03/10/2011 § Leave a comment
The Help is set in 60s America’s Deep South, told from the points of view of two black maids and a white society lady, Skeeter, whose journalistic ambitions lead her to confront the shocking realities of living a life of servitude for less than minimum wage. Skeeter’s project provides the novel with a conduit through which a wealth of anecdotes surface. Whilst numerous incidents are harrowing, many are brimming with love and humour. The three distinct but complimentary voices are perfectly drawn, and Stockett’s bold choice to adopt voices of black Mississippian women paid off superbly. It’s popularity is well-earned.
13/09/2011 § Leave a comment
Miller retells the Iliad through a Patroclus who is both companion and lover to Achilles. Together they journey through lives that culminate in the Trojan War. In focusing on the romantic element of the central relationship Miller diminishes Achilles into a swooning character more suited to the Twilight saga than a retelling of an epic poem. This novel adds nothing to the pre-existing story; rather using it as a template for an insipid love affair. It contains a few boastful references to peripheral knowledge of Homer that will slightly bewilder your average reader and do nothing to excite a classicist.
24/08/2011 § Leave a comment
In ‘C’, McCarthy follows Serge episodically throughout his life; beginning in his family’s estate, which doubles up as a silk factory and school for the deaf, before travelling to Germany for WW1, then London and finally, Egypt. The entire novel feels like an overindulgent introduction, which centres hedonistically on the concept of transmission whilst leaving even its central character deliberately two dimensional and impassive. Serge as a character is merely a vessel for the author’s immoderate and dense philosophical musings. The overly literary style of this novel detracts from its own story telling, leaving the reader distant, unmoved and disengaged.
11/06/2011 § Leave a comment
Xeo is the sole Spartan survivor of the bloody battle of the Thermopylae, held captive so his defeaters may learn how 300 men kept the Persian hoards at bay, only to be vanquished by betrayal. Reading Pressfield, it’s easy to understand why producers of 300 considered basing their picture on Gates of Fire. The factual basis of the ultimate underdog story is expertly utilised to envelop readers in an alien world, where war and death were a way of life. Intimately researched, with a narrative as relentlessly engaging as its subjects, Gates of Fire is a gloriously rampant gore fest.