Showing posts with label Classics. Show all posts
Showing posts with label Classics. Show all posts

Monday, July 7, 2014

The Inner Beauty by Maurice Maeterlinck

Title: The Inner Beauty
Author:  Maurice Maeterlinck
Original Publication Date: 1910
Pages: 39
Genre/s: Classics, Philosophy














Nothing in the whole world is so athirst for beauty as the soul, nor is there anything to which beauty clings so readily. (5)

This has been a particularly hard piece to read, and by a necessary consequence, to write a review of. Maurice Maeterlicnk is, before anything else, a Nobel laureate (1911) who earned the coveted award for his plays which form a substantial part of the Symbolism Movement. Adherents believed that absolute truths could only be described indirectly, which necessitates a style of writing punctuated by metaphorical and suggestive prose. This is now our caveat by which we seek to assuage any difficulty in tackling this work.

The work is divided in three parts, Inner Beauty, Invisible Goodness, and Silence. This is a spiritual and ruminative work in all its aspects.

"Beauty is the only language of our soul: none other is known to it."(10)

Beauty is of course acts that we could generally and objectively categorize as good in man. Maeterlinck states that every man, even the unhappiest and the most destitute have at the depths of their being, this beauty that he speaks of. This necessarily lays down the premise that men by nature are good, or, in Maeterlinck's words, are naturally beautiful beings, who need only to acquire the habit of dipping into that nature, into that soul, and the greatest act by which we enliven this beauty is by loving.

Is it not in love that are found the purest elements of beauty that we can offer to the soul?(19)

To him, to love means losing every bit of 'ugliness' in our souls. It is the state by which we come closest to God. But to be good, to be able to love with real ardent affection, we must first go through suffering, a harrowing by which we are molded to become better and end up in tune with our soul, our inner beauty. "Grief is love's first food, and every love that has not been fed on a little pure suffering must die like the babe that one had tried to nourish on the nourishment of a man." (20)

And there would always remain between us truth which had not spoken, which we had not even thought of speaking... and only in silence could we perceive it.

And he counsels the reader to search for this intermittent pockets of silences in life which holds the 'real' secrets and calls them 'secret silences'.

One has to forgive my limited and modest uptake of Maeterlinck's philosophy as contained in this work. Admittedly, this is only one way to look and deconstruct this highly suggestive and metaphorical work. It bears mentioning that nowhere was beauty explicitly defined within the work except from derivable contextual references, and even then it was questionable and equivocal. The work, however clearly references  to spirituality and to God, to a human soul, but not religion. The chapter on Invisible Goodness clearly refers back to the Soul and its nature of goodness and nobility. The silence he refers to is also curious as he does not clarify as to whether he refers to spiritual silences or a physical world of a noiseless condition. Indeed he says that:

There is no silence more docile than the silence of love, and indeed it is the only one that we may claim for ourselves alone. The other great silences, those of death, grief or destiny, do not belong to us. They come towards their own hour, following in the track of events, and those whom they do not meet need not reproach themselves. But we can all go forth and meet the silence of love.

But then again he writes,

If I tell someone that I love him - as I may have told a hundred others - my words will convey nothing to him, but the silence that will ensue will make it clear.





This book forms part of my remarkably extensive reading list on Nobel Prize for Literature Laureates

This review, along with my other reviews, has been cross-posted at imbookedindefinitely

Monday, June 9, 2014

Chess Story by Stefan Zweig

Title: Chess Story
Author: Stefan Zweig
Original Publication Date: 1941
Pages: 84

I never won a single chess match against my father. He was kind like that, subtly teaching a victory unearned is a success undeserved. No truer words could have been said nor as easily forgotten, for after all those years, whether by natural imprint of innumerable defeats that leaves a sad ennui on the human  soul or by my inherent lackadaisical treatment of this royal game of chess, with its defined sixty-four squares faithfully clinging to white and black, black and white, bored me, until now.

Enlivened by an immaculate narration, this powerful novella brought me to the deepest recesses of the mind, through a ruthless frightful void where terror pure and uncompromising breathe, where black and white means a lot more than a chequered board, a struggle of the human mind in timeless nothingness, to find one self, or, to lose it. Zweig too breathe life to chess, black and white, white and black, the infinite permutations contained in this fixed 64 squares with 32 pieces. To say that Zweig and this novella has challenge my own conceptions of the human psyche is a gross understatement. They have rocked me to my core!

