Book Review: The Hungry Ghosts by Shyam Selvadurai

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Book Review:

The Hungry Ghosts by Shyam Selvadurai

06.06.2013

By Zara D. Garcia-Alvarez / @ZaraAlexis

hungry ghosts

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Category: Fiction

Author: Shyam Selvadurai

Format: Hardcover, 378 pages

Publisher: Doubleday Canada

ISBN: 978-0-385-67066-1

Pub Date: April 2, 2013

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Summary from publisher:

In Buddhist myth, the dead may be reborn as “hungry ghosts”-spirits with stomach so large they can never be full-if they have desired too much during their lives. It is the duty of the living relatives to free those doomed to this fate by doing kind deeds and creating good karma. In Shyam Selvadurai’s sweeping new novel, his first in more than a decade, he creates an unforgettable ghost, a powerful Sri Lankan matriarch whose wily ways, insatiable longing for land, houses, money and control, and tragic blindness to the human needs of those around her parallels the volatile political situation of her war-torn country.

The novel centres around Shivan Rassiah, the beloved grandson, who is of mixed Tamil and Sinhalese lineage, and who also-to his grandmother’s dismay-grows from beautiful boy to striking gay man. As the novel opens in the present day, Shivan, now living in Canada, is preparing to travel back to Colombo, Sri Lanka, to rescue his elderly and ailing grandmother, to remove her from the home-now fallen into disrepair-that is her pride, and bring her to Toronto to live our her final days. But throughout the night and into the early morning hours of his departure, Shivan grapples with his own insatiable hunger and is haunted by unrelenting ghosts of his own creation.

The Hungry Ghosts is a beautifully written, dazzling story of family, wealth and the long reach of the past. It shows how racial, political and sexual differences can tear apart both a country and the human heart-not just once, but many times, until the ghosts are fed and freed.

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Book Review by Zara from The Bibliotaphe Closet:

The Hungry Ghosts by Shyam Selvadurai is an exquisitely rich story about Shivan Rassiah, a young boy born from poverty and the weight of a burdened past that originally stems from an abrasive grandmother that poisons her lineage to create a wilful and eventually rebellious daughter—and the fate of her belief in her own terrible karma.

Amidst the turmoil of a divided Sri Lanka where the tensions between the Tamils and Sinhalese people are a vivid and violent backdrop to the tensions between Shivan’s estranged grandmother and mother and the sides he is forced to choose from in order for his family to survive—Shivan also grows, discovers, and explores his own sexuality as a gay man and battles against the intolerance of his homosexuality by his Sri Lankan culture and community.

Between his grandmother’s controlling dominance and astute ambition for power and money; his mother’s depression and devastation at the failure of a western country, Canada, whose expectations she held towards were far too high in estimation compared to her real immigrant experience; and his sister’s radical extremism in feminist theory and racial equality—Shivan is often a victim of emotional liminality and displacement, marginalized in his culture and experience not only by being both Tamil and Sinhalese, but more importantly a Sri Lankan-born boy who immigrates to Toronto, Canada as a refugee and eventually becomes a westernized Torontonian and later, a Vancouver resident, open and active in the LGBT community.

The richness in this novel is found in the author’s ability to write with an eloquence and ease that give his characters resounding depth, authenticity, and a vulnerability, which readers can eagerly connect to and appreciate.

And the emotional landscape of the novel’s characters are not static, nor linear, but like life, mimic the fluctuation of people who change their minds over time and over a number of experiences.

The cultural translations of Buddhists stories also enrich the novel in metaphor and Sri Lankan culture, as well as intensify the substance of the novel’s characters.

But, the novel is not just entirely character-driven. The plot, too, is rich as it is turbulent and engaging. The capacity in which characters can love is just as passionate as their ability to hate and condemn, which drive them to illogical and unthinkable acts of cruelty.

The plot, filled with the torment of conflict and anguish, create an emotionally charged and gripping tale that will move readers to empathy and reflection about the importance of resisting exclusivity, answering the issues of cultural displacement, and advocating racial and gender equality, while defining the ideas of love and home.

Overall, The Hungry Ghosts by Shyam Selvadurai is a beautifully written book, full of substance and dichotomy, tenderness and heartache, tension and cruelty—a book that is so gloriously good, I couldn’t put it down—and still mourn the loss I feel in turning its very last pages.

A book like this is one is one in which you befriend its fictional characters in your reading and then miss them severely, feeling a loss at having to accept that though the story does not end, the book itself, has to. The Hungry Ghosts by this gifted and mature writer will inevitably leave its readers hungering for more.

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Characters:  5 stars

Pacing: 5 stars

Cover Design: 3.5 stars

Plot: 5 stars

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Zara’s Rating

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 A special thanks to Random House of Canada on behalf of Doubleday Books for providing me with a copy of this book in exchange for an unpaid, honest review.

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About the Author:

shyam selvadurai

From the Shyam Selvadurai Official Website.

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Shyam Selvadurai was born in Colombo, Sri Lanka, in 1965. He  came to Canada  with his family at the age of nineteen. He has studied creative writing and  theatre and has a BFA from York   University, as well as an MFA in Creative Writing from the University of British Columbia.

