Posted in June 2011

The Resolution Project Book Twenty-Five: A Dance to the Music of Time – 1st Movement (1951)

“Human relationships flourish and decay, quickly and silently, so that those concerned scarcely know how brittle, or how inflexible, the ties that bind them have become.” (A Question of Upbringing, p. 229)

The Resolution Project: For my New Year’s resolution this year (that being 2011), I decided to try and read all one hundred of the novels picked by Time Magazine as the best since their inception in 1923 to the list’s publication in 2005. I exempted myself from reading ones I’ve already read, leaving some eighty-six or so to read before the end of this year. Some spoilers may lie ahead, so be warned if you’re the type to be bothered by that.

A Question of Upbringing coverA Buyer's Market cover

The Acceptance World cover

Here’s where the wheels kind of come off my project. Anthony Powell’s A Dance to the Music of Time is a twelve book cycle, a “dodecahedral masterpiece“, says Lev Grossman, which by my count should make the Time Magazine list actually number 111 books, not the vaunted 100. The bet that myself and the Lady E. had between us was to see who could get farthest through 100 books (or movies, in her case) in one year. I am definitely winning the bet at this point in time, if you were wondering, but I have a sneaking suspicion she’s just stringing me along with the intention of absolutely crushing me with a week-long movie marathon down the line. So we came to a compromise. I only have to read through the first three books of Dance, the “1st movement”, while she only needs to sit through one of the Lord of the Rings movies (what can I say, she really hates them). And now that I’ve read through those three books, I’m somewhat conflicted. I’d like to keep going through the cycle, but alas duty calls. Anyway, here’s the synopsis.

Nick Jenkins, when the story begins, is a young man just about to leave Le Bas’ secondary school and head to university. He’s friends with Peter Templer, a charming womanizer-in-training, and Charles Stringham, a restless aristocrat with a talent for mimicry. There’s another boy at the school too, named Kenneth Wimperpool, whose sartorial and social eccentricities have made his last name an adjective for that which is out of the ordinary. A Dance to the Music of Time follows these three boys into manhood and beyond, though the three books I’ve now read, A Question of Upbringing, A Buyer’s Market and The Acceptance World, only take them into the early 1930s or so. Time is not clearly delineated in the narratives, you have to instead rely on your knowledge of early Twentieth Century history to orient yourself in time (the Manchurian Crisis is mentioned by name in Acceptance, marking it as occurring around 1931-1932), or look it up on Wikipedia, if you’re lazy.

Question follows the four boys as they leave the last year of what we’d call high school now, and through the early years of college. Buyer’s Market takes place a little later, as the now young men have begun to find their footing in business and life, and concerns itself mostly with the courting rituals of the time. Acceptance continues down the romantic avenues set up early on, and introduces politics into the stew in a big way, mostly Socialist politics, reminding me a lot of Resolution Project Book Thirty-Four, The Golden Notebook.

Nick Jenkins comes from the great English tradition of narrators who are more like mere observers, also seen in the form of Herr Issyvoo from Christopher Isherwood’s Berlin Stories, and especially in Charles Ryder from Evelyn Waugh’s Brideshead Revisited. I understand why this device is used over and over, as it’s a great way to analyse cultures anthropologically (especially when you’re reading about them from our time period, without the benefit of total understanding of the era), but honestly these sorts of guys remind me more and more of Crono from Chrono Trigger, sponges who experience everything vicariously through their friends. I’d like a main character with a little more agency, please.

Crono from Chrono Trigger

As for the books themselves, I liked two out of the three quite a bit. Question is an entertaining schoolboy lark that is cut through with hints of the darkness looming over everyone’s heads. Buyer’s Market, though, was a bit of a chore to make my way through. It concerns itself for about half the book with the events of one long night in the world of London’s hostesses and parties. It was interesting at first to see how well-to-do types at the time courted one another, and the etiquette involved in place settings, dances and attire, but after 100 pages or so of this and little else, it got old. I did like Powell’s spot-on depiction of a young man in “love” with various women of his acquaintance, more infatuated with the idea of love itself than any one girl. That was excellent. Acceptance picked up again, though, and I pretty much devoured it in two days. You can see Jenkins maturing almost page by page in this one, and his eventual (real) romantic pairing felt very organic and recognizeable.