The Red Lily by Anatole France

Title: The Red Lily
Author: Anatole France
Original Publication Date: 1894
Pages: 276

"I need love"

"I need love"
says the title of the first chapter. So basic a need that will define this book's essence.

"I need love"
says Mdm. Therese, and inevitably a love that cannot be found in the arms of his husband leads to adultery and fornication, not just in an isolated occurrence. This is a recurring aspect of France's in his novels, characters which seemed to be designed with the canonical belief to engage in adultery. France's own life inevitably trickles in these instances as he too was known for this kind of passionate indecencies.

"I need love"
says the art. For France's talks about the myriad facets of arts, of passion, of styles, of inspiration for passion for art, of the differences in style, of art itself.

"I need love"
says France's impeccable prose, to that, love need not be asked twice!





Other works by Anatole France:
The Crime of Sylvestre Bonnard(4 Stars)
Revolt of the Angels(4 Stars)
Penguin Island (3 Stars)

This book forms part of my remarkably extensive reading list on Nobel Prize for Literature Awardees

Saturday, June 7, 2014

Stranger in a Strange Land by Robert Heinlein

Title: Stranger in a Strange Land
Author:  Robert Heinlein
Original Publication Date: 1961
Pages: 528 (Abridged); 756 (Original)



“Nine times out of ten, if a girl gets raped, it’s at least partly her own fault.” (511)

Perhaps this is the single most quoted statement from this work, and also the statement by which Heinlein is critiqued and berated, the same statement by which this philosophically charged work is sullied by 1-star ratings. Whether by inadvertent straying into a faulty conception and erroneous application of intentional fallacy or the failure to recognize that Heinlein sought this work to stand as historicization of the prevailing attitudes at the time of writing juxtaposed with those of the future, as represented by the Man from Mars, the loss of substance predicated upon such mistakes are saddening.

Most reviews needlessly nitpick this book by implacably quoting sexist remarks offered to us by a cantankerous Jubal, who symbolized the attitude of a bigoted past, but that is missing the big picture, and missing the very idea this book seeks to impart. That is the point, to present homophobic, sexist, resistant-to-change personas that stand for the past, because in the end, we see that Jubal, is opened up to a new philosophy, divested of all improprieties and finds himself realigning his beliefs, a belief which is open to change.

By doing so, Heinlein, through Jubal and the Man from Mars, asks the reader, by extension, to reexamine beliefs and conventions. To disregard this by literally focusing on the sexism is to lose the quintessential aspect of the book.

See beyond the literal. Challenge the conventions.

A Happy Boy by Bjørnstjerne Bjørnson

Title: A Happy Boy
Author: Bjørnstjerne Bjørnson
Original Publication Date: 1857
Pages: 112


“That poverty hemmed him in on every side, he felt, but for that reason his whole mind was bent on breaking through it.”(43)

A Happy Boy, the second Peasant tale of Bjørnson that I have read, the third (1860) in writing of his four Peasant Tales , the first being Synnøve Solbakken, (1857) followed by Arne (1858). Sadly, it would seem that the first two do not exist except in the original Norwegian texts and completion of his Peasant Tales dictates reading it in the original, nothing less.

A Happy Boy, tells us of Oyvind, the son of a houseman, who happens to meet the love of his life in Marit, the granddaughter of a gard (farm) owner. By their stations in life, the inevitable schism arises. This quandary is solely predicated in Oyvind’s lowly station in life. “I will tell you why I have been so happy before: It was because I did not really love anyone; from the day we love someone we cease to be happy.”(34) Our happy boy is not so happy after all. Oyvind struggles to break free from the familial shackles that fate has imposed, and we are taken through his rise from being the son of a houseman to the pride of the town.

This story is a lot sweeter and simpler than The Fisher Girl| (3 Stars). Again, Bjørnson plays the same card in the Fisher Girl with love as the mechanism by which the story is set in motion. The same peasant struggles and desire within the story exist.

