Category Archives: Fiction

The Absolutely True Diary of a Part-Time Indian: So. good.

        Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian belongs in several categories of 10-10-12: banned books, books with illustrations, and young adult fiction. It’s also made it’s way on to the (yet undisclosed and unfinished) list of best books I’ve read in 2011. The first person narrator’s honesty coupled with his humour make for a totally captivating tone, which quickly and effectively secures the readers’ concern and care for the brave, fragile and fierce protagonist. Such was this readers’ concern that as the story begins a gradual, but escalating, revelation of grief, I found myself a little weepy, but more than that, a little in awe of a story that so quickly and so honestly invites reader sympathy/empathy.

I should comment on the illustrations not just because this book is categorized (for me) in books with illustrations, but because the cartoons that pepper the pages serve Junior/Arnold as an outlet for emotions he doesn’t understand, and allow the reader yet another window into the complicated and fraught emotional life of a teenage boy.

I admit to being a little floored by how much and how quickly I came to care about Junior/Arnold.

It’s scandalous to me that this one appears on the ALA list of most frequently banned at schools in the US – a tragedy of its own kind that some readers will be prevented or hindered from finding their way to this remarkable story, when really, it ought to be put in the hands of every teenager  reader who has ever felt weird, or felt like they didn’t know how to feel (so… all of us).

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Filed under 100 Books of 2011, Fiction, Prize Winner, Young Adult Fiction

The Night Circus: Magic(al setting)

                    I read The Night Circus on the recommendation of a glowing review in The Globe and Mail and because Erin Morgenstern is coming to read from it tomorrow night (!). The Globe review suggested the book reminded her of reading the best novels of her life – the experience to be savoured and indulged like so much rich food. And while I enjoyed The Night Circus I’m not yet prepared to say it’s in the same room with the best books of my life (what are these books?).

So what are my problems? The story relies too heavily on the magic of the setting. An odd complaint perhaps from a book about magicians, a magical duel, a magical midnight circus, but the setting is just so. well. done. that when the characters remain somewhat flat and unpredictable (when do the two protagonists fall in love? you don’t know either? neither does the novel…), the plot holds inexplicable (and not ‘magic realism’ inexplicable, but just perplexing) elements and the writing is unremarkable. In a a tone that recalls Jonathan Strange and Mr. Norrell, or the tv show Carnivale the story feels like it’s missing a certain authenticity that I’m having trouble explaining or justifying, but is there nonetheless.

That said, I lack the range of synonyms for “incredible” and “awesome” with which to praise the setting. The circus is so enjoyable to wander, so full of surprises, creativity and, well, magic that I loved the book despite my other concerns. It’s well worth the read if you care at all about magicians or, if you’re like E. the circus.

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Filed under 100 Books of 2011, Fiction, Worst Books

The Book Thief: Devasting (and beautiful)

Mark Zusak’s The Book Thief hurts to read. In the most straightforward way it’s the story of a young German girl and the town that raises her before and during World War Two. It is also the story of the power of words to save people from the insanity of isolation and the power of words to ignite and fuel beliefs that argue for dominance and destruction.

I have had over the course of this latest reading project opportunities to consider why I read, what effects reading has on me and what reading cannot accomplish. The Book Thief adds to this ongoing conversation I’m having with myself about the utility and responsibility of reading by arguing that it is in sharing stories – reading to others; showing others the painful and glorious experiences we’ve had; giving away, stealing and borrowing stories – that something like a common humanity emerges. I know that will sound trite, and perhaps it is, but on finishing The Book Thief I feel, well, simply overwhelmed with a kind of reverence for story-telling. And so if I fall into cliche I do so out of a helplessness for other words that might convey the power of this story in particular, but of stories – for me, at least – entirely.

I need not give anything away about this book – not comments on the at first irritating, but later endearing narrator, nor comments on the unexpected setting; neither comments on the pace of plot or the fully realized characters – because the narrator routinely tells the reader what is coming. And maybe it is this foreknowledge, this preparation, that makes the story so devastating. The recognition as you lie, sobbing your way through the final chapters, that the story, to be true, could only end this way. But that knowing the outcome doesn’t affect the imperative to read and hear the whole story. That you read because you must know not what happened, but how and why. And that the justifications and explanations will never be satisfactory, that you will want to write another, a happier, ending, even while you recognize that a neater ending would be somehow worse. 

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Filed under 100 Books of 2011, Erin's Favourite Books, Fiction, Young Adult Fiction

Zeitoun: Novel News

       At age fifteen or sixteen I began a semi-permanent ban on television. The no-television-under-any-circumstances policy lasted from 1999-2001, with a reprieve on Sept 11, and then again enforced as of Sept 12. I began university in 2002, and from that point until the present I haven’t owned a functional tv. I’m still a voracious consumer of news – listening to daily reports on the radio and reading newspapers in print and online – just a consumer of news without the barrage of images to accompany the stories. This consumption pattern meant that in 2005 when Hurricane Katrina hit New Orleans I didn’t see (m)any images of the disaster. I certainly heard reports, read stories of the damage, looting, and unpredictably zealous or absent support from the authorities.

So when I read that Dave Eggers – one of my long favoured authors* – had written another news-novel (more on the genre distinction in a moment) about one family’s experience of the Hurricane, I put it on my list. I admit that what I read amounted to novel news to me in the sense of altogether unknown news about the hurricane. I had little idea that so many citizens were wrongfully and illegally detained in the aftermath of the hurricane; I wasn’t sure about the reports of rape, looting, assault (though to be fair, the novel does a fairly poor job of clarifying whether these events did in fact take place; rather, Eggers points out that there were contradictory news reports and leaves it – frustratingly – at that).

Grounding the hurricane (ha!) in the story of one family – the Zeitoun family – allows the reader to care deeply about the disaster because it has been carefully and thoroughly personalized. I wonder whether the Zeitoun family already inhabited a host of compelling issues in contemporary American life, or whether Eggers emphasized these issues in order to craft a more compelling novel (okay, so I don’t actually wonder, but it’s worth asking the question), but whatever the case, the Zeitoun’s embody questions of race, religion, patriotism, the precarious middle class in ways that read as genuine and appropriately complex.

In terms of genre I have a hard time accepting the designation of ‘non-fiction’ (as assigned by my library). The book is a novel, a historical one, perhaps, or what I’m calling here a news-novel. It has the usual plot, characters, and setting, but more crucially in the ‘novel’ designation – for this reader, anyway – it has thematic preoccupations (what can one man accomplish when set against nature? against the state?), symbols (the flood, drowning, risks of water, rainbows, bleh), and a shifting point of view. Much like What is the What the news-novel asks the reader to accept that what is written is for all intents ‘true,’ but allows that in any telling there will be fictional elements. It is, in short, a genre I like.

*I also like Dave Eggers. Those with reservations who have only read A Heartbreaking Work of Staggering Genius would do well to try reading something else he’s written. I myself enjoyed AHWOSG, but see a stark (really) difference between the autobiographical work and his news-novels and short stories. So here’s my plug for an author I adore (not like he needs a plug, but still): he’s really very good.

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Filed under 100 Books of 2011, American literature, Fiction, Prize Winner