Tag Archives: 10-10-12

Paris 1919: Excellent

               Even if I wasn’t predisposed to an enjoyment of WWI history, I suspect I’d have enjoyed Margaret MacMillian’s (epic 500 page) account of the drafting of the Treaty of Versailles in Paris 1919. Elegant sentences and a keen sense of characterization make this history intensely readable. A decision to withhold judgment on the particular historical characters lends it credibility, in that no one person or country is blamed; rather, the combined effect of a complicated and contingent set of treaties, weak characters (either too ambitious or too reticent), illnesses, and miscommunications, resulted in a treaty that, as MacMillan argues, cannot on its own be blamed for anything (re: not for WWII), but must be recognized in historical hindsight (and by many at the time) as an abject failure in a project of promoting peace.

I particularly enjoyed the characterization of the members of the Supreme Council (aptly named, I suppose): Wilson, Clemenceau, Orlando and Lloyd George. Each received ample introduction, which allowed the later discussion of their mistakes, and subsequent political downfalls, to read as poignant. The measured attention to the contradictory enforcement of “self-determination” as dependent on political and economic expedients for those with political power, and the arrogance and self-righteousness of the policy makers, came with an appropriate connection to circumstances in the present that resonated, without badgering.

The organization of the book is excellent. Characters, countries and their different aims and outcomes, geographic determinations and overlaps, unfold according to geography, but also read as seamlessly plotted, such that a subsequent chapter relies on necessary information introduced in a former. That said, there are a few occasions where I wondered whether an editor might have missed a line where information is given twice — perhaps a later section written independently without regard for the chapter that came earlier? or perhaps a purposeful reminder to the reader of what appears to be a rather insignificant point? I’m not sure, and it probably doesn’t matter, as these infrequent repetitions take nothing away from the well crafted plot.

If you’re at all interested in imperialism, border-making, diplomacy, or Europe in the inter-war period I cannot recommend this book enough. Should you find European history to be the least engaging, you will be – without overstatement, I think – riveted at many points by this account. Perchance you dislike history books, Europeans, witty asides, and sarcastic comments about historical attire and comportment, you best look elsewhere.

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Filed under 100 Books of 2011, Erin's Favourite Books, Prize Winner

Portuguese Irregular Verbs: Funny.

                      Portuguese Irregular Verbs is weird. It’s short (and so on the ‘short’ list), and is also a collection of short stories (sort of). A collection of short stories featuring the same character – a professor von Inglesomething. I liked the collection because it followed one character, and I found the character charming.

Professor von Ingelwhatever studies Portuguese irregular verbs. Not surpising the book offers something of a critique of the overly specialized work of academics and the way that academic life sustains itself with irrelevant, introspective conferences and books wherein everyone reads on another (or probably don’t) in order to be seen reading one another and asking questions about one another when really everyone is only concerned (at all) with their own prestige and self-importance. Inhale. So funny, yes, but perhaps a little close to home, too.

Total fluff, too.

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Filed under 100 Books of 2011, Book I'll Forget I Read, Fiction, Funny

In the Skin of a Lion: Here be Short

    I read In the Skin of a Lion again for my class, and can’t seem to fit it in anywhere in the 10-10-12 list, so I’m putting it in “Short” both because that’s the category I’m meant to be reading right now, and because – perhaps more importantly – the book might be thought about in short thematic, chronological and character sequences. It’s a beautiful novel. There are descriptions that catch your breath, beautiful scenes between people who connect by allowing one another the space to be different, cartwheeling images that subtly shift over the course of the narrative.

I wrote an essay on the book in undergrad; I can’t remember what the essay was about. I feel like I had things to say about the novel’s representation of history. A representation that doesn’t strike me as very interesting anymore (the history of labourers and immigrants finds a space to be heard – okay), but is there for those of you interested in labour history. I was far more taken with the imagery this go around and tried to pay attention to how each operated, but found myself – perhaps appropriately – overwhelmed by the number of images and the way they worked together. So great to read a novel by a poet. I think, anyway.

Other news: 1/5 done 10-10-12. (Is this good news? Or worrisome that I’ve spent Jan/Feb reading 20 books and not finishing T?)

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Filed under 100 Books of 2011, Canadian Literature, Erin's Favourite Books, Fiction, Prize Winner

Jimmy Corrigan: Wow.

     So in my life to date I think I’ve read in the neighbourhood of a eight hundred books. A figure arrived at with the base calculation of 50 books a year for the last ten years + 30 books a year for the ten years between 6-16.  A number of no consequence whatsoever except when contrasted with the six (total) graphic novels I’ve read: Spiegleman’s Maus I and II, Persepolis, Riel, and the Unwritten, and now, Chris Ware’s Jimmy Corrigan.

I mention all this because I have a lot of practice deciding what I like and don’t like about fiction (in the non-picture sense) and justifying those feelings with evidence from the text. I have, however, very little experience explaining why I do or do not like graphic novels (see my entry on The Unwritten for evidence) and so I am in the unfortunate position of writing that I LOVE Jimmy Corrigan and I have some sense of why, but it is, a very grasping sense. Graphic novels are not something I have enough experience with or training with to explain clearly, so take this proviso for what is and let me explain why (I think) I love Jimmy Corrigan.

1) There are beautiful sentences. True, graphic novels still have sentences, and I still recognize one them when I read it. Beautiful little gems peppered in dialogue and description that catch you and say ‘wham.’ (For a great article in defense of the beautiful sentence see 19 February 2011 Globe & Mail Books section back-page).

2) Pictures! Pictures that are not simply pretty, but add whole layers of meaning (to this admitted novice in picture-meaning-reading). Illustrations that captivate and confuse – where I spent time puzzling out not simply the direction of meaning (where do I read/look next?) but how the illustrations competed with the text, added to it, complicated it, and made it all the more weighty.

3) The plot. It jumps in time, space (dreams of robots), place and plausibility in ways that left this reader simultaneously confused and captivated. I worked reading this book to understand and appreciate not just the plot flow, but the significance of particular narrative asides and reoccurring symbols (a little red bird for instance, I finally worked out signaled a change in time).

I’m done with my list now. I also like Jimmy, but not so much as to put him in the list. He was a bit sniveling for my taste. Oh! That too! The perfect capture of sound in the text! I heard things as well as saw them.

So I’m more excited now for the other books in my Books with Illustrations category than I was before. Much more. Not so much as to read another one right away. My brain aches a bit. And I think I’ll review Scott McCloud’s stuff on graphic novels (thanks K. for the suggestion) before writing another analysis. Just in case those of you out there who care, care.

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Filed under 100 Books of 2011, Book I'll Forget I Read