Friday, August 27, 2010

'The Girl With The Dragon Tattoo' by Stieg Larsson

"The new Dan Brown!" claim excited fans, who love Stieg Larsson's brand of page-turning, investigative excitement, and who relish the sight of the same book being read by so many people.

"The new Dan Brown," sigh the less easily impressed, who recognise something horribly familiar in the sloppily-written, even-more-sloppily-edited prose with a manipulative cliff-hanger shoehorned into the end of every chapter, and who despair of the sight of every single fucker on the bus making this their quarterly read.

Larsson is, to my mind, a couple of notches above Dan Brown. Make of that what you will.

Sunday, August 15, 2010

'Let The Great World Spin' by Colum McCann

"A poet with every living breath" proclaims Peter Carey of Colum McCann, with the kind of effusiveness that is now entirely typical from big authors providing a cover quote to help a lesser-known author flog their book. For once, however, this appears to be more than mere hyperbole.

McCann's book, set around Philippe Petit's tightrope walk between the Twin Towers in 1974, is told from the multiple perspectives of people in New York at the time, and shimmers with pretty words and turns-of-phrase from start to finish. My reading of it suffered from lack of time due to work and wedding preparations, meaning some of the intensity of the book was lost through my spending over a month on it. Nevertheless, it was hard not to feel that it featured one or two fairly superfluous narrators - particularly the teenaged photographer Fernando, whose function within the centre of the novel I couldn't really understand.
More impressive were the middle-aged Claire - grieving for her son killed in Vietnam, and the loud-mouthed prostitute Tillie - an intriguing blend of arrogance and contrition.
Ultimately, I found the narration of the story a mixed bag: largely compelling but occasionally flagging. However, it is the constant beauty of McCann's prose that makes this book essential reading for those who are as concerned with style, perspective and profoundness as they are with out and out storytelling. Nowhere is this better seen than in the sections of the book that deal with Petit's (though he is unnamed in the book) daring walk:

"Within seconds he was pureness moving, and he could do anything he liked. He was inside and outside his body at the same time, indulging in what it meant to belong to the air, no future, no past, and this gave him the offhand vaunt to his walk. He was carrying his life from one side to the other. On the lookout for the moment when he wasn't even aware of his breath.

The core reason for it all was beauty. Walking was a divine delight. Everything was rewritten when he was up in the air. New things were possible with the human form. It went beyond equilibrium.

     He felt for a moment uncreated. Another kind of awake."