Bronwyn Knox

Eleanor Oliphant started off well enough. It was funny, witty, and Eleanor is an interesting character. There was a little dark edge there in the form of the flashbacks/ “telephone calls” with Eleanor's mom. The humor was mostly coming from Eleanor's lack of social skills and misunderstanding of other people. Most of us take for granted the ability to navigate a social situation, even though they may be awkward we manage. Also, Eleanor's capacity for self-delusion as she pretends that it's the other people she interacts with, not her, that are foolish, rude, crazy, whatever. The second half of the book is where Honeyman lost me. Once the major catastrophe of the book occurs, Eleanor goes into therapy. This makes sense is completely believable, however these chapters of the book are dull and flat. Nothing new that the reader didn't already guess about her past is revealed. There is a huge tone shift, which I have no problem with as a rule. But if the second half shifts, it needs to be equal to the first half and it wasn't. Sure, I want Eleanor to be truly fine in the end but I still need to be engaged as a reader. Another aspect of the book that I was not too thrilled with is Eleanor's victimization. There were a lot of comparisons of this book to [b:A Man Called Ove 18774964 A Man Called Ove Fredrik Backman https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1405259930l/18774964.SY75.jpg 21619954] . The comparisons aren't Honeyman's fault but this draws attention to the fact that Eleanor's loneliness and off-putting behavior seems to be explained by an abusive mother AND a “boyfriend” she had that raped and abused her. Ove had tragedy in his life but there was no feeling that he was a victim that you should feel sorry for or need to protect. I hate to do this, but I admit I'm bringing this up because she's a woman. Making a female character a victim doesn't make her more interesting or likeable. We need to get past that notion. Eleanor's fear and loathing of dealing with people, her insecurity, could have had a more subtle cause.

“time was not passing...it was turning in a circle...” ― Gabriel García Márquez

It was certainly an experience to read this family saga, but it wasn't easy. Garcia Marquez packs tons of occurrences into one paragraph, so blink and you might miss something. It's not a book for skimmers or for anyone looking for a quick read. It's challenging.

The book goes through multiple generations of characters with the same or similar names: Jose Arcacio, Auraliano, Remedios, etc. Some of the characters are very long-lived and it's hard to tell at times which character is featured in a particular event in a story. Since “passing of time” is one of the themes of the book, I'm guessing this was as intended. You become disoriented as to where you are in the family history. (There was a handy family tree in the front of my copy though!)

The other unique thing is the plot; it's not one long through-line, but rather a lot of mini stories spread throughout the book. I especially enjoyed the tale of Remedios the Beauty and her ascension into the sky and the sad love story of Renata Remedios and Mauricio. If there is a overarching story, it is the fall of the town and the demise of the Buendia family, which are intertwined. They succumb to fate, which is another theme.

I'm guessing a thorough knowledge of Latin American history would enhance reading the book. This is something I don't have but I still found it engaging. Garcia Marquez passes through events so quickly and you don't get a chance to become emotionally involved with anyone very deeply. Good to have read it but, it was certainly not the most accessible book.

I loved this book and didn't want it to end. This might seem odd because terrible things kept happening to Astrid and certainly I didn't want to continue to see her suffer. It's just that I was so wrapped up in her thoughts and her world.

The story explores Astrid's search for her identity and her quest is projected onto the need for a mother figure. Her mother Ingrid has a massive ego and she revolves her world and Astrid's world completely around herself. Astrid is totally wrapped up in Ingrid and has very little will of her own. Her mother goes to prison for murdering her lover, leaving Astrid to fend for herself.

Once her mother is taken away, Astrid is forced to live in various foster homes. Sometimes she is abused and suffering. Other times she projects her need for a mother figure on whoever is available. The consequences of this are disastrous. Towards the end of her teenage years, she decides to cut off her emotions, her needs and becomes self-sufficient in a way, but cold.

Throughout the book, Astrid does terrible things and terrible things are done to her. The author is not afraid to take risks. She makes the character sympathetic but doesn't feel the need to have the reader perceive her as flawless. This is a story for and about women. Most of the men are objects and obstacles, side-pieces. The only man the readers will care about is Paul, because he's the only man Astrid trusts or cares about. But even that is left somewhat open-ended as to whether she will want to stay with him.