Funny Boy, his first novel, was published to acclaim in 1994 and won the WH Smith/Books  in Canada First Novel Award and in the US the Lambda Literary Award. It was also named a Notable Book by the American Library Association, and was translated into 8 languages.

His second novel, Cinnamon Gardens, was published in Canada, the  UK, the US and translated into 9 languages. It was shortlisted for Canada’s Trillium Award, as well as  the Aloa Literary Award in Denmark  and the Premio Internazionale Riccardo Bacchelli in Italy.

Shyam is the  editor of an anthology, Story-Wallah: A  Celebration of South Asian Fiction, published in Canada and the US, and his  novel for young adults, Swimming in the  Monsoon Sea, was shortlisted for the Governor General’s Award and is the  winner of the Lambda Literary Award in the US, the Canadian Library  Association Book of the Year Award and Silver Winner in the Young Adult  Category of ForeWord Magazine’s Book of the Year Award.

His articles have  appeared in numerous publications, including The New York Times, Time Magazine, Toronto Life, Walrus Magazine, Enroute Magazine, The Globe and Mail and the Toronto Star. He served as Festival Curator for the Galle Literary Festival for  2 years. His fourth novel, The Hungry  Ghosts, was  published   April 2, 2013 in Canada, India and  Sri Lanka.

- From the Shyam Selvadurai Official Website

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Links:

Shyam Selvadurai’s Official Website

Connect with Shyam on Facebook

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Have you ever faced cultural displacement before? Where and how?

What unfulfilled desire do you “hunger” for the most?

Have you read Shyam Selvadurai’s book, “The Hungry Ghosts” yet? If so, what did you think of it?

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Teaser Tuesday. 06.04.2013

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Teaser Tuesday

06.04.2013

By Zara D. Garcia-Alvarez / @ZaraAlexis

Teaser Tuesdays is a weekly bookish meme, hosted by MizB of Should Be Reading. Anyone can play along! Just do the following:

• Grab your current read • Open to a random page • Share two (2) “teaser” sentences from somewhere on that page

• BE CAREFUL NOT TO INCLUDE SPOILERS! (make sure that what you share doesn’t give too much away! You don’t want to ruin the book for others!)

• Share the title & author, too, so that other TT participants can add the book to their TBR Lists if they like your teasers!

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Here’s my random teaser for Tuesday:

“They ate in the canteen at the end of the trauma ward, where Sonja flaunted the hospital’s most sophisticated piece of technology, an industrial ice machine that inhaled much of the generator power but provided filtered water. The girl was more impressed by her warped reflection on the back of her spoon. ‘It’s December. The whole world is an ice machine.”

‘Now you’re practical,’ Sonja said.

The girl made a face at the spoon. ‘Can fingers ever grow back?’ – p. 45

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Can you guess from what title it’s from? No, problem. It’s a new release!

cloud question marks

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constellation

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It’s A Constellation of Vital Phenomena by Anthony Marra, published by Random House of Canada, May 7, 2013!

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What do you find “vital” in considering a book a great read?

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Congratulations, Pulitzer Prize 2013 Winners!

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Congratulations, Pulitzer Prize 2013 Winners!

04.15.2013

By Zara D. Garcia-Alvarez / @ZaraAlexis

While a number of categories are represented for Pulitzer Prizes such as:

  • Public Service in Journalism
  • Breaking News Reporting
  • Explanatory Reporting
  • Local Reporting
  • National Reporting
  • International Reporting
  • Feature Writing
  • Commentary
  • Criticism
  • Editorial Writing
  • Breaking News Photography
  • General Nonfiction
  • History
  • Drama
  • Music

I will be featuring the Pulitzer winners in the following categories:

Fiction

“For distinguished fiction by an American author, preferably dealing with American life,…” the Pulitzer Prize for Fiction is:

Awarded to “The Orphan Master’s Son” by Adam Johnson (Random House), an exquisitely crafted novel that carries the reader on an adventuresome journey into the depths of totalitarian North Korea and into the most intimate spaces of the human heart.

- From The Pulitzer Prize 2013 Jury

orphan masters son - cvr

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An epic novel and a thrilling literary discovery, The Orphan Master’s Son follows a young man’s journey through the icy waters, dark tunnels, and eerie spy chambers of the world’s most mysterious dictatorship, North Korea.

Pak Jun Do is the haunted son of a lost mother-a singer “stolen” to Pyongyang-and an influential father who runs Long Tomorrows, a work camp for orphans. There the boy is given his first taste of power, picking which orphans eat first and which will be lent out for manual labor. Recognized for his loyalty and keen instincts, Jun Do comes to the attention of superiors in the state, rises in the ranks, and starts on a road from which there will be no return.

Considering himself “a humble citizen of the greatest nation in the world,” Jun Do becomes a professional kidnapper who must navigate the shifting rules, arbitrary violence, and baffling demands of his Korean overlords in order to stay alive. Driven to the absolute limit of what any human being could endure, he boldly takes on the treacherous role of rival to Kim Jong Il in an attempt to save the woman he loves, Sun Moon, a legendary actress “so pure, she didn’t know what starving people looked like.”