What is more prevalent however is how Bjørnson incorporated the Norwegian faith in the story, more than he did in the The Fisher Girl. This led me to read up on a little bit of Norwegian religious history and find that Norway has always been labeled as a Christian country and that at numerous times in history, Norway sent more missionaries per capita than any other country. What is more interesting is that this Christianity is not under the Holy See but is an entirely new animal. The Church of Norway it is called, with the King of Norway as it head, and professes a Lutheran belief. Interesting isn't it, a union of the church and the state that, it would seem, hasn't screwed the people over. This is probably why the depiction in one scene of the story was like this.

description



Other work by Bjørnstjerne Bjørnson:
The Fisher Girl (3 Stars)

This book forms part of my remarkably extensive reading list on Nobel Prize for Literature Laureates

Wednesday, June 4, 2014

The Fisher Girl by Bjørnstjerne Martinius Bjørnson

Title: The Fisher Girl
Author: Bjørnstjerne Martinius Bjørnson
Original Publication Date: 1868
Pages:137



"To see the peasant in the light of the sagas and the sagas in the light of the peasant"
-(Bjørnson, n.d.)

Bjørnson, born Bjørnstjerne Martinius Bjørnson(1832-1910), declared this to be the principal literary method of his vast creative activity in language, for aside from being awarded the Nobel Prize for Literature in 1903 (which is interesting for he was sitting in the Norwegian Nobel Committee, the body that awarded the said accolade, from 1901-1906) and having been known for being an ardent Norwegian left-wing adherent who wrote the present Norwegian National Anthem, was known for his, Peasant Tales, a series of works portraying the Norwegian peasantry with intimate and loving knowledge, much like this one, The Fisher Girl.

descriptionThe writing framework classified under the peasant tale is not unique to Bjørnson, or in European Literature.  What magnificently demarcated Bjørnson from his contemporaries and predecessors was his writing perspective. Others wrote from an outside perspective undeniably fraught with artificial sentimentality predicated on a condescending attitude. Most perspective writing from ‘without’ have been severely criticized for their fundamental failure to unveil the factual nature of what they were writing about. They fail in a fundamental level for no legitimate grounding exists to write a sound rendering. They were not simply immersed. But Bjørnson had that grounding. He reveled in it, and that made all the difference. Bjørnson himself was of the peasant stock, his formative years were defined by living in an ungrateful soil whose stubbornness rooted in its primal nature to resist cultivation is second only to the tenacity displayed the peasantry to plow the field. By his personal history, he was able to epitomize the peasantry. In the words spoken by his characters, the reader is continuously made to realize the subtle depth of unexpressed feelings festooned by a naïve and honest understanding of a world beyond reach and of comforts absolutely ungraspable.  Whether from a self-imposed sense of inadequacy or innate pride, the characters are identified only by laconic utterances of genuine sincerity.

One will find that The Fisher Girl does not stray from the descriptions I have written above, if anything, it is ineludibly evocative of Bjørnson’s said style.

The Fisher Girl recounts the failed love between Pedro Olsen, (from the line of Peer his grandfather, and Peter, his father) a soul who by the desire of paternal rigidity to impose a conventional trade in life instead lost his purposefulness, and Gunlaug, whose nature dictated the necessity to have something to care for, you would know outright, they were a perfect match. But it is not their story that is told.  When Gunlaug’s father dies, she leaves the town, only to comeback, quite unexpectedly as she had left, with a daughter, whose paternity would seem to be in question albeit the man whence she came from is subtly unequivocal.  What is recounted here is Petra’s history. The Fisher Girl’s story.

In tells of how, not by wickedness but by pure honest indecisiveness and helplessness, Petra agrees to the simultaneous engagement to three men, which stirs the town enough to chase her out and run her mother out of business. She was labeled, derogatively, ‘the Fisher Girl’. She travels to evade the people and the title and in so doing, she falls in love with the stage, with drama. But Petra’s road to success is under construction. And she will, in her earnest desire to play in the stage find that gossip travels light years faster than success.

In Petra’s search for her calling, the conversations are defined by terseness, but one can always feel that she always wants to say more, to mean more, and she does, for her brevity often speaks for itself. In Petra’s excursions, troubles, and love for the drama, Bjørnson’s style comes to life. In her desire to rise above the title, the Fisher Girl, Bjørnson shows us the inescapable struggle of the peasant life, how Petra incrementally whisks away the naivety and inadequacy to set forth a critical moment in life, and always, one can feel, in all its inadequacy, Petra’s sincerity. Inevitably, you get caught in this peasant tale, and in her struggle for liberation from the derogation given her by naivety, when Petra’s title, ‘The Fisher Girl’ is said not for the three men she fished in engagements but nobly recalled because of her gifts in the stage incomparable in human experience, one will find, that life is not so unfair after all.