The scene in the book that brings the story home is when Astrid is in the hospital and her friend is having a baby. Astrid breaks down the necessity of motherhood:

“They wanted the real mother, the blood mother, the great womb, mother of fierce compassion, a woman large enough to hold all the pain, to carry it away. What we needed was someone who bled...mothers big enough, wide enough for us to hide in...mothers who would breathe for us when we could not breathe anymore, who would fight for us, who would kill for us, die for us.”

I wonder if Gilbert thought that the idea of women having sex drive and enjoying in an era several decades before the '60s-‘70s sexual revolution was some sort of revelation to us here in the 21st century? I certainly HOPE women enjoyed sex before then.

There was other wise very little story. Everything that happens after the big “incident” in the book, her true love, her activities during the war and so on, don't add up to a good plot or anything meaningful for the reader.

The best thing that happens is when the notable respected actress, Edna tells Vivian off for screwing around with her husband:

“The thing you don't understand about yourself, Vivian, is that you're not an interesting person. You are pretty, yes – but that's only because you are young. The prettiness will soon fade. But you will never be an interesting person,”

That's quite an insult. If she'd called her derogatory names she couldn't have hurt her more.

She's also correct. Vivian is not an interesting person. So why write a book about her?

Fascinating story that is stranger than fiction. It's hard to believe what Holmes and her partner got away with for so long. Amazing the amount of support she managed to get and the lengths she went to in order to perpetuate this fraud.

Despite all the investors she cheated, and the patients that didn't get the proper treatment, my sympathy was strongest for her employees, the ones that she harassed after they quit/got fired.This is no doubt because John Carreyrou focuses mostly on the former employees and those that had the nerve to share the incriminating information with him. It actually puts you on the edge of your seat because Holmes and her partners' harassment techniques include stalking and they were pretty scary.

There was one thing that really killed me about Elizabeth Holmes, although all things considered it was rather minor. There were multiple mentions in the book of how Holmes would flirt and use her charms on older men to get their support, investment money, etc. When she finds out what Carreyrou is writing about her, she accuses him of bias against her because she's a woman. No way, Holmes. You can't use your femininity in your favor and then turn around and accuse someone else of using it against you.

But all things considered, this is the least outrageous thing that Holmes did or said.

“...no-one is finally dead until the ripples they cause in the world die away... The span of someone's life, they say, is only the core of their actual existence.”
― Terry Pratchett, Reaper Man

This was one of the first Discworld books I ever read and I had no idea when I picked it up what I was in for. Turns out it was the perfect book for me; a far out story with wacky, witty humor. I had no idea at the time that Discworld was a fantasy series parody; to me this book had a life of its own and much better than any standard warrior and wizard novel. You don't have to read the series in any particular order. You can pick up any of these books and enjoy them without feeling lost.

Re-reading I came to appreciate it on a deeper level besides just “woo, zany comedy.” There is a tidy symmetry between the two main stories. The Death incarnation from Discworld is fired and has to live as a mortal human. Rather than existing as an eternal, unchanging being, he experiences a life with limited time. He also needs an occupation, so he gets a job as a farm hand and becomes a companion to an old woman, and even risks his life to save a child.

The second part of the story is Windle Poons, a wizard who dies but is not allowed to move on because Death is absent. He is forced out of his sheltered life at the University and becomes active and observant, something he never was when he was alive. He discovers an evil entity that's trying to take over the city by means of a shopping mall, and he and his new undead friends help foil it.

Both Death and Windle Poons have greater adventures and deeper human connections than they would have been capable of in their original incarnations. It may be a cliche but it seems the characters needed to face death in order to live life fully. With Pratchett this message never becomes too cheesy because he knows how to throw in the jokes at the right moments.

There is also an assortment of eccentric characters if the two above don't strike a chord with you. There's a psychic who answers your questions before you know you're going to ask them. The bullheaded wizard archchancellor whose curse words turn into flying insects. And don't forget the boogeyman who is just looking for a door to hide behind.

If you like Discworld and haven't read this one yet, it's worth picking up. If you're thinking about trying the series this is a fine place to start. Good for fans of humor, fantasy, SciFi, and intelligent thoughtful writing.

“If the Creator had said, “Let there be light” in Ankh-Morpork, he'd have got no further because of all the people saying “What colour?”

On the Disc, Ankh-Morpork is the place to be. The books featuring the City Watch are part of the background, history, and atmosphere of the city. For this installment of the subseries, Corporal Carrot beats the odds to solve a series of murders, seemingly with the entire city against him. Meanwhile, old-timer, Captain Vimes, is stressing over his upcoming nuptials and his promise to his bride-to-be that he's leaving the Watch.