Part breathless thriller, part story of innocence lost, part story of romantic love, The Orphan Master’s Son is also a riveting portrait of a world heretofore hidden from view: a North Korea rife with hunger, corruption, and casual cruelty but also camaraderie, stolen moments of beauty, and love. A towering literary achievement, The Orphan Master’s Son ushers Adam Johnson into the small group of today’s greatest writers.

- From the publisher

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Biography or Autobiography

“For a distinguished and appropriately documented biography or autobiography by an American author,…” the Pulitzer Prize winner for Biography or Autobiography is:

 Awarded to “The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo,” by Tom Reiss (Crown), a compelling story of a forgotten swashbuckling hero of mixed race whose bold  exploits were captured by his son, Alexander Dumas, in famous 19th century novels.

From the Pulitzer Prize 2013 Jury

black count - cvr

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Here is the remarkable true story of the real Count of Monte Cristo – a stunning feat of historical sleuthing that brings to life the forgotten hero who inspired such classics as The Count of Monte Cristo and The Three Musketeers.

The real-life protagonist of The Black Count, General Alex Dumas, is a man almost unknown today yet with a story that is strikingly familiar, because his son, the novelist Alexandre Dumas, used it to create some of the best-loved heroes of literature.

Yet, hidden behind these swashbuckling adventures was an even more incredible secret: the real hero was the son of a black slave — who rose higher in the white world than any man of his race would before our own time.

Born in Saint-Domingue (now Haiti), Alex Dumas was briefly sold into bondage but made his way to Paris where he was schooled as a sword-fighting member of the French aristocracy. Enlisting as a private, he rose to command armies at the height of the Revolution, in an audacious campaign across Europe and the Middle East – until he met an implacable enemy he could not defeat.

The Black Count is simultaneously a riveting adventure story, a lushly textured evocation of 18th-century France, and a window into the modern world’s first multi-racial society. But it is also a heartbreaking story of the enduring bonds of love between a father and son.

- From the publisher

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Poetry

“For a distinguished volume of original verse by an American author,…” the Pulitzer Prize winner for Poetry is:

Awarded to “Stag’s Leap,” by Sharon Olds (Alfred A. Knopf), a book of unflinching poems on the author’s divorce that examine love, sorrow and the limits of self-knowledge.

- From the Pulitzer Prize 2013 Jury

stags leap - cvr

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In this wise and intimate telling-which carries us through the seasons when her marriage was ending-Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music-sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

- From the publisher

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Feature Photography

“For a distinguished example of feature photography in black and white or color, which may consist of a photograph or photographs,…” the Pulitzer Prize winner for Feature Photography is:

Awarded to Javier Manzano, a free-lance photographer, for his extraordinary picture, distributed by Agence France-Presse, of two Syrian rebel soldiers tensely guarding their position as beams of light stream through bullet holes in a nearby metal wall.

- From the Pulitzer Prize 2013 Jury

To view Javier Manzano’s award-winning photo, please click here.

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Have you had the privilege of reading any of the Pulitzer Prize winning books for 2013?

Congratulations to all the finalists and winners! The prestigious Pulitzer Prize has been honouring excellence in journalism and the arts since 1917 and is well-deserved.

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Book Review: The Bellwether Revivals by Benjamin Wood

Book Review:

The Bellwether Revivals by Benjamin Wood

03.22.2012

By Zara D. Garcia-Alvarez / @ZaraAlexis

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Category: Literary Fiction

Author: Benjamin Wood

Format: Hardcover, 420 pages

Publisher: McClelland & Stewart

ISBN: 978-0-7710-8931-2

Pub Date: March 20, 2012

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The Bellwether Revivals by debut novelist, Benjamin Wood, is in a few words, an embodiment of its own subject matter: genius and enthralling madness—and the fine line it trespasses between the two.

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The narrative begins distantly, an omnipotent, observant tone that lays the foundation of its parts for the reader: the characters in Eden, the high-minded musical genius absorbed by his unconventional theories of the power of sound; Iris, his intelligent and musically talented sister who intuitively plays the cello; Oscar, the protagonist of the story, who, as the socially underprivileged and academic outsider in comparison to his new Bellwether friends, helps bring logic and compassion to this highly tense novel.

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Organ, St. Michaelis, Hamburg. Site of Johann Mattheson’s remains.

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It is a book that is equally rich in its development of characters as it is in its progressive and climatic plot, which is a feat in itself considering a book usually weighs more in one spectrum than the other.

It’s a story of Eden Bellwether and his exploration of musical theory and music itself, as a force, if rightly composed and attributed, holds physically healing and redemptive powers. His musical genius and inherent self-importance, which perhaps derived from the latent seed of mental disorder was only further perpetuated by a self-indulgent and wealthy upbringing by a family who continually encouraged his prodigious talent and fearfully succumbed to his every wish. The danger of this kind of environment coupled with the mania and complexity of Narcissistic Personality Disorder, only solidified the severity of Eden’s deteriorating psychosis.