I noticed an interesting theme running through these three books, the idea of great men and their influence on the relatively small world of the London upper classes. A few figures loom large over everyone else in the books, and here Powell’s use of Jenkins primarily as an observer works really well. We never really get to know Sir Magnus Donner, a successful businessman and owner of the Donners-Brebner industrial concern, nor his secretary Bill Truscott, who was a big deal during Jenkins’ university years. Rather, we hear about them in hushed tones more resembling tales out of mythology than anything else. In fact, you can extend this metaphor to give each book an older patron who sets the tone for the story; Le Bas, schoolmaster to the boys before they leave for college or the City, is the big influence over Upbringing, while Edgar Deacon, a bohemian painter and friend of the Jenkins family is a major player in the events of Buyer’s Market.

The author St. John Clarke, who is beginning to fall out of popular and critical favour, is fought over by two more of Jenkins’ university pals in Acceptance, the dueling authors Mark Members and J.G. Quiggin, who both want influence over him. In addition to those three, we also learn a lot about Jenkins’ Uncle Giles; we actually learn more about him than we do his nephew, at least in these three volumes. He’s kind of a crank, whose primary aim when dealing with his family members is to try and weasel more money out of “The Trust”, this being the inheritance held for everyone. His ideas about how the world works are entertaining, as he finds that “all material advancement in the world was the result of influence, a mysterious attribute with which he invested, to a greater or lesser degree, every human being on earth except himself.” (Upbringing, p. 66). We all know someone like that, who believe that people who “get ahead” are just lucky assholes who overshadow their own obviously misunderstood geniuses.

The real problem with trying to talk about this section of the greater cycle is that there’s not a lot more I can say about these three volumes; they’re basically the first few chapters of the real book, full of portent and foreshadowing for what’s to come. Jenkins drops a few references to what happens to him in World War II, for example, and now I really want to find out what happens to everyone. I’m still mulling it over, but I think I’m going to take a crack at the rest of the cycle once my current reading project has come to an end. While I’d recommend the “1st movement” to someone who would enjoy the examination of the milieu, it’s like me recommending Blood Meridian based on the strength of its opening five chapters (which I wouldn’t do, by the way, as I really hate that book and am dreading trying to read it again). While I’m closing in on my current goal of 100 books, my real reading list keeps growing by leaps and bounds…

“But, in a sense, nothing in life is planned –or everything is– because in the dance every step is ultimately the corollary of the step before; the consequence of being the kind of person one chances to be. (Acceptance, p. 63)

The List:

1. The Adventures of Augie March

2. All the King’s Men

3. American Pastoral

4. An American Tragedy

5. Animal Farm (read before 2011)

6. Appointment in Samarra

7. Are You There God? It’s Me, Margaret

8. The Assistant

9. At Swim-Two-Birds

10. Atonement (read before 2011)

11. Beloved

12. The Berlin Stories

13. The Big Sleep (read before 2011)

14. The Blind Assassin

15. Blood Meridian

16. Brideshead Revisited

17. The Bridge of San Luis Rey

18. Call It Sleep

19. Catch-22 (read before 2011)

20. The Catcher in the Rye (read before 2011)

21. A Clockwork Orange

22. The Confessions of Nat Turner

23. The Corrections

24. The Crying of Lot 49 (read before 2011)

25. A Dance to the Music of Time (1st Movement)

26. The Day of the Locust

27. Death Comes for the Archbishop

28. A Death in the Family

29. The Death of the Heart

30. Deliverance

31. Dog Soldiers

32. Falconer

33. The French Lieutenant’s Woman

34. The Golden Notebook

Total pages read since January 1st: 8977 pp.

Next up on the Resolution Project: Go Tell It on the Mountain, by James Baldwin (1953)

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Postgame Report: Killer Thriller – Death of the Authors

Enough with the pretentious literary analysis this page has devolved into. If only for a brief interlude, THE GEEK WANTS OUT!

