Review of "The Deathsniffer's Assistant" by Kate McIntyre

I haven't read a fantasy novel in YEARS, and this was definitely a good'un to return to the genre with. The trick with fantasy novels is to make them believable, and I think if the author doubts themself, or the story they are writing in it's potential veracity, then the story is lost to the world of poor quality fantasy novels (of which there are many). However, MycIntyre makes it possible for readers to utterly immerse themselves in the world of The Deathsniffer's Assistant with her excellent prose and manifold plot streams. If you've ever read any of Pullman's Dark Materials trilogy, I would say that this is probably a read for you. Mixing darkness with love, honour and a little bit of social scheming, The Deathsniffer's Assistant is definitely going on my list as a 2015 must-read.

Chris didn't choose to be his younger sister's guardian, but after the incident at the Floating Castle left them orphaned he had no choice. Now, a few years on the family inheritance is starting to run dry and Chris must find a job to support himself and Rosemary. However, when he was categorized, as all young men and women are, he was designated to become a simple wordweaver: something that is hardly highly regarded, or highly paid for that matter. The only job he can get is with a Deathsniffer. Although Truthsniffers in their own right are a decent sort of folk, one that specialises in death, and more so, proclaims that they are a Deathsniffer is bound to be a little ... repellant. But, faced with either working for the Deathsniffer or ending up in abject poverty, Chris must join forces with this individual and seek the murderer of a member of the old blood: Duke Val Darens. 

However, perhaps there are darker forces at work even than the person who so brutally killed the Duke and defaced his dead body. Rosemary's secret wizardly binding skills have been kept hidden for years by Chris, but with the creatures starting to break loose from their binds, causing damage and turmoil everywhere, perhaps it will be harder to keep her safe than he'd ever thought ...

Have you read it? What did you think?

Steph x

Review of 'The Soft Whisper of Dreams'*

This has definitely been my favourite book of 2015 so far. I am a big fan of Christina Courtenay, and all of her books which I've been lucky enough to read so far have been pretty fab (Monsoon Mists was one of my top reads of the summer, and you can check out the review for it here). Also, I don't think I've seen London so accurately described in one sentence before as it was in the above quotation.

Maddie's parents die suddenly, and now the only family she has left is her bitch of a sister. That is, until the will tells them that Maddie was adopted, and so, unless her sister displays some heart (highly unlikely) she's now inheritance-less. Needing to get away from the city and the shock of all that's happened, Maddie takes a break in the country at her best friend Kayla's. She expects peace, quiet and a chance to see Kayla's kids. What she doesn't expect is Kayla's hunk of a brother-in-law to be staying there, nor to recognise a resident from the nearby town. When things start to get scary, Maddie is forced to question everything she thought she knew.

This plot had so many strands coming into it that there was never really a dull moment in the book. Courtenay once again creates realistic, believable and over-all humanity-affirming love interests. There's no ridiculous sex scenes (hello one I read where a tampon was whipped out by a guy ... on the first time?!), and the characters all have a great deal of depth to them. Moreover, if you like a bit of a thriller, The Soft Whisper of Dreams has that for you too!

Have you read it? What did you think?

Steph x

Review of Piano From A 4th Storey Window*

So, this review has been a long time in coming. End of term commitments pushed everything bar frantically working, not sleeping and going out from my mind. But, I've finally gotten round to finishing this. Do you ever have books that make you think to the extent that you don't want to start a new book for a couple of days? Well I do, and this was one of them - I finished it two days ago and am still procrastinating starting a new one. But (and this is a big but) you have to suffer the first 50 pages or so. The sex scenes were pretty unrealistic in this part .... for starters I don't know anyone male or female that would want to engage in sex either whilst on, or with someone who is on their period when they have sex with each other for the first time. There were a few other problems I found with it, but that one really (unfortunately) imprinted itself to my memory. Anyway, PUSH THROUGH THIS - the book is really incredibly written in my opinion. And for an English reader there's a whole host of moments during which you can really feel at home here.

Marin Strang is a woman struggling to cohere her religious upbringing in a Jehovah Witness' household with her *ahem* someone licentious mode of living. She moves to Brighton and almost immediately meets Lawrence Fyre, ecclectic bookshop owner and all-round oddball. Immediately they hit it off, but, as we know, the course of true love never does run smooth ... Filled with tragedy, love and an over-riding investigation into what makes a family, Piano From A 4th Storey Window is a brilliant read.

I find that modern romantic fiction often has a tendency to be pretty poorly written (what ever happened to the likes of the writing in Wuthering Heights?!), but, this is actually successful, good even. And the story ... well, once, as I said, you get over the first section, you really begin to get a sense of these characters. I personally love a good bit of back story in a novel, and this gradually released one, bit by bit, for each character. So, when tragedy strikes, you almost feel Marin and Lawrence's pain yourself. 