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He’s a brilliant scholar and gifted musician, but the price of his superior intellect is a costly social incompetence that keeps him from being able to empathize and connect humanely, if not intimately with others. The egocentric nature of his character cannot help itself into amassing into a condescending, cocky, dominant, and controlling individual.

And those that suffer most from his presence and his ever-growing mania, are those who are closest to him, both in relation, in reverent awe, and intellectual worship—and even palpable fear.

From his debutante and complacent mother (Ruth), his confident and overly ambitious father (Theo), his suffering and compliant sister (Iris), to his specifically chosen friends (Marcus, Yin, and Jane) for their tolerance and adoration of Eden himself, as much as for their individual and necessary musical deftness.

Oscar, on the other hand, is resilient to Eden’s charms and holds a sobering view of the man whose mysterious genius is both exemplary and disconcerting. He is the grounding force for all those involved and the one with the most honest compassion as shown in his love and care for Dr. Paulsen, a resident of the nursing home, Cedarbrook, in which he works, and his willingness to involve himself in the matters of Eden’s “mental illness” on behalf of his growing relationship with Eden’s sister, Iris.

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King’s College, Cambridge University, England.

This is a powerfully unsettling read that will intrigue even the most logical personality and metaphysical, occult skeptic. It moves from delusions of grandeur to frightening crescendos of absurdity and madness that begs the question of how close and intermingled genius is with giftedness and mental illness.

Filled with the idyllic sanctuary of a wealthy environment found in the Bellwethers’ lifestyle and estate, the genuine intimacy between a couple in love, and the subordinate compliance of friends who love, revere, and almost fear their friend—it’s a gorgeous book and a “hypnotic” read. It’s a subtly frightening, psychological analysis of love, friendship, and sibling rivalry that spirals into a coarse doom of the horrors, dangers, and possibilities of a brilliant mind.

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Zara’s Rating

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A special thank you to McClelland & Stewart for providing me with a media copy in exchange for an unpaid, honest review.

Zara Alexis

A Review: The Antagonist by Lynn Coady

 

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A Review:

The Antagonist by Lynn Coady

02.24.2012

By Zara D. Garcia-Alvarez / @ZaraAlexis

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Category: Fiction

Author: Lynn Coady

Format: Hardcover, 337 pages

Publisher: House of Anansi Books

ISBN: 978-0-88784-296-2

Pub Date: September 3, 2011

Giller Prize Short List Finalist

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The Antagonist by Lynn Coady was a short listed book finalist for the prestigious Canadian Giller Prize for 2011. So, when I opened the book, I approached it as such and expected a literary eloquence in narrative, details of landscape in setting, and a myriad of complex characters in an elaborate plot that speaks to a high order of the privileged few about its philosophy on the potential downfall or evolution of society. (Insert breath, here.) Yeah, one of those books. A book that is heavier than my hand in writing this first paragraph. Because heavy-handed is not a place a writer wants to be, nor does a reader. I know. I’m both.

So, it was much to my relief that this book surprised me (but, only after the fact, because really, I don’t like it when an author initially says in his or her writing, “Ha! And you expected Northrop Frye!”). So much for what I know.

Northrop Frye. (c) Photo by Andrew Danson

From:  http://www.thecanadianencyclopedia.com/articles/northrop-frye

It’s said you “shouldn’t judge a book by its cover,” but the lesson learned here, too, is you shouldn’t judge a book by its seal of award nominations – long-listed or short.

That’s not to say it was a poorly written novel, unworthy of its shortlist Giller acclaim. It’s not. It’s a deceptively simple narrative, a confessional collection of email written by the main character, Gord Rankin Jr., also known as Rank, in response to his best friend’s (Adam) book publication in which he discovers he is the star and central character.

But, star is too kind a word for the “antagonistic” email-writer who resents being fictionalized in a novel without first granting his explicit permission, if not disclosing the full “truth” behind its story – his story. Thus, an onslaught of daily conversational rants becomes the collective essence of the book, which through its dialogue reveals the true nature of its hulking giant and his overly scrutinized temperament.

Gord Rankin Jr., as Rank, a name he imposed on himself, has but, one main identity flaw: he is big. Big for his age, bigger than his friends, and feels the pressure associated with his bulk as a weight to act out a premature manhood that he has not yet emotionally identified with, and yet has unexpectedly manifested itself into his overgrown body.

Most pre-pubescent boys wish for such a growth spurt, rushing forward into their futures searching for elusive manhood explained to them as something innately measured by the size of their biceps, the abundance of their hair growth, their sexual promiscuity and prowess with women, and the bravado of adrenalin and aggression readily exhibited in sport. At least this is the stereotype.

And Rank is the victim of such stereotypical branding. Unfortunately, not only is he unprepared to fully understand the magnification of his own strength, this stereotype, which trapped him as a child has also led him to its full supplication. He was simply too big in his own mind and others around him that he succumbed to living out a lifestyle that pegged him as an uneducated, muscle-bound brute.

But, it wasn’t just size that he battled against in his upbringing. It was his own animosity towards his brash-mouthed, brazen father and the loss of his idyllic, “saintly” mother. This kind of burden coupled with a readily instilled, hot temper coupled with physical dominance is bound to erupt in some form of violence whether it be unintended or not. And the outcome can be traumatic.