This book forms part of my reading list on Nobel Prize for Literature Laureates

A free ebook copy is legally downloadable here, along with a voluminous number of other works: Gutenberg

Thursday, May 29, 2014

The Crime of Sylvestre Bonnard by Anatole France

Title: The Crime of Sylvestre Bonnard
Author: Anatole France
Original Publication Date: 1881
Pages: 148



Monsieur Sylvestre Bonnard, a member of The Institute, a philologist who in the twilight of his years lives in a City of Books accompanied by his condescending cat, Hamilcar, and Therese, his adroit and remarkably annoying house help, finds himself committing a crime. And you wonder, what crime he did commit? He commits two actually, both of which stems from love. The former impelled by the haunting quest for redemption of a failed unrequited love, the latter, inevitably constrained by a passion unmatched. Of the two, he was not indicted for the former, and I am sure you will understand and forgive the latter, as I did.

The Crime of Sylvestre Bonnard  is divided into two stories, The Log and Daughter of Clementine, both presented as Bonnard's diary entries. The entries are intermittently  recorded, sometimes years apart. In both stories, Bonnard is the central character, and the connection in the stories are subtly and beautifully formed.

Of all of France's works I've had the pleasure of reading so far, I've come to appreciate he Crime of Sylvestre Bonnard the most. The differences were readily apparent. Bonnard is a warm and gentle kind man. He was not cynical, only true and honest. He wore his heart on his sleeves. "Then he said to her that the troubles in which we often involve ourselves, by trying to act according to our conscience and to do the best we can, are never of the sort that totally dishearten and weary us, but are, on the contrary wholesome trials."(148)The profound human sympathy and grace France is known for defines this book. It was poignant and beautiful, down from the vivid imagery he employed up to the ruminations in life, but still remaining to be critical without any hint of naivety just as he did on his later works. France's development as an author and a person is evident in this work too. Written earlier in his career in 1881 compared to Penguin Island and The Revolt of the Angels written in 1908 and 1912 respectively, both books the majority of which are criticisms on the church and of faith in the divine, the Crime of Sylvestre Bonnard professes however a faith in the church, and France even goes so far as ending this work by leaving a blessing in the name of God! It is so evident that what faith he had lost through those intervening years was still there. And it is interesting and amazing to experience a writer change and develop, and at times contradict himself, almost like how the young Nietzsche is so different to the old Nietzsche. And I like this kind and warm story, it makes you appreciate life.




Other Books by Anatole France:
Revolt of the Angels(4 Stars)
Penguin Island (3 Stars)

This book forms part of my remarkably extensive reading list on Nobel Prize for Literature Awardees

The Alchemist by Paulo Coelho

Title: The Alchemist
Author: Paulo Coelho
Original Publication Date: 1988
Pages: 197


Only the devil will leave you in a waiting room for three hours without any reading material. So I took this as an omen and went ahead and looked for a new dentist. But before I found one, the Soul of the World orchestrated the natural flow of things so that I should come across a copy of this book, and my diaphanous frustration compelled me to buy and read this work I've avoided until today. I have this particular belief that books I see in most houses that I've been to, if not all, are overrated. To me, The Alchemist was no exception. I read it under 3 or 4 hours which is probably because of the simplicity both in the story and in the prose, both were straightforward and linear. But it was nothing like Hemingway's style. It is retrospective but please, do not even imagine comparing this work to Siddhartha(4 Stars), as some people have the apparent audacity to do. Siddhartha is the work you read to experience a trance-like retrospective examination of life, in comparison, the only thing that made its mark in The Alchemist was the fantasy part, which I have to admit I see as a considerable digression for a ruminative retrospective novel. It does talk about love as the universal language of the world, that all of us are one but I had this feeling that The Alchemist barely scratched the surface of this reservoir of ruminative philosophy which led to an occasional overtly pretentious and over-reaching feel. Coelho's telling us that the happiness we seek is within us, as evinced by how this novel started and ended, what I can't curiously reconcile however is the fact that it was someone else's dream that completed his journey, as if negating the very message it seeks to impart. Just my two cents anyway.