 

Killer Thriller cover

So the other weekend some of my friends and I got together to play one of the many tabletop role-playing games I’ve collected but have never been able to use: Killer Thriller. It was an absolutely excellent gaming experience, one of the best I’ve ever taken part in. Killer Thriller is an extremely rules light game that has as its aim to replicate primarily the mood established by classic slasher movies, in the vein of the Halloween, Friday the 13th, and Nightmare on Elm Street franchises.

I called my scenario “Death of the Authors”. The story goes that at a small arts college somewhere in New England, the faculty and students were preparing for a yearly festival celebrating the famous 19th century poet Flickerton, with most of the proceedings to be held at his newly restored home, Harrow House. Little did the organizers of the event realize that this year, someone else would be stopping by the campus, a crazed killer with the sobriquet of “The Deconstructor.” Would a small band of professors, students and the campus drug dealer be able to make it through the night? Or would the psycho killer finally have his revenge on the oft-sleazy world of academia…

Killer Thriller character sheet

When I noted that the game is “rules-light”, I wasn’t kidding. The victims … I mean Player Characters, are defined by four stats and a Stereotype, and that’s it. We used note cards as our character sheets, as you can see above, and character creation was an absolute breeze. After choosing a name comes the Stereotype, a short phrase of description that serves as all this game needs in the way of characterisation. Things like “slutty cheerleader”, or “creepy janitor” replicate the one dimensional characters found in the source material, but there is a material benefit to be found here as well, as once per game every character can succeed at something they’d be good at. For instance, the cheerleader could potentially cartwheel over an obstacle in her path, or distract someone by taking off her shirt. The janitor might know all the good hiding spots in the school, or set up a “Caution – Wet Floor”-based trap for the rampaging killer.

Unlike most rpgs, characters in Killer Thriller are defined by their “Inabilities” rather than their abilities. These four stats are Unwise, Unluck, Undone and Unharm, and during chargen, the numbers 7, 8, and 9 are attributed to the first three (Unharm is derived by a die roll afterwards). A successful 2d6 roll-under on one of the first three inabilites means that the character, in true slasher movie style, either does, respectively, something reckless and stupid, has some really unfortuitous event happen, or just loses their shit after seeing something. It is the Director’s job to ask the players to roll as these situations arise.

The last statistic, Unharm, is a measure of how much punishment the character can be dealt before their big death scene. What is great about this mechanic is that after one of your characters dies (the game suggests each person run a stable of three), you get to add their full Unharm stat to another one of your characters, beefing them up for a potential run at taking out the monster that has bedevilled them all movie. Even more ingeniously, you get to add a bonus to the passed on Unharm if you play the character as stupid, horny and nonsensically as they would have been in one of the films!

Once my players cottoned to this idea, the game basically ran itself, as they were continually putting themselves in mortal peril for a chance at big point rewards, not to mention big laughs. You can also get a bonus for describing in as over-the-top a fashion as you can how your character left the mortal coil. This resulted in some of the most gut-wrenching, gore-splattering and just all around awful descriptions of death that it has ever been my pleasure to hear.

The monster, for most of the game, is essentially a force of nature, cutting a swath of carnage through the PCs until a certain condition is met: once the players start getting down to their last characters, the slasher must also begin to make rolls against his Inabilities, emulating the late-game mistakes that seem to bedevil even the greatest killers on film. This works marvelously, as by the end, both monster and surviving players are on an equal playing field with an uncertain outcome. It makes for a very tense and entertaining end to the session.

I would really recommend Killer Thriller to anyone who doesn’t want to take things too seriously at the gaming table. The characters came alive off the page as everyone really got into their roles; I would argue that the perceived “lack” of characterisation embodied in playing a Stereotype is actually a gateway to real free-form role-playing, unbound by things like “backstories” and “motivation.” Everyone got really inventive with their descriptions of death, riffing off one another and setting up awesome scenes that no one sick person could have done all on their own. The set up was laughably easy, as I figured out the basic idea and then wrote down three lines on a piece of paper. Done! It was a bit confusing to refer to die rolls against “inabilities”, as it’s counter to every other game I’ve played, but we got the hang of it by the end.