And so, it is through this therapeutic email writing that Rank slowly discloses to the reader as well as to his friend, Adam, his version of the story that has been, according to Rank, superficially immortalized in a book.

Subordinate characters in the story include a quick-tempered father, a drug-pushing thug, a judgemental constable, a college fraternity of friends, an alcoholic bouncer, a Born-Again girlfriend, and an empathetic counsellor and hockey coach—all catalysts to a larger story to the bulk of Rank, himself.

It is an easy, quick read. At times the writing is self-absorbed, but then how can it not be, considering the email writing is one-sided and self-reflective? This book is as much an internal dialogue as it is long-winded. It has to be. It’s email—in all its technological-acronym-glory of OMGs and modern, street-dialogue including the word, fuck. But, there is brash wit and a hidden intelligence in Rank’s dialogue that lets you know that he’s no “dumb jock.”

The friendship between Adam and himself, though not fully articulated, is one of polar opposites, where Rank, the broad-shouldered, meat-eating, alcohol-partying guy finds a confidence in the quiet assurance and watchfulness of his academic peer and counterpart, Adam.

It’s a story about strength and the lack of it; about family and friendship; and the power of the fist as much as it is about men and the fragility of their egos—as well as their hearts.

Now, go and punch something for not buying this book sooner.

No?

Good.

Better to just go and read this book instead.

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Zara’s Rating

       

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A special thank you to the House of Anansi for providing me with a media copy of the book in exchange for an unpaid, honest review.

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Book Review: The Night Circus by Erin Morgenstern

Book Review:

The Night Circus by Erin Morgenstern

02.05.2012

By Zara Alexis D. Garcia-Alvarez / @ZaraAlexis

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Author: Erin Morgenstern
Format: Hardcover, 400 pages
Publisher: Doubleday Canada
Pub Date: September 13, 2011

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The Night Circus is an intricate tale of creativity with a rich cast of characters who, with their specific gifts and talents help showcase the magical realism that moves throughout the book.

It is about Le Cirque des Rêves aptly translated as The Circus of Dreams not only because of its hours of operation that only takes place nocturnally in the evening until dawn, but also because of its dreamlike and fantastical effect on its patrons.

A circus is usually attributed to magic and feats of wonder as a form of entertainment. This circus, rather than only a collection of good showmanship skills of deception and tricks that audiences can enjoy simply as voyeurs, instead becomes an organic house of multiple tents, pathways, and magic that invites and seduces its patrons to not only visit, but also participate in and experience.

Image from:     http://matchbookclub.blogspot.com/2011/10/enchanted.html

So much so, there are those avid followers of the circus in the book who themselves become a cultist group of lifetime worshippers, a secret society that dubbed its name from the whisperings of rumour later known as the réveurs. The réveurs, a fanatical, creative group reveal themselves to each other by a colour coded uniform: black, white, grey, and a “splash of red” in honour of Le Cirque des Rêves’ own colour theme throughout its grounds: black, white, and black and white stripes.

Image from: http://www.flickr.com/photos/b-randy/6327494925/

But the story goes further than providing simple entertainment to its patrons or to its readers. The true premise of the night circus as a venue is its stage for a duel competition between two gifted adversaries, Celia Bowen, daughter of famous and renowned illusionist, Prospero the Enchanter, and Marco, orphan-turned-student to The Man in the Grey Suit, Alexander H.

Together, they simultaneously study under the tutelage of their magician masters, honing in on strengthening their natural gifts—Celia, who is able to move, dismantle, and return objects to their natural form, and Marco, who is able to create illusions within the minds of his chosen audience—until each in turn must learn to outdo the other in the competition of their lives.

Though I found the romantic dialogue and narrative to be somewhat exaggerated, I believe the author was attempting to showcase the lovers’ passion and strong connection to one another through their magic. It is highly unrealistic, but then what story of deep, passionate love ever is? The two lovers are intrinsically a different type of breed altogether.

Image from: http://manbehindthecurtain.ie/2012/01/22/carnival-of-fear/

As the gifts of the competitors strengthen and expand, so does the complication of the circus. The characters that belong to or are involved with the circus are:

  •  Chandresh Christophe Lefèvre, a wealthy eccentric gifted in hosting elaborate parties called Midnight Dinners, who also has an inherent talent with knife-throwing.
  • Mme. Ana Padva, a retired Romanian prima ballerina with an impeccable sense of style who is revered for her fashion design and seamstress skills.
  • Mr. Ethan W. Barris, a gifted engineer and architect.
  • The Burgess twins, Tara and Lainie, dancers, actresses, who provide consultation on various subjects due to their keen sense of observation.
  • Alexander H., the man in the grey suit who is best known to wear a top hat and carry a cane.
  • Tsukiko, the tattooed contortionist.
  • Herr Friedrick Thiessen, a gifted artisan and clockmaker commissioned to create a showcase piece for the circus.
  • Isobel Martin, tarot reader and fortuneteller.
  • Bailey Alden Clarke, a young circus enthusiast.
  • Winston Aiden Murray nicknamed Widget, a twin born on the opening night of Le Cirque des Rêves.
  • Penelope Aislin Murray called Poppet, the second of the twins to be born on opening night.