This is notable because a book or so later, the subseries became Vimes-centric, an unusual choice to make the mentor-type character the focus instead of keeping it on Carrot, the young, charismatic hero. But Discworld never goes where you expect.

This is the book that introduces the stream of recruits representing various races of the Disc, including dwarfs and trolls, those two always-warring groups. Angua and Detritus make their debut here.

You can't beat Pratchett and the Discworld series for funny dialogue and characters that feel real. Every page has an entertaining exchange and the pace never dips

“Have - have you got an appointment?' he said.
‘I don't know,' said Carrot. ‘Have we got an appointment?'
‘I've got an iron ball with spikes on,' Nobby volunteered.
‘That's a morningstar, Nobby.'
‘Is it?'
‘Yes,' said Carrot. ‘An appointment is an engagement to see someone, while a morningstar is a large lump of metal used for viciously crushing skulls. It is important not to confuse the two, isn't it, Mr-?' He raised his eyebrows.
‘Boffo, sir. But-‘
‘So if you could perhaps run along and tell Dr Whiteface we're here with an iron ball with spi- What am I saying? I mean, without an appointment to see him? Please? Thank you.”

I love that you can pick up any book of Discworld, start reading and not feel too lost. There's enough in the exposition to get you caught up and it's otherwise entertaining enough that you can fill in the blanks, or you're having too much fun to care about what you missed. I do think reading Guards! Guards! would be helpful though, for setting up Carrot's background, Vimes past, and the evolution of the City Watch.

Guards! Guards! was the first Discworld book I read and it's a terrific introduction to Carrot, Vimes, and the Watch. Men at Arms improves on the model—the plot moves faster, the characters get new layers, and the new additions to the watch, and the series, are a delight.

You've gotta love a main character who tells you right out of the gate that she's not a good person. Libby goes on to prove it too: selfish, lazy, manipulative etc. I dig Flynn's fearlessness when it comes to her protagonists. She's not looking for you to worship or even necessarily identify with the character. But Libby is entertaining.

This was a fun-to-read suspenseful thriller. A real page-turner and I was surprised and engaged throughout. It's another book, like Sharp Objectswhere everything is so sleazy, but I guess that is half the fun.

This is one of those books that feels like a guilty pleasure to me because it is, let's face it, a bit trashy. Everything is so sordid, twisted, and over the top. But it sure is entertaining. Each secret that was revealed surprised me.

I love the fact that Flynn is not afraid to write unlikable female characters. By which I mean, they do bad things and there is no excuse or apology for it. I feel like time after time I pick up books from a female character's point of view and that character is a victim we're supposed to feel sorry for or a female character that is SO perfect (brilliant, beautiful, strong, NEVER wrong). We want equality for women in literature, some women are going to have to be complex and even bad.

I hope Flynn never loses her nerve and continues to deliver the reader female characters that break out of the object/victim/Mary Sue/ mold.

One of the major themes in Sharp Objects is women doing terrible things to each other. Mothers to daughters, sisters to sisters, friends to friends, and in Camille's case to herself. The men in this book are mainly passive and ineffectual. If I'm a good little feminist, am I supposed to say, well these women are only behaving this way because they've been oppressed by men? I think Flynn is saying the opposite of that. Women need to take responsibility for their own behavior and how they treat each other. Part of being equal is already thinking that you are.

There are a lot of other interesting ideas in Sharp Objects that I could go on about but my main impression is that, while this does seem on the surface like a trashy, sensational story, there are so many complex issues, themes, and ideas that it brings to mind.

This book was so highly praised, I must have missed the point completely.

My experience consisted of 300+ pages of over-stylized prose with a narrator who is obsessed with her own thoughts and feelings. All of it headed towards an anticlimactic ending. This is all without any self-awareness or irony on the author's part.

The story and characters were so washed out and watery, yet given the subject matter, it should have been intense and colorful.

I was fooled by the appearance of this book. Given the cover and the description, I was expecting a little more.

It's a mildly entertaining time travel adventure and that's about all.

I was expecting something edgier, creepier, a bit more chilling. The pictures were a cool idea but the book never lived up to the weirdness they promised.

I know it's for young adults but there are young adult books out there that offer more depth.