We’re definitely going to play this game again, I’m thinking of running a Comic-Con themed one once we get back from San Diego this year. Who knows, perhaps the Deconstructor didn’t die when the bomb attached to a lawnmower went off  as his face was getting chewed off…

Go buy this excellent game here: http://rpg.drivethrustuff.com/product_info.php?products_id=85898 It’s only THREE BUCKS, what do you have to lose, honestly?

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The Resolution Project Book Thirty-Four: The Golden Notebook (1962)

“The novel has become a function of the fragmented society, the fragmented consciousness. Human beings are so divided, are becoming more and more divided, and more subdivided in themselves, reflecting the world, that they reach out desperately, not knowing they do it, for information about other groups inside their own country, let alone groups in other countries. Inside this country, Britain, the middle-class have no knowledge of the lives of the working-people, and vice-versa; and reports and articles and novels are sold across the frontiers, are read as if savage tribes were being investigated.” (p. 75)

The Resolution Project: For my New Year’s resolution this year (that being 2011), I decided to try and read all one hundred of the novels picked by Time Magazine as the best since their inception in 1923 to the list’s publication in 2005. I exempted myself from reading ones I’ve already read, leaving some eighty-six or so to read before the end of this year. Some spoilers may lie ahead, so be warned if you’re the type to be bothered by that.

The Golden Notebook cover

Phew, was this book ever a doozy. I actually finished it a few days ago, but I’ve been mulling over what to say ever since. In the story that forms the backbone of the novel, “Free Women 1-5″, Anna Wulf is a writer in 1950s London who survives primarily off the proceeds of her first novel. She is divorced after a wartime marriage, and lives with her young daughter Janet. Her best friend and “fellow traveler” Molly is a big part of her life (they used to live together), as is Molly’s son Tommy, along with his captain of industry-type father Richard.

Anna Wulf is struggling with writer’s block after the great success that was her first book, Frontiers of War. What writing she does do these days is into four notebooks, which form the sections in between “Free Women” segments: Black, in which she examines her history (especially that of living in an African colony for the duration of the Second World War); Red, which details her involvement with the English Communist Party and her commitments to the Socialist cause in general;  Yellow, which is used as a creative space for short fiction, most of which is autobiographical; and Blue, which is her personal diary. The titular Golden Notebook represents Anna’s attempt to bring together of all the strands of her personality into a coherent whole, before time runs out.

As you probably gathered from my attempt at synopsis in the last paragraph, there is a lot going on in this book. It, along with At Swim-Two-Birds, the Thomas Pynchon selections and The French Lieutenant’s Woman must be among the most experimental works on the Time 100 list. Here the use of form is especially interesting. The way Anna tells us her story with the different notebooks is an amazing way of getting us to know her better, much more than you could do with a standard linear narrative without a much higher page count. While it does get a little confusing at times, especially with Anna’s habit of using different names for the same characters when they’re being “fictional” and “not fictional”, the end result is an excellent and robust character study of a woman teetering almost at the edge of madness. We are able to learn who Anna is, where she has been, what she believes in, and what she’d like to be, all of these things, orbiting around the straightforward narrative of “Free Women”. Even more interesting to me were the editorial tone of the brief asides introducing each section of a notebook, as it is very detached, telling us what was scratched out, pasted in, etc. It gives the book a sort of “found document” feel, like if her biographer or someone was going through her papers, or if Lessing herself is taking a hand in the story.

The Golden Notebook presents us with a world in which the institution of marriage is worth next to nothing. Pretty much every single man that Anna (or her fictional surrogate Ella) meets wants to cheat on his wife with her, almost as a matter of form. Anna’s own marriage, to a German expatriate with whom she hung out with in Africa during the war, was pretty much a marriage of convenience, dissolving almost as quickly as the political groups the pair find themselves participating in. While this marriage is only barely alluded to (the events that occurred before and after receive much more screen time), Anna’s daughter from the marriage is an incredibly important part of her life, indeed, probably the thing that keeps her close to stability. One of the many topics the novel examines is the idea that while a parent is taking care of a child, the child provides structure and meaning to the parent as well, and when the child is removed from the parent, madness is soon to follow, as it does when Anna’s daughter begins to crave the discipline and formality of a boarding school and ends up getting to go to one.