As these characters become more deeply embedded in the circus’ magic and its danger, the effects on its members and its patrons, as well as its own magic, slowly becomes darker.

As fantastical and wondrous as magic can be, there is always an undercurrent of dark that runs within it because its mysteries are not readily understood, accepted, revealed, nor practiced. An array of magical practice is showcased in the book as homage to the art of the occult.

Image from: http://pinterest.com/wovendumpster/the-night-circus/

Yet, they far stretch the limits of what we normally understand as magic. Erin Morgenstern has moved beyond the boundaries of what we are familiar with and has created a new world of richly, imaginative ideas.

The beauty of this book is in the literal magic that takes place within its pages. Where our imagination has failed to carry us further than what we yearn to experience and understand, Morgenstern has supplied a richly imaginative story, plot, and magical realism that inspires us to believe not only in her authoritative writing powers, but also her fantastic and creative imagination.

Image from: http://pinterest.com/pin/18577417182599118/

Reprinned by Morgan Koch

If Lewis Carroll’s Alice in Wonderland is deemed a rich classic, Erin Morgenstern’s Night Circus is its modern and magical counterpart.

Image from: http://geoffarcher.wordpress.com/

The cover design is intelligently made to match the colour themes found in the book from its starlit front cover, to its black and white striped first pages, right down to its red stitched hardcover binding.

It’s a wondrous, intoxicating book that needs to be thoroughly read more than once, over and over. A naturally born skeptic myself, Erin Morgenstern has been able to magically convert me to becoming one of her night circus’ devoted rèveurs. The mysterious pages of the book continue to be turned in Friedrick Thiessen’s clock: tick, tock, tick, tock…and poof!

Image from: http://homeiswheretheboatis.wordpress.com/2012/01/20/the-night-circus/

For the addicted réveur, it will always become dawn too soon.

Where will you be when Le Cirque des Rêves comes to the outskirts of your town?

As for me, I’ll be in the black and white striped tent wearing my blood-red scarf, looking out for The Man in the Grey Suit in the shadows, Prospero the Enchanter amongst the stain-glass windows, and Celia and Marco in the Ice Garden, bound by magic and love. 

Image from: http://pinterest.com/pin/18577417182602219/

Pinned by Linda D.

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Zara’s Rating

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A special thank you to Random House Canada for providing me with a signed copy of The Night Circus by Erin Morgenstern for review.

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Book Review: The Cat’s Table by Michael Ondaatje

Book Review:

The Cat’s Table by Michael Ondaatje

12.30.2011

By Zara Alexis D. Garcia-Alvarez / @ZaraAlexis

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Author: Michael Ondaatje
Format: Hardcover, 280 pages
Publisher: McClelland & Stewart
Pub Date: August 30, 2011

***

 

The narrative, at first, is plodding and slow as if to mimic the intensive labour one requires in building a foundation. This foundation begins with the voice of a young boy, Michael, who is both inquisitive and yet, disciplined and controlled. And though he is described as a child who is curious, as most young boys are, he is an omnipotent character, one who is not authoritative in tone, but distant.

His maturity is revealed in his perception of those around him, the people who unravel in his mind, more as characters in the play of his short, but life-altering journey on the Oronsay. And characters who by his own confession alter him by his memories of them, seem to both propel him and sustain him much into his later life.

Michael Ondaatje’s craft specializes in making his characters subtle enough for believability and interesting enough to be entertaining. Ondaatje, however, never gives a full disclosure of his intended interpretation of his characters to his readers. We just haven’t the time to fully delve into who we think the characters are because Ondaatje intentionally does not allow us to.

As an author, he gives only what he feels is necessary and quite magically and artistically unveils truths to us we never realized were there to discover in the first place.

The book is written in the style of a memoir and goes as far as to share its main character’s name, Michael, with the author. This in itself can be deceiving since Ondaatje attests to the book’s fiction.

It doesn’t begin as a beautifully read story, but through Ondaatje’s lyrical prose, it slowly builds into a more full-bodied narrative with depth and meaning. What that is exactly, I cannot say—or am afraid to, since in the text, the reader seems to be somewhat forewarned by Ondaatje, the author, through his narrative in saying:

Recently I sat on a master class given by the filmmaker Luc Dardenne. He spoke of how viewers of his films should not assume they understand everything about the characters. As members of an audience we should never feel ourselves wiser than they; we do not have more knowledge than the characters have about themselves. We should not feel assured or certain about their motives, or look down on them. – p. 208

Ondaatje’s characters in this sense, are what and who they are. Simply put. (Though complicated.)

And even though the tone and voice of the narrative is seriously written in the style of the memoir and to be taken seriously as such, the characters and their stories feel fantastical, almost circus-like, as found in the depiction and pathetic fallacy of the circus troupe led by the character, Pacipia.

There is friendship in the book and childhood—how both are as fluid as the waters of the journey the Oronsay is on. And the recollection of memories seem to resurface as objects that are thrown overboard a ship only to resurface at sea: buoyant and changed.