It raises so many questions about identity *spoiler alert*: what impact does one's upbringing have on one's adult life? What happens when you lose a child which you never really met? How do you deal with that? How do you deal with a lover's relationship history? What is living in Brighton really like?

Have you read it? What did you think?

Review of "Follow Me Follow You"*

This was my favourite line from the whole book. Although this doesn't directly give details of the plot of the book, it does actually speak true to what the characters are dealing with: the past. Now, although everyone says "never judge a book by it's cover", I'm a sucker for a book with intriguing cover art. So, when I first received this from Choc Lit I was quite put off. However, once I started reading I realised that (thankfully) the cover did not do justice to the contents of the novel.

Without giving too many spoilers, and going too deep into the plot, I'm going to give a quick summary of the book. The key protagonist is Victoria Noble, a recent divorcee with a four year old son (Seth) who hates her. She is co-owner of a social media firm called EweSpeak, and is slightly hung up over her past with actor Chris Frampton. In an effort to go "back to basics" to repair her relationship with her son, Victoria moves back to the town in which she grew up. Once there, she discovers that her past could just be the key to creating her and Seth's future ...

When I first started reading I got really worried. We Need To Talk About Kevin is my all-time favourite  book and it looked like Follow Me Follow You was going to go down the same plot route. However, the tension between Victoria and Seth was not the only plot strand of the novel. Chris and his son Ricky made a touching pair in the face of their tragedy. Plus, not only was it well written, but contained many narrative ideas and styles which I hadn't really come across. I personally loved the whole idea of EweSpeak, which is effectively twitter. The "bleats" (aka tweets) at the start of each chapter were such a unique and funny addition to the book. Also, the way in which certain key issues were handled (*ahem* I did warn no spoilers) was realistic and touching.

All in all, I loved this book, and after the first couple of chapters I couldn't put it down!

Have you read it? What did you think?

Get it here!

Steph x

A Comment Upon Gender in "White Noise" and "Close Range"

In both Don Delillo's White Noise and Annie Proulx's collection of short stories Close Range, gender is perceived as being an objective construct rather than a subjective one. No characters in these texts utterly transgress the gender boundaries between being masculine and feminine. The closest either text comes to exploring this is in Close Range, where several female ranch hands, including Mrs Freeze, embody masculine qualities through their profession. However, Proulx always aligns them on the side femininity by alluding to the inconvenience of their female bodies, or their desire for feminine accessories such as makeup and fashionable clothing. The portrayal of women and men in the texts appears to differ because White Noise is set in a modern, urban environment, whilst Close Range is set in rural, conservative Wyoming.

Firstly, in both texts masculinity is ensconced in violence. In White Noise this is explored most explicitly towards the end of the text, at which point Jack shoots "Mr Gray". This reaffirms the sexist interpretation which Babette makes when she suggests that all men are inherently violent. There is no pragmatic need for Jack to kill Mr Gray: Babette and him are no longer engaging in their "capitalist transactions" as Babette puts it. This indicates that perhaps Babette's claim is correct - men see red and cannot control their need to be violent because their blood courses with male hormones. However, this is an unsavoury view of men as well as an extreme generalisation. It appears more likely that Jack feels the need to reaffirm his masculinity as it has been deconstructed through his wife's adultery. According to stereotypes, a man's ability to fight well to protect himself and his family, and his ability to pleasure a woman are the two key components of his masculinity. By having sex with Jack's wife, Mr Gray has emasculated him to some extent; the shooting may be a result of a subconscious need to prove his masculinity. There are other clear links between men and violence in this text as Heinrich's friend in prison is a man. Delillo's choice of gender for this inmate reaffirms the gender boundaries concerning violence. Moreover, the idea that acting in a bold way can make one more masculine is alluded to with Mercator's desire to sit in the cage of snakes. There is no rational reason for doing this, but he appears to feel the need to conquer death and fear in order to identify himself as a man. Indeed, when he fails, Heinrich loses all respect for him because he has been emasculated.