The political aspects revealed in the Red notebook were also quite interesting. Anna is a member of the English Communist party during the end of the Stalinist era in Russia, and much of the notebook is devoted to her and the Party itself having to reconcile their views against what they’d previously been told to believe by Party HQ. I only knew a little bit about this time in history, mostly after reading about the H.U.A.C. trials presided over by McCarthy in the U.S. at the time, for Film Studies and History courses, so it was extremely interesting to have a glimpse at what would have went down in the more permissive atmosphere of ’50s England during this shakedown period. Lessing also has a lot to say about the way some people use the sweeping rhetoric and ideals of radical political movements as a way to escape the futility of their everyday lives. It’s all very well and good to theorize about how you should go and fight in a revolution somewhere (as at the time the book takes place in, that seemed to be an option worth exploring), much less terrifying than staying home and having to accept the political realities there. This is referred to as “paralysis of the will”, as after the great upheavals of communism in Europe and Asia: ”Because everyone’s gotten used to the idea of countries changing completely in about three years … if they can’t see a complete change ahead, they can’t be bothered.” (p. 237) I thought this rang especially true.

There’s so much more in this book: the insights into the practice of psychiatry are fascinating, as well as how we deal with the subject of mental illness. Near the end of the book, Anna takes in a boarder (once her daughter leaves for school), an American writer who appears to suffer from multiple personality disorder. His affliction mirrors Anna’s need to separate and editorialize her life by use of the notebooks, and their brief affair is covered in amazing detail in the Blue notebook, which at this point descends into a miasma of shared misery and treachery (later, once we’ve returned to the “Free Women” section, the entire thing is blown through really quickly). I could go on and on. If you’ve got the stomach to attempt this book, I’d really recommend it. While it might seem a little off-putting early on, give it a chance, there’s a lot going on in this book.

The List:

1. The Adventures of Augie March

2. All the King’s Men

3. American Pastoral

4. An American Tragedy

5. Animal Farm (read before 2011)

6. Appointment in Samarra

7. Are You There God? It’s Me, Margaret

8. The Assistant

9. At Swim-Two-Birds

10. Atonement (read before 2011)

11. Beloved

12. The Berlin Stories

13. The Big Sleep (read before 2011)

14. The Blind Assassin

15. Blood Meridian

16. Brideshead Revisited

17. The Bridge of San Luis Rey

18. Call It Sleep

19. Catch-22 (read before 2011)

20. The Catcher in the Rye (read before 2011)

21. A Clockwork Orange

22. The Confessions of Nat Turner

23. The Corrections

24. The Crying of Lot 49 (read before 2011)

25. A Dance to the Music of Time (1st Movement)

26. The Day of the Locust

27. Death Comes for the Archbishop

28. A Death in the Family

29. The Death of the Heart

30. Deliverance

31. Dog Soldiers

32. Falconer

33. The French Lieutenant’s Woman

34. The Golden Notebook

Total pages read since January 1st: 8259 pp.

Next up on the Resolution Project: Anthony Powell’s A Dance to the Music of Time (1st Movement) (1951)

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The Resolution Project Book Thirty-Three: The French Lieutenant’s Woman (1969)

“I do not know. This story I am telling is all imagination. These characters I create never existed outside my own mind. If I have pretended until now to know my characters’ minds and innermost thoughts, it is because I am writing in (just as I have assumed some of the vocabulary and ‘voice’ of) a convention universally accepted at the time of my story: that the novelist stands next to God.” (p. 95)

The Resolution Project: For my New Year’s resolution this year (that being 2011), I decided to try and read all one hundred of the novels picked by Time Magazine as the best since their inception in 1923 to the list’s publication in 2005. I exempted myself from reading ones I’ve already read, leaving some eighty-six or so to read before the end of this year. Some spoilers may lie ahead, so be warned if you’re the type to be bothered by that.