The end of the books is what we would normally expect to be the beginning of a story, a scene where Michael is finally greeted by his mother on the shore of England.

But the changes and the growth of the characters have seemed to have already taken place on the ship. Perhaps it is Michael’s absorption of these stories that he is left with to recollect and work out to understand, which creates who he is later as a man and for the entirety of his life—or not. Perhaps it is merely a fictional memoir of a boy-turned-man who voyaged on a ship from India to England and was changed by it as any boy might be. His childhood, like Ramadhim and Cassius’ childhood had ended somewhere during their voyage at sea.

It is a lovely story of boyhood friendship, love unaware of itself, the duality each individual has the potential to possess, the uncertainty of life, and the inevitable changes it brings by the unexpected shores we find ourselves.

It is easy to see why The Cat’s Table by Michael Ondaatje was shortlisted for the 2011 Giller Prize.

If you are patient enough to plod through the beginning of the story as one who helps in building a strong foundation, it’s much worth your read. As you turn each page, more is revealed to you—and to the characters it speaks about—which in itself, is a worthy journey for us all. One I highly suggest you take.

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Zara’s Rating

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What’s the longest journey you have ever travelled by car, boat, or plane?

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A Review: The Language of Flowers by Vanessa Diffenbaugh

A Review:

The Language of Flowers by Vanessa Diffenbaugh

12.24.2011

By Zara D. Garcia-Alvarez / @ZaraAlexis

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Category: Fiction

Author: Vanessa Diffenbaugh

Format: Hardcover, 336 pages

Publisher: Random House Publishing Group

ISBN: 978-0-3455-2554-3

Pub Date: August 23, 2011

***

Vanessa Diffenbaugh’s debut novel is storytelling with ease. The writing is clear, but what is most beautiful to discover in this book is indeed the language of flowers and their meaning as originally dated back to the Victorian era. The writing is neither lyrical, nor poetic as its subject matter of flowers, their beauty or their bloom, but direct in a clear style of its author and personality of the book’s main character, Victoria Jones.

She is sufficiently plain as her name, if only for her dire circumstances due to the nature of her birth and upbringing. In this, she is quite extraordinary, having no choice, but to be orphaned, having to grow up for most of her childhood in foster homes as a child belonging to the state of California and transplanted from home to home until her eighteenth birthday by Meredith Combs, her disgruntled and exasperated social worker.

The number of times the main character has moved from placement to placement does not speak as harshly to her flaws as it does to the abuse and often the neglect by the foster care system that inhibits her. This regular pattern of neglect and nomadic instability proves to harden Victoria Jones against trust, love, and affection in relationships to the point of disliking physical touch. Ironically, Victoria’s hardness, which is a result of her feelings of inadequacy and failure as a child who is both unwanted and unloved, is a later source of her strength and survival as an adult.

The novel is primarily about the relationship of motherhood in its varying forms as depicted in the characters that surround Victoria Jones. From Elizabeth Anderson’s maternal love for Victoria as a child, Grant Hasting’s paternal love for his mentally ill mother, Catherine, Renata’s distant, yet protective professionalism, Mother Ruby’s over-saturated nurturing, Victoria’s indirect maternal instinct towards her lovesick clients searching for messages and answers in the flowers they seek, and her overwhelming love, yet quick incapacity to care for her newborn infant. This and the yearning for love, a fierce competition for it against the restraints of a character who is unfamiliar and uncomfortable with its social nuances, and the need for reconciliation with the past, is what this book is about.

Though the story moves with ease to convince you of its interesting plot and curiosity enough to advocate for the main character, the characters seemed somewhat unbelievable in their polarity. They are to me what perhaps a reader wishes a character to be, rather than a true reflection of what people are really like. I don’t know, perhaps I am too harsh in judging the cold and emotionally inept girl who is naturally drawn to flowers or the exaggerated characters who are her counterparts. 

Though, Renata of Bloom, deems herself non-nurturing, she is over generous with her business and her money in the care and welfare of the main character.

Elizabeth Anderson, a childless woman is overly patient with a self-indulgent, prickly girl and forgives past wrongs in the cruelty of vengeful, false accusations, and the burning of a vineyard.  

Grant Hastings is wonderfully kind and mature for a young man merely in his twenties with little or no resentment towards the secret of Victoria’s past, her inability for commitment, and her last form of abandonment. Any other man perhaps would be livid. Instead Grant cooks her a succulent meal of chicken upon her return.

Aside from these sometimes over-idealistic characters, the novel moves between past and present to show Victoria Jones’ life education in horticulture and survival, her self-taught ability to take photographs and create a flower dictionary, and in that, create for herself her own meaning in the ways to cope with and understand her world.

The novel not only inspired me to consider studying horticulture for my own search of meaning behind the beauty of nature and flowers, but also allows its readers to recognize the gaps sometimes found in a state-run foster care system that needs be addressed in order for more young children to thrive in self-confidence, family life, and a true sense of belonging.

Though meaning and “[t]he language of flowers is [deemed] nonnegotiable…” (p.63) by Elizabeth Anderson - the main character, Victoria Jones, is able to negotiate her own terms of language, love, acceptance, survival, and growth.