Thursday, May 1, 2014

Revolt of the Angels by Anatole France

Title: The Revolt of the Angels
Author: Anatole France
Original Publication Date: 1914
Pages: 282

I read this book as part of my Nobel Prize for Literature Awardees reading list. As it turned out it is one the longest list I will ever try to finish. Sometimes I too wonder where I found the audacity to attempt to foray in this kind of reading list.

The Revolt of the Angels is my initial foray into Anatole France's works, which definitely is not my last one. It was not his first, as France was apparently a poet and a journalist too, but is considered to be his most profound novel. I was a sucker for riveting titles and killer first lines, so I picked this book and read. And read I did.

Anatole France, born 16 April 1844 and died 12 October 1924 was a French poet, journalist, and novelist. His was a lifetime of books. The family business was a bookstore, one which, arguably, could be the best environment to raise a future Nobel Prize awardee. He was schooled in a private Catholic institution which lends credulity to the fact that Anatole France was one hell of a radical as exacerbated by his writings. The rest, as one would say, is history. He was awarded the Nobel Prize in 1921. Shortly, in 1922, as a response by the institution we all know as the Roman Catholic Church, all his works were banned through the Prohibited Books Index, a list which has been abolished since 1966 and contained the likes of Sartre, Rousseau, Voltaire, Descartes, Locke, Hume, Galileo to name a few. Oh what a delight that list was.

The book itself was written in 1914, a time when France was besieged by the incoming Germanic invasion brought around by the First World War and was troubled at home by the numerous Socialist objections. What dominated this part of French history however was the power struggle between the Church and the State, one that is contained in this exceptional book and which probably served as the backbone for this exceptional work. Overly simplifying this dialectical issue, the struggle existed because the Church is seen to be representing the archaic system of institution embodied by the Monarchy against the desire of the Republicans who utterly detested political and class affiliations that are perpetuated by these monarchies. So from here, Anatole France wrote.

I obtained my FREE e-book copy through Project Gutenberg and was translated from the original French by Frederic Chapman. Apparently, licenses on century old books do not exist. As expected of a work in the early 1900s, a lot old English words and words derived from both Latin and French were used like architrave, frieze, verbena, narcissi, demiurge, though let that not deter you from missing on this work. The prose is beautiful as expected from an Nobel Awardee.

Revolt of the Angels tells us of the story of Arcade, a Guardian Angel, the lowest caste of the nine-tiered order of these heavenly beings. It narrates his pursuit of knowledge and how such knowledge led to become the foundation with which he challenge GOD, or as he called it, the DEMIURGE – the creator of the material world – or Ialdabaoth. Yes, this is the same GOD most Christian churches would profess belief to.  The book further tells us how he conspired with other ‘fallen’ guardian angels and plotted the overthrow of Ialdabaoth. Intertwined with Arcade’s story is Maurice’s plight of losing his guardian angel, his dishonor and fornication (to which a certain extent Anatole France himself engaged in).  The novel’s theme perhaps lies in the age-old philosophical conundrum of knowledge (or science) pitted against religion. Perhaps this conundrum is epitomized by Arcade’s statement:

“When the angels possess some notions of physics, chemistry, astronomy, and physiology; when the study of matter shows them worlds in an atom, and an atom in the myriads of planets; when they see themselves lost between these two infinities; when they weigh and measure the stars, analyse their composition, and calculate their orbits, they will recognize that these monsters work in obedience to forces which no intelligence can define, or that each star has its particular divinity, or indigenous god; and they will realize that the gods of Aldebaran, Betelgeuse, and Sirius are greater than Ialdabaoth.” (39)

What comes across to me however is that we human individuals are like Arcade, like these Angels in revolt. We seek the truth behind things. We learn, and learn and still crave for knowledge. But to where does this knowledge lead us? To me too at the same time we are Maurice. Just like him we all seem to have fallen into a trap. We love life itself so much that we fear losing it, that in any semblance of hope or continuity, we have sometimes turned to belief in numerous institutions, uncritical and naïve. That instead of uplifting the human soul, we have formed for ourselves unbreakable shackles that continue to limit our perception of the world.

"I sought out the laws which govern nature, solid or ethereal, and after much pondering I perceived that the Universe had not been formed as its pretended Creator would have us believe; I knew that all that exists, exists of itself and not by the caprice of Iahveh; that the world is itself its own creator and the spirit its own God. Henceforth I despised Iahveh for his imposture, and I hated him because he showed himself to be opposed to all that I found desirable and good: liberty, curiosity, doubt.” (139)

But what does exactly limit our perception? Is it really a religion, a church, a system of belief? Is it not fear and ignorance that severely limits human understanding and compassion, so much so that in the first place, no actual conflict exists between these forces? Is knowledge really the answer? What does this knowledge refer to?

