy. At eleven years old, when most of the book takes place, he does the sorts of things that any boy his age would do. But when he starts to come into his demonic powers, things spin quickly out of control.
I recall one reviewer labeling this book as "irreverent," and I would have to agree. This is not a story for someone whose religious convictions are easily offended. If however, you are confident in your convictions and can see this book for what it is—a farce—I think you will heartily enjoy it, as I did. Don't put too much stock in the story or its philosophical implications (I think Terry Pratchett generally tries too hard in that respect). Just sit back and enjoy.
I should warn you that there is a bit of strong language and some innuendo. It's disappointing in that regard. Definitely not appropriate for children. Overall, though, Good Omens is a hilariously fun romp.
Tuesday, January 4, 2011
A Christmas Carol
Author: Charles Dickens
Genre: fiction, fantasy
Publication info: Scholastic, 1962 (originally published in 1843)
Pages: 122
You are familiar with this story. I'm sure of it. You've definitely seen an adaptation of it, probably more than one. And there's a good chance you imagine Bob Cratchit as a frog. Okay, maybe not that last one, but my point is that A Christmas Carol is deeply entrenched in our Christmas traditions.
I think that's a good thing. A Christmas Carol is a great story. But I never got around to reading the actual story until just now.
As I've said with many books before, I'd been missing out. Although the story held few surprises for me in written form, I learned that Charles Dickens is a very clever and funny writer. That might seem obvious, but this is the first Dickens work I have read, so it was a delightful introduction for me.
As an example, you are probably familiar with the opening line: "Marley was dead, to begin with." The narrator goes on to really drive the point home that Marley was dead (otherwise his appearance as a ghost would have no significance). A few paragraphs down, he says that Marley was "dead as a doornail." Have you ever wondered what is so dead about a doornail? Well, this narrator wonders that for a while. The tangent he goes on has very little to do with the story, but it made me chuckle. I can tell that Dickens really knew his language.
It was also nice to read the original story so I can know how accurate the many adaptations are. I found that the Hallmark version with Patrick Stewart is very, very close (they even work in the rambling about the doornail). But other versions that you wouldn't think to be very accurate are closer than I thought. Even Mr. Magoo's Christmas Carol uses a lot of lines verbatim from the story. Who would have thought?
A Christmas Carol is a delightful story. It teaches some great lessons that are especially important around Christmastime. I'm glad it's so prevalent in our culture, and I recommend the story to anyone who enjoys the movie adaptations.
Genre: fiction, fantasy
Publication info: Scholastic, 1962 (originally published in 1843)
Pages: 122
You are familiar with this story. I'm sure of it. You've definitely seen an adaptation of it, probably more than one. And there's a good chance you imagine Bob Cratchit as a frog. Okay, maybe not that last one, but my point is that A Christmas Carol is deeply entrenched in our Christmas traditions.
I think that's a good thing. A Christmas Carol is a great story. But I never got around to reading the actual story until just now.
As I've said with many books before, I'd been missing out. Although the story held few surprises for me in written form, I learned that Charles Dickens is a very clever and funny writer. That might seem obvious, but this is the first Dickens work I have read, so it was a delightful introduction for me.
As an example, you are probably familiar with the opening line: "Marley was dead, to begin with." The narrator goes on to really drive the point home that Marley was dead (otherwise his appearance as a ghost would have no significance). A few paragraphs down, he says that Marley was "dead as a doornail." Have you ever wondered what is so dead about a doornail? Well, this narrator wonders that for a while. The tangent he goes on has very little to do with the story, but it made me chuckle. I can tell that Dickens really knew his language.
It was also nice to read the original story so I can know how accurate the many adaptations are. I found that the Hallmark version with Patrick Stewart is very, very close (they even work in the rambling about the doornail). But other versions that you wouldn't think to be very accurate are closer than I thought. Even Mr. Magoo's Christmas Carol uses a lot of lines verbatim from the story. Who would have thought?
A Christmas Carol is a delightful story. It teaches some great lessons that are especially important around Christmastime. I'm glad it's so prevalent in our culture, and I recommend the story to anyone who enjoys the movie adaptations.
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