After reading the book, I lay down my own bouquet of Laburnum, White Jasmine, and Agrimony.
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Zara’s Rating

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Book Review: Glass Boys by Nicole Lundrigan

Book Review:

Glass Boys by Nicole Lundrigan

12.11.2011

By Zara D. Garcia-Alvarez / @ZaraAlexis

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Category: Fiction

Author: Nicole Lundrigan

Format: Trade Paperback, 304 pages

Publisher: Douglas & Macintyre

ISBN: 978-1553657972

Pub Date: July 29, 2011

***

As a reviewer, I feel much like the character Wilda Burry when, “[h]er head wavered slightly, [her] lids lowered, and she whispered, ‘I don’t even know how to begin.’”

Because really, this novel by Nicole Lundrigan is rich with storytelling and family history between the Trench and Fagan families, which at its heart is the core and drama of the book.

The characters, though broken by the altering affects of their relationships, are fiercely honest both in mannerism and dialogue that soon, you as the reader, develop an ease through Lundrigan’s well-paced writing to surely and eventually feel affection for even the worst of the characters and the trouble and darkness that haunts and lies within them.

The chapters, too, end with stark passages that the prose fiction itself transpires into the stuff of poems and wonderful imagery.

There is much to enjoy in the landscape of Newfoundland, in its dialect, and in these characters. Though most, if not all, are left with emotional scarring, heavy blueprints of tangled and complicated pasts, Lundrigan’s writing is neither obtuse nor jarring. And though she covers a span of difficult and sensitive subject matter, she does so with serious, tender pen strokes.

What I thoroughly enjoyed was the precise unravelling of the plot, the depiction and the context of strong brotherly love and Lundrigan’s ability as a female writer to write her male characters so convincingly well.

It is a hidden gem of a novel, filled with dark lusts and perversions, displacement and yearning, recollection and reconciliation if not only with others, but oneself, and is bewitchingly hopeful amongst a long line of tragedy, which should catapult Nicole Lundrigan as an author to where she rightly deserves to be: highly acclaimed and on every bookshelf!

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Zara’s Rating

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Book Review: Away by Jane Urquhart

Book Review:

Away by Jane Urqhuart

12.11.2011

By Zara Alexis D. Garcia-Alvarez / @ZaraAlexis

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Category: Fiction

Author: Jane Urquart

Format: Hardcover, 256 pages

Publisher: Bloomsbury

ISBN: 978-0747516774

Pub Date: April 28, 1994

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The body of this novel in its narration is as suspended as the pendulum movement of waves in a body of water, of which the book is gravitationally focused.

It speaks of a history that dates back to 1842 on an island of Rathlin, just off the northern coast of Ireland and moves as its characters move in migration to the area of the Great Lakes in Canada 140 years later. As such, it is both a book of the early politics between the English and the Irish during the Irish famine in the mid 19th century and a book of displacement and yearning, immigration, and the search for home.

But it is also a book that speaks through women of four generations whose astute power to attract men to themselves is both a gift and a family curse much blamed on the dangerous power of beauty found in their pale, white skin against their red, fiery hair.

It is in this beauty that captivated the township of Cleggan, Kinramer, Church Bay, Ballygill, and Ballycarry etc. towards the character, Mary Slattery O’Malley, also renamed Moira, who was believed to be sought and taken “away” by a daemon lover from the sea.

The voice of the book is often written as lyrical fantasy, the language poetic and sentimental, which exemplifies the beauty of not only the landscape of the mind, but its connection to the beauty and glory of Ireland’s and Canada’s natural landscapes, its rivers and its forests.

As Mary Slattery O’Malley was tied to the shores of Rathlin Island and the women in her family after her: Eileen, to the forests and willow trees near Black River; and Esther, to the surf of Loughbreeze Beach – the nature of the land is exquisitely portrayed.

The women, though, become hosts of folklore:

Mary, in her withdrawn state and compulsion to imagine and be drawn to the spirit of her deceased beloved from the sea, removes herself both emotionally and physically from her husband and two children.

This same passion is passed down to her daughter, Eileen, whose innocence and creativity, is drawn to sleep in willow trees, to communicate with and have visions and prophecies from nature and conversations with namely a bird. The same power of compulsion drove her to sacrifice a life of material comfort and love alongside her brother, in search for her misplaced beloved, the political vagrant, Aiden Lanighan.

Though Urquhart’s writing can be both beautiful and poetic in her descriptions of love and nature, even the sorrowful lament of a community struck by famine, I found the extremism in these women to be obsessive, self-indulgent, and delusional to the point of hysteria.

Personally, I would have preferred the book without its political implications or its irrational bouts of “love-sickness,” but enjoyed the language of poetics and folklore told in the love of the landscape, history, and the style of recollection that Urquhart described.

Aside from that, I found its main female characters too melancholy and over dramatic for reason. I would enjoy the novel alone for its lyrical storytelling and haunting spirituality that resides in its respect and wonder at nature. But it’s not a novel I would allow myself to take too seriously. Unfortunately, it takes more than pale white skin and red, fiery hair to seduce me…

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Zara’s Rating

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