Similarly, in Close Range, nearly all of the male ranchers are explicitly violent. This is potently explored in Brokeback Mountain where it becomes clear to Ennis that Jack's homosexuality had become known - this was why he was killed with a tire iron to the face. Jack alludes to a similar story at one point. His father had taken him to see a dead rancher named Eddie who has been killed with a tire iron because it had become known that he was a homosexual. The men of Wyoming killed him because of his sexuality in an attempt to reaffirm their own masculinity. According to Freudian theory, often homophobes are the way they are because they recognise an aspect of the homosexuality within themselves and repress it onto somebody else. The violence here appears to have occurred as a result of this. Indeed, Proulx highlights Wyoming's insistence on maintaining a facade of complete masculinity throughout the short stories. In Pair a Spurs, Car's wife cheats on him and, much like Jack in White Noise, he responds violently by shooting at Wrench's truck. Car's wife had had the affair with Wrench. It is interesting that both men responded to their wives' adultery by shooting something. Again, this serves to reconstruct their masculinity: if the gun is understood to be a phallic symbol. then the act of shooting mirrors the act of reproduction. This paradoxically repeats the action which destroyed their masculinity in the first place.

Moreover, in both texts men are defined by lust. In White Noise Jack has several conflicting identities: father, lover, academic. He cannot appear to align them. Lust is a pure, natural emotion: Jack's attempts to control his mind through his academic studies appears to have impacted his lust. Him and Babette read erotic stories to become aroused in bed. Jack appears to therefore find his masculine identity in his academia. It empowers him. However, he continues to be driven by lust. Most descriptions of Babette include an erotically charged physical description and he appears unable to prevent himself from fondling and caressing her. Jack and Babette's sex life is evidently crucial to the construction of his identity, as when he realises that she has been having sex with another man his whole world comes crashing down: he can no longer function as "Jack".

Likewise, in Close Range, lust makes men masculine. The men in this collection of short stories metaphorically become the steamy bulls who impregnate a cow every time they are near one. In The Mud Below, Diamond enacts a cruel rape upon Londa, his rodeo partner's wife, because she insults his size. He claims that this action is like "fucking sandpaper" because her vagina has not created any discharge as a result of the unwanted and unpleasant nature of the sex she is being forced to have. This brutal scene reinforces his masculinity because it shows that he has control. In Close Range it becomes apparent that men need to be in control all of the time for their own masculine security. Moreover, no men are faithful in this text. Proulx portrays them as lust-filled creatures with little or no sense of sexual morality.

Furthermore, in White Noise and Close Range, a gender divide is constructed between men and women as being abusers and the abused. Although this is much more potent in Close Range, it does feature in White Noise. Babette has to have sex in order to receive the medication she wants from Mr Gray. Mr Gray occupies the narrative position of a symbol as he is in a moral gray area - he technically has consensual sex with this women, although it is somewhat contractual. Babette uses the sexual act to obtain Dylar, and in this way is a figure of modern prostitution. Moreover, their sexual transactions are a synecdoche for modern America itself in which women must use their bodies to get what they want or even need. This is an abuse of the female body both by men and they women themselves.

Similarly, in Close Range women are abused both physically and emotionally. In Pair a Spurs Car repeatedly attempts to rape Inez. Fearing for her safety, she seeks protection from her husband who offers her nothing and appears to care more about a dead sheep on the farm. This indicates that men in Wyoming were negligent of women because their lives held less value than cattle. Women must protect themselves, yet still not do anything that will displease men.

Finally, there are some examples of a re-affirmation of femininity and the power associated with that in both texts. In White Noise Babette uses her sexuality to get what she wants. She is powerful enough to retain her husband and stable family life even after having an affair. Moreover, the freedom of marriage and having sex with who one desires in highlighted as Babette and Jack's ex-wives have married multiple times. In Close Range women can become empowered. In The Governors of Wyoming Roany and Renti ridicule Wade Wells, thus emasculating him, and there are no negative consequences. There is also some equality in ranching: if women have the right build they can become as proficient as men. 

Review of Grimm's Fairy Stories

I decided to pursue Jacob Grimm's "Fairy Stories" because, again, having finished my second year of studying English Lit at uni I really wanted something fun and simple to read. In the end, if offered me a chance to relive my Disney-crammed childhood.
Published in Germany in 1812, these fairy stories aren't exactly as gentle as, for example, my generation's The Very Hungry Caterpillar (Eric Carle). With Cinderella's sisters mutilating their feet in order to fit the glass slipper, these tales have evidently been toned down in the media for modern audiences.
Though there are a multitude of stories collected in the book, they all largely traverse through one of a limited number of themes. There are ones pertaining to a young beautiful and diligent girl being abused by her mother or (more commonly) a step-mother and siblings. Eventually they are swept off their feet by a handsome and rich Prince, much to the chagrin of their abusers. This raises a lot of questions about gender stereotypes, but is symptomatic of its time. A modern author would (largely) be far more inclined to show the complexity of female characters, rather than having "good" beautiful girls who are often rescued because of this and their ability to cook and clean sufficiently. To contrast this, there is another type of woman in these stories who is categorised as being "bad". She is ugly, lazy, and often jealous of the beauty of and attention that the female protagonist recieves. Interestingly, this figure is always the corrupting force in the tales. This indicates that, although men can be grumpy and stubborn (like Rumpelstiltskin or the seven dwarfs), they are effectively harmless in comparison to the wiley vindictiveness inherent to some women.
Personally, I enjoyed reading the original stories for the films and tales that influenced my childhood. Why do you think these stories have been censored in modern times?
Any comments always welcome.
Stephanie :)