In the closing part of the book, when the Army has been assembled and Arcade went to ask Satan to lead the army on their march, Satan said this in response:

“As to ourselves, celestial spirits, sublime demons, we have destroyed Ialdabaoth, our Tyrant, if in ourselves we have destroyed Ignorance and Fear." “…We were conquered because we failed to understand that Victory is a Spirit, and that it is in ourselves and in ourselves alone that we must attack and destroy Ialdabaoth.” (292)

The beauty of this statement lies in its verisimilitude.  Our demons are given birth by ignorance. It is nurtured by fear and is encouraged by blind obedience. These demons have always been personal in nature. Yet the discrepancy in societal response has become fundamental in nature.  We have raised countless institutions that are impersonal and by being so, wholly unresponsive. And more vital to all of this, we fail to recognize “that it is in ourselves and in ourselves alone that we must attack and destroy Ialdabaoth (292).” 

I have left the institutional church long ago, embarking on a more personal attempt in understanding things. In a sense, I have aspired to be spiritual without being religious, and have met a great many debates and contest on this aspect. Since then however, I have struggled to conquer my own demons. I have sought to eradicate cynicism and suspicion in receiving and responding to others, and have tried to look for that piece of kindness in everybody. The first step is always recognizing that perhaps the fault lies in ourselves, for this too is the hardest step to make.

This here is a good book. It may literally challenge fundamental beliefs of the religious institution, but what it truly offers is a much needed case of retrospection and examination which doesn't hurt to engage in once in a while.  I would recommend it to everyone except that one should still take caution choosing whom you recommend it too. Perhaps if you enjoyed this book like me, a similar theme albeit carried in another plot was written by Jose Saramago, yet another Nobel Prize awardee, entitled The Gospel According to Jesus Christ(3 STARS).

Monday, April 14, 2014

The Last Unicorn by Peter S. Beagle

Title: The Last Unicorn
Author: Peter S. Beagle
Publisher: Viking Press
Original Publication Date: 1968
Pages: 294

Beautiful. Beautiful. Pure soulful beauty. Though I still find it hard that this is compared to Tolkien's The Hobbit. Things lose their luster when they are compared. No. There is no need for comparison here. Still, this is beautiful enough on its own that it must and should be read by every fantasy genre fan.

Wednesday, October 2, 2013

1984 by George Orwell

Title: 1984
Author: George Orwell
Publisher: Signet Classics
Original Publication Date: 1949
Pages: 328

Perhaps what makes this tale so gripping is the propensity of the imagined world to be translated in an objective observable human reality, more so as an empirical experience (not discounting that it may have been translated already). Orwell did a superb job merging a tragic romance and a corrupted political ideology. Worthy to be read beyond its years.

The Diary of Adam and Eve by Mark Twain

Title: The Diary of Adam and Eve
Author: Mark Twain
Publisher: Harper and Brothers
Original Publication Date: 1905
Pages: 112

A take on the socially constructed gender roles and biases through a narrative anchored on the belief of the creation.

The Metamorphosis by Franz Kafka

Title: The Metamorphosis
Author: Franz Kafka
Publisher: Kurt Wolff Verlag
Original Publication Date: 1915
Pages: 195

Between the alienation experienced by Gregor and his family, the inescapable lost humanity though a failure of communication, and the apparently weird and unexplained but interestingly exciting story, deeper meanings in the book escape me (for I am led to believe there are), perhaps a second reading will put it within my grasps.

Thursday, September 5, 2013

The Worm Ouroboros by E.R. Eddison

Title: The Worm Ouroboros
Author: Eric Rücker Eddison
Publisher: Jonathan Cape
Original Publication Date: 1922
Pages: 446

To say that The Worm Ouroboros has bolstered my love for the classics, is to strain credulity, for I have devoted much time going through the 49 pages more than I would have wanted to.

