I did not like Backman’s previous novel, A Man Called Ove, but was spurred on to buy book no.3, Britt-Marie Was Here, by a very insistent salesperson in the Chapters bookstore, who had been so entranced by it that she was practically hugging her own copy. I bought it against my better judgment and I was underwhelmed all over again, despite trying my best to be objective. When Backman writes, he repeats certain words and phrases over and over, and makes each chapter and paragraph follow the same basic pattern, so that it sounds almost like a children’s rhyme, a medieval poem, or a traditional fairytale. The novel is nice but light-weight, like a pretty balloon. Because I do not agree with people categorizing a frothy piece of writing like this one as a literary masterpiece, I will, below, debunk the myth. In any case, when I see the words “international bestseller”, particularly “New York Times International Bestseller”, on a book’s cover I am immediately suspicious. Continue reading
On the subject of fan fiction versus copyright rules, I am discussing examples of three cases of what seems to be copyright infringement of famous books, starting with the case of the two “Alephs” – Jorge Luis Borges vs. Pablo Katchadjian. Now it is the turn of Tintin and Alph-Art, a Tintin comic book which was incomplete at the time of author and artist Hergé’s death, and which was completed and recreated by Canadian Yves Rodier in an impressive feat of fan fiction. Continue reading
To continue the discussion on fan fiction versus copyright, here follows the case of the two “Alephs”, one by Jorge Luis Borges and the other by Pablo Katchadjian. In Buenos Aires, Argentina, writer Pablo Katchadjian is currently being sued for plagiarism, or the re-use without permission of copyrighted work, because he “fattened”, padded, added to or otherwise re-used the novel The Aleph, written in 1945, by the famous Argentine writer Jorge Luis Borges. Katchadjian says, in his defence, that his version of the novel, called The Fattened Aleph, is a “lengthened” version of Borges’s short story and is not plagiarism because it is “an experiment” and “open about its source”. An open-and-shut case this is not. Continue reading
Sjón: the final frontier. These are the voyages of the Reader of Sjón. Her current mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no Reader has gone before. Apologies to the writers of Star Trek, in this, its 50th anniversary year, but this is what reading the novels of Icelandic author Sjón is like. The first American edition of Sjón’s novel Moonstone – The Boy Who Never Was, was published earlier this year. While I read it, I often wondered just how it is possible for someone to express so precisely, in such visually compelling language, such foreignness, not only to readers not from Iceland, but also probably for readers from Iceland. It is in English, capably and truthfully translated by Victoria Cribb, but at the same time it is a journey into places, minds, characters, mores and subjects that I had never before encountered in a novel.
Hard to read but worthwhile reading
Some books are hard to read and hard to finish. It could be because of obscure references, bad editing, bad translation, weird printing, etc. But I’ve recently got through two novels that were hard to read and to finish because of the style in which they were written. One is The Brief Wondrous Life of Oscar Wao, in which it is literally the language that is the problem – it might as well have been partially written in Klingon for all I understood of it when I read it the first time. Another problem was the subject – it is about immigrants and the persistence of their culture even in their new life, like invisible hands pulling them back to their homeland. The specifics, that of the Dominican Republic, were completely foreign to me until I read this. However, by the time I got it, three, four readings later, the poetry of Junot Díaz’s English/Spanish had completely infused my mind.
Tomorrow’s review: the flipside of this argument; Two Years, Eight Months and Twenty-eight Nights by Salman Rushdie. Watch this space. Continue reading
Like it says on the title page, this novella is mystery fiction. I could not figure out, even though I have read it three or four times already, where it is set or when. On first reading it is short and simple, but somehow seems obscure, and trying to clarify it simply creates more questions. However, I thought it was strangely charming and very, very good. Not his best, since it is on a smaller scale than his previous books, but still, pretty darn amazing. To think that such a short book can bring up so many questions. Miéville is a Poet of Sci-Fi. But unlike all the other novels in which he has created secondary worlds that are completely coherent and minutely detailed, from the through-the-looking-glass London in Un Lun Dun, to New Crobuzon in Perdido Street Station, to Besźel and Ul Qoma in The City & The City, this is an indeterminate, nameless setting. Continue reading
Laura Ingalls Wilder – Pioneer Girl, the Annotated Biography by Pamela Smith Hill, et al
I grew up with the Laura Ingalls Wilder Little House books. I read them in Grade 5 for the first time, and my teacher made us do projects on the first book, Little House in the Big Woods. My family now calls our house our “little hoosie in the big woosie”. Silly, right, but we strongly identified with the Ingalls family. My Dad and I built a little log cabin out of sticks, with cotton wool for the smoke out the chimney and trees of styrofoam. Ever since then, I’ve read and re-read all of the books by Laura Ingalls Wilder, and those by Rose Wilder Lane, her daughter, in both Afrikaans and English. And like with Hergé’s Tintin books, I also collected books about the books. Laura Ingalls Wilder’s books are now part of the history of American literature; a treasured part of world children’s literature, and in their own right, an enduring favourite for generations of readers. Continue reading