Reviews and Comments

For the first chapter or two I'm reading this and the older translation that Standard Ebooks has and then I'll decide which to finish.

When I heard of this book--a generation ship novel entirely in verse--I was excited and felt some trepidation, because it can be easy for a technical feat like that to overshadow the story. Once I had it in hand and flicked through, I felt both of those things more intensely, because parts of the book employ the sort of creative layouts I associate more with zines than novels.

It turns out that all of that drives the story and characterisation with a singular focus. Even the wackiest-looking page layouts are a guide for pacing and mood, and work fantastically well. I am unusually tempted to just go back to the beginning and read the whole thing through again.

It is also an interesting story, and the three main characters are compelling. It made sense to mostly focus on them at the expense of the ship's crew, but at the end I was left a little frustrated that one question was never addressed: what would have motivated rank-and-file members of the first generation crew to sign up?

It is also a deeply Christian story, enough so that I feel like that needs to be a potential CW. But this is handled in a very interesting way that worked for me as a non-Christian reader.

#SFFBookClub

This is one of those books that's a deceptively easy read while full of heavy themes: war, hate, difficult parent-child relationships, adolescence. Some chapters were just plain fairy-tale fun, while others were quite grim, and it's all pulled together cohesively.

The last few chapters are a gut-punch, and the one sour note for me is that the twist towards the end makes some of the earlier parts of the book feel like a con.

About half a chapter in, and I can already tell this is going to be gloriously batshit. I think I mean that as unqualified praise, ask me again after a couple of chapters. #SFFBookClub

Lent by a friend. I'm about halfway through already. So far it's very good, but also kind of painfully on the nose to be reading while Russia tries to annex Ukraine and the US threatens everywhere.

I kind of have two reviews of this book. On the one hand, I now understand why it's a classic. Twain was a great observer of his peers and an even better writer. It's not a book for kids, at least not contemporary ones, but setting aside the things I'm about to complain about it's a great read about childhood for adults.

On the other, it's also very clear to me why many people don't want to read this book and particularly want it taken out of curricula. It's not just the N-word, though that's all over the place. Personally I was much more troubled by the attitudes through the book.

The worst part by far is Twain's treatment of the one indigenous character, "Injun Joe". The story needs an antagonist, and the cartoonishness of Joe and his crimes seem like an OK fit. But why make him indigenous at all? His indigeneity is irrelevant to the plot but Twain is literally incapable of mentioning him with explicitly flagging it. I realised towards the end of the book that this is a direct counterpart to the antisemitism in Dorian Gray, which I found such a slap in the face that I couldn't finish the story. I don't think it says anything particularly good about me that I could hold my nose and keep reading when it was less personal, but that's also not very surprising. In any case, I would rate this as the primary reason to keep the book off syllabi, and I can certainly understand anyone refusing to finish it once the treatment of this character becomes clear.

By comparison to that disgusting benchmark, Twain's treatment of Black characters seems slightly less bad, in that: there's more than one, they aren't interchangeable, their Blackness is relevant to the roles they get to play in the story, and he puts some positive words about at least one of them in a character's (Huck's) mouth. But even that last is tempered: Huck seems proud to treat the Black man who gives him food and board less badly than other white people do, but it's very explicitly a concession that Huck will share a table with him. All of which, and the liberal use of the N-word in dialogue, seem realistic for how this set of white people would have talked about Black folk in their town, but it still makes for hard reading today.

And even the way Twain approaches the white characters of the town is somewhat condescending. He's a good enough observer that it's clear he's talking about the sort of place he grew up in, but he also seems very keen to separate himself from it, like he's better for having got out, not just luckier. This is a much smaller flaw in the book, but it did grate at times, and that sort of superiority probably reinforces the racism showing through elsewhere.

@tak@reading.taks.garden 's review has me intrigued.

[actually using the edition downloadable from standardebooks.org/ebooks/mark-twain/the-adventures-of-tom-sawyer ]

I tried reading this when I was approximately Tom's age and knew almost nothing about US culture, and bounced pretty hard. I was curious to try again now that the cultural distance wouldn't be so alienating.

I am enjoying it much more this time, but I think the real variable is age. The cultural setting still feels so far removed from anything I know that I needed the first chapter explained to me; fortunately it hasn't been a barrier in the rest of the book, but it's still highly unfamiliar. But I remember hating the famed whitewashing a fence story as a kid, and this time I found it wryly amusing - I just think this is a book for adults about a kid, not a book for kids.

I'm about 2/3 of the way through and both the racism and the amount Twain condescends to his characters are grating. But he was also an excellent observer and writer; so far there's enough to keep me going while sometimes gritting my teeth or rolling my eyes at the author.

At the heart of this book, there's a good, simple ghost story in a creepy setting. It would work well as a short story, and Myfanwy Piper did a great job distilling that short story back out for the libretto of Britten's opera version. But the original text is so heavily larded with too many words--too many adjectives, just too much in general--as to ruin it for me. Some of this is the sheer wordiness, some is how slowly the story is drawn out, which was probably an artefact of having originally been published as a serial. But some is also how heavily the protagonist feels the need to imbue every step with Drama, to the point that when the ending comes it has no impact whatsoever because the piece has been blaring at fortississimo for an hour.

Seriously, the opera is a so much better telling of the same story.

How to review this without spoilers for things that it is definitely worth encountering at the speed they're written?

I found this a hard book to read, because so much of the plot is driven by the protagonist making decisions that are clearly bad in the moment they are made. I felt a bit like the stereotypical moviegoer wanting to shout "no, don't do it" at the screen. But I ultimately came to see it as a classic tragedy: a whole series of painful events driven by the hero's fatal flaw. And it is all aspects of the same flaw, and the flaw is one that's very recognisable looking around at society.

It's also a story of the right size for the novella format. Sometimes I get frustrated that novellas feel incomplete, rushing to an ending and/or leaving too few characters fleshed out. This one just felt tightly focussed.

And it has one of the best closing sentences of anything I've read, up there with The Dispossessed for how perfectly it recapitulates the whole story, and how little it will mean prior to having read the story.

#SFFBookClub