Reviews and Comments

Everything I felt about outside.ofa.dog/book/168034/s/showa-19261939 applies here too. I learned a lot from this volume about how different WW2 looked from a Japanese perspective than from the Euro/USian ones I'm used to, and it makes a lot of things make more sense. Both why Japan wanted to expand the regional war it was already embroiled in, and how close it came to winning the battle for the Pacific.

I read this over the course of about 6 months as a group read. 5-10 of us would meet for an hour a week and take turns reading chapters. It's a very enjoyable experience that way, and at the same time I don't think I'd even have finished the book if I'd tried to read it alone.

Apart from being notoriously long, it's full of meandering digressions many of which would probably have lost me. And the tone of the writing is dominated by the pomposity of the narrator, which at times is used for great effect but at others just grates. It's also extremely wordily heavy. I realise that some of this is just the literary English of the time, but Melville was well capable of using that style to dramatic effect, like in Bartleby which I found a total page-turner, or some of my favourite individual chapters of Moby-Dick which would have been great stand-alone novellas. And while I suspect it was racially progressive for a novel written by a white USian back then, from any other perspective it's infuriatingly racist.

So why still a classic? Well, it does manage to conjure up a world, in which it tells a story that's simultaneously very small (one boat hunting one whale) and huge (an epic journey for that crew; a microcosm of whaling as a whole), with some very vividly rendered characters along the way, and much more comedy than I expected from the way people talk about this book.

The author is a geography professor at the University of Victoria, who I have got to know a bit through a shared interest in watersheds and water management. I knew she was also a published poet, but had filed that away in the back of my mind until seeing this volume at a bookstore and wondering why the poet's name sounded familiar.

I loved this book for several things:

• How real and solid the historical-London setting felt. I'm used to that sort of thing feeling very flimsy, but this is an author who clearly does deep research and lets it suffuse the writing without getting all 'splainy.
• The very palpable tension between the protagonist's precarious position and her need to have some freedom.
• The delightful-if-implausable retconning of Sir Christopher Wren's secret motive for shaping London the way he did.

#SFFBookClub

About halfway through and I have mixed feelings about this book. I find the plot such as there is one quite interesting and a very good vehicle for dissecting/mocking the 2010s-2020s turn to fascism. And I like the writing itself a lot. But Gospodinov seems perpetually unsure whether he's writing a novel or an essay.

The thing that's keeping me going is that he's a good enough writer and observer for it to be an enjoyable essay, but I am increasingly finding myself wanting the essayish digressions to get shorter so the plot can move more.

#SFFBookClub

#SFFBookClub September. 2 chapters in and I am intrigued.

I loved how this picked up from where book 1 left off and immediately ripped any optimism to shreds. It was a gripping read with the painful twist that it keeps me cheering for Laure even when Laure is being terrible. I found the primary antagonist a little flat, though - "the whole Paris Ballet and all its insiders" just made such a good villain in book 1 than I don't think "a bitter individual" can compare.

books.theunseen.city/user/picklish/review/177841 has me thinking this'll be a good comfort read some dark (literally or emotionally) day.