The French Lieutenant's Woman cover

In 1867, Charles Smithson and Ernestina Freeman are on vacation in the English port town of Lyme Regis before their wedding, visiting family and engaging in Charles’ hobby of paleontology. Charles is in line to become a baronet, while Ernestina is the daughter of a successful businessman. While on the docks, the couple meet a strange woman, looking out to sea with a mournful look about her. She is known around town as “Tragedy” or, less tactfully, as “The French Lieutenant’s Woman,” her heart having been broken long ago by an uncouth French naval officer. The lives of these three characters intertwine in interesting ways throughout the plot of the book, which has as one of its aims to help modern audiences understand the oft-incomprehensible social mores and taboos of the Victorian period.

This was an excellent novel, probably the most experimental of all the ones I’ve read so far going down the list (excepting The Crying of Lot 49, which I’d read before starting this project). I really enjoyed the what I like to call “anthropological” approach Fowles took to telling his story. I feel like I learned quite a lot about how people in Victorian times acted, and why. It was especially helpful when it came to Charles, who, about halfway through the book, learns that he might need to be associated with the grim specter of “trade”, in the form of his father-in-law-to-be’s store (the marriage, like most made at this time, was primarily a business venture wherein one family trades their financial largesse for the esteem and prestige of the other family’s aristocratic rank). I started to hate the insufferable man, who, for the life of him just couldn’t bear working for a living, not even for a second; he goes so far as to compare the store to a great engine that threatens to grind his frivolous life away. But right as I couldn’t stand Charles, Fowles redeemed him somewhat by explaining just why the concepts of work and commerce were so threatening to a member of the aristocracy at this time, when the bourgeoisie was just starting to loom large over the country and with Marx beginning to put forth his theories on capital and labour.

The book is just full of little things like that, taking ideas that the Victorians would have understood automatically and then translating them into terms a modern day reader can relate to in a world far removed from the adherence to duty and repression of the time. It made me think of Victorian novels I read when I was in school, and why I couldn’t really identify with anyone in them. I much preferred books from the Regency era, like those of Jane Austen, where life didn’t seem as rigid, to someone like Thomas Hardy for instance, where your life was basically forfeit from the starting point. After having read The French Lieutenant’s Woman, though, I feel as if I could revisit works from that period with the easy-to-digest concepts Fowles puts forth.

The book also plays around with its form and style in an entertaining fashion. As noted in the quote that began the piece, the narrator of the book is Fowles himself, who is able to shift some parts of the narrative around to suit his fancy. He puts forth three endings for the love triangle; forsaking the first one for having too stereotypical a resolution, he changes events to let two more endings occur, which are more painful yet also more realistic at the same time. He even shows up in the world of the characters to do so, sort of like how Kurt Vonnegut Jr. would often show up in his books as the trashy writer “Kilgore Trout’, armed with limited omniscience and the power of fiction itself. Anyway, I thought that was really cool, especially coming from a book written in the 1960s. Sure, it’s not exactly revolutionary, but it was fun.

“She made him aware of a deprivation. His future had always seemed to him of vast potential; and now suddenly it was a fixed voyage to a known place. She had reminded him of that.” (p.130)

The List:

1. The Adventures of Augie March

2. All the King’s Men

3. American Pastoral

4. An American Tragedy

5. Animal Farm (read before 2011)

6. Appointment in Samarra

7. Are You There God? It’s Me, Margaret

8. The Assistant

9. At Swim-Two-Birds

10. Atonement (read before 2011)

11. Beloved

12. The Berlin Stories

13. The Big Sleep (read before 2011)

14. The Blind Assassin

15. Blood Meridian

16. Brideshead Revisited

17. The Bridge of San Luis Rey

18. Call It Sleep

19. Catch-22 (read before 2011)

20. The Catcher in the Rye (read before 2011)

21. A Clockwork Orange

22. The Confessions of Nat Turner

23. The Corrections

24. The Crying of Lot 49 (read before 2011)

25. A Dance to the Music of Time (1st Movement)

26. The Day of the Locust

27. Death Comes for the Archbishop

28. A Death in the Family

29. The Death of the Heart

30. Deliverance

31. Dog Soldiers

32. Falconer

33. The French Lieutenant’s Woman

Total pages read since January 1st: 7683 pp.

Next up on the Resolution Project: Doris Lessing’s The Golden Notebook (1962)

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