A plain reason why 'classics,' or in a more encompassing sense, early works in literature experience a fallout, at its more merciful dispositions, has something to do with the language it has been couch with. The philosophies that give life to the plot, the mythologies in the origin of the story, the psychologies of the characters, be they stupidly consistent or brilliantly logical, are all contained in the language. Failure must not exists in the basic and most vital component of a book, lest it be fatal. Language, one might say, would be the shell of the book by which it is most peremptorily judged, just as how The Worm Ouroboros came out to be. (Perhaps this too contribute to the proliferation of YA novels, they are as simple and easy as they could possibly be - although this statement is in danger of suffering from generalization)

I look forward, knowing that a moment will come when i should once again pick this book up, not only giving justice to the words Tolkien have immortally left with it, but to knowing, at last, the merits it contain. Till then, unrated it will be left.

White Fang by Jack London

Reading Jack London's White Fang was beyond any expectation. The manner by which he has so vividly written in an animal's point of view leads one to incredulous experiences and conclusions while wholly experiencing the enthralling story. I'm almost inclined to argue - with an implausible idea - that London is white fang himself experiencing firsthand all that he has written. This statement does not render absurdity but rather should be further taken as an evidence giving credence that London's White Fang has perfectly captured the wolf experience, however fictitious it may be. I did not give it however a perfect five star rating due to the manner by which it is written as short as it is, that in itself is not even a flaw but a matter of personal preference. White Fang is surely a must read.

Catcher in the Rye by J.D. Salinger

Boy, that goddamn killed me!

Reading is never an easy thing. Surprisingly I still find that there are books that are laboriously... fatal. It killed me, it really did.

Now, where the hell do I goddamn start? I'm obviously done with the use of profanities.Some things are just not good enough, certainly not with the use of profanities in this case. The concluding paragraph on chapter seven for instance has this:

"When I was all set to go, when I had my bags and all, I stood for a while next to the stairs and took a last look down the goddam corridor. I was sort of crying. I don't know why. I put my red hunting hat on, and turned the peak around to the back, the way I liked it, and then I yelled at the top of my goddam voice, "Sleep tight, ya morons!" I'll bet I woke up every bastard on the whole floor. Then I got the hell out. Some stupid guy had thrown peanut shells all over the stairs, and I damn near broke my crazy neck."

How can Holden be so irritatingly inconsistent of a character and yet at the same time be so annoyingly repetitive. In hindsight it actually is of no surprise, it is rather a perfectly unfortunate complement.

If "Holden was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it,"(as an antihero who decidely hated phonies, he hated this world) still if this is what he considers one of the things he labels a phony, it is contradictorily funny, at best and at worst, is an ironic manifestation of the hypocrite that he is, seeing that he has this decisive use for the word ugly. More than anything that merits of a hypocrite label is how well and how much he lies saying "he could go for hours" (as he showed on the train with his schoolmate's mother). A condescending and rather conceited reason he has for lying is that he hates explaining things to people, thinking that it's easier to lie than to explain the truth to people. Holden Caulfield is not really self-aware that is to say, he can't see that he himself is a phony.

Laden with inconsistencies, I got the feeling that I was reading a book with a child that was not depressed in any meaning of the word, but who is rather a child with a savant syndrome.

Page 38:

"My brother Allie had this left-handed fielder's mitt. He was left-handed."

Holden was repetitively stupid.

If the point of the anti-hero is to annoy, then it did succeed, too well, far to well that I absolutely hated Holden.

A lot of people loved, venerated and labelled this book a classic. Some say the reason they do so is that, God forbid, they identify with Holden and in that process, it changed their lives. This is not surprising for Holden is, without any discernible difficulty, the book itself. I however recommend that rather than fraternizing with Holden, one should seek a cathartic outburst, and if failure still lingers, nothing beats employing professional help.

Lest some incomparably emotionally attached reader lambast me and do educate me that all I've been talking about is Holden and not the book, and I do, to some extent acknowledge that, here then is my leverage.

The book actually had barely any plot at all. This is precisely what I meant when I said that I toiled and labored going through this book. I would gratify at the fact that I could be rectified concerning this point. Adding to such disposition, the stream-of-consciousness narration writing style in the book did not help at all (n.b. most YA novels proliferate under such school).

For all that is now between me and this book, I too have to acknowledge the fact that Salinger wrote this at the end of WWII, an anti-hero theme which gave light to the themes of teenage angst and alienation in a world that the youth are nothing but alienated, in a world that precisely needed it.

A clear undeniable precursor of things to come.