A Review of "Twenty Eight-and-a-Half Wishes" by Denise Grover Swank

After a hectic period of second year English Literature university finals and getting a new kindle for my birthday I really wanted to chill out with a simple chick-flick on holiday. As a student I obviously instantly started scrolling through the reams of (largely awful-looking) free books in this style on Amazon. Coming across "Twenty Eight-and-a-Half Wishes" I didn't expect much and the opening chapters held out to this expectation.
The book is set in a modern Southern style landscape. Its protagonist is a 24-year-old girl who lost her father at a young age and is controlled by a wicked mother. This Cinderella-esque storyline was waiting for a Prince Charming to arrive, but, akin to most other romantic novels of this era, Joe McAllister is a rugged, mysterious figure. This generic outset initially jars with the magic realism that Rose's visions imbibe the plot with. Her blunt reaction to (not giving any spoilers) certain tragic incidents in the novel heightens this; in my opinion making this protagonist and the book itself too unrealistic.
However, after the disappointment of these first few chapters the novel improves greatly. It develops into a mystery-romance novel rather than a mere romance one, which allows it to offer much more to the reader in terms of plot and interest. Moreover, Rose's visions no longer seem to jar with the main plot, but cohere with it and enhance it, allowing the reader as well as Rose to have a stronger grasp of the mystery at hand than most other characters in the text.
By the end of this book I realised it was just what I needed as a break from all the Dickens and Shakespeare-esque texts I had studied throughout this year. I'm even contemplating branching out to buy the sequel ...

If you've read this book or have any questions please comment.

A Historical Reading of White Oleander

Janet Fitch was born in 1955 in Los Angeles. Not only had she lived there for the entirety of her life when she wrote White Oleander, but as two previous generations of her family lived in the city she clearly has an expansive and personal knowledge of it which allows her to inject a level of geographical accuracy into the novel which not only heightens its interest for local readers, but also for those worldwide for whom the accuracy gives the text a level of authenticity. As a child she had a difficult relationship with her mother, whom she believes lacked the necessary skills for motherhood  (there appears to be a slight insertion of her own history into the text on this theme). She studied history for a period in Keele University in England, having been inspired by the concept of stories within history. However, she eventually realised at the age of 21 that she did not want to merely read stories; she wanted to write them, and thus began her journey as a writer.

Fitch finally finished writing White Oleander in 1999. This was a turbulent time in Los Angeles as certain parts of America, including here, had undergone a rapid economic decline and resurgence within just over a decade. The tension at this time was further heightened by the fact that the Cold War finished only 8 years earlier, whilst Fitch was in the process of creating a text; the uneasiness of American citizens was not immediately extinguished by this time, as they had suffered over thirty years of fear and anxiety. Moreover, perhaps the most significant cause for anxiety for the citizens of Los Angeles during this time however was the 1992 riots and their aftermath. They commenced after a video of a black man being beaten by a group of white policemen was filmed and realised to the public and the trial saw the all-white jury acquit the men of this crime; the riots broke out within hours. People lived in fear for their lives, and some did not make it. Not only were there violent, sporadic killings, but over $1 Billion worth of damage was caused, largely through arson. This rupture in the quotidian social climate meant that life has not been the same in Los Angeles since. These factors which induced high levels of anxiety in citizens are reflected in the book: Astrid constantly fears for something; Ingrid is unsettled and eventually finds happiness in the structure of prison; the instability of the various domestic lives of the foster homes, particularly Claire’s depression and anxiety issues.

The novel also reflects movements in the world as a whole at the time in which it was written as the 1990s in the Western world in particular was recognised as being a time in which the growth of multiculturalism was seen. This is seen through the variety of races which Astrid encounters on her journey through life and the way in which Fitch allows them to each have their own identities within their race. However, as capitalist markets in the Western world boomed so did racial and class tension, which is again explored in the text. This was a time in which the world saw the rise of Third Wave feminisms, which not only differ from the second wave in that this was more racially motivated than before, but it also saw the rise of antifeminisms, some key ideas of which are included in the text. 

How has the portrayal of illness, including mental illness, changed between Victorian literature and modern literature?

The Victorian era saw a severe rise in the number of people being committed to insane asylums, partly as a result of the great amount of repressive social and historical change which was coming about during this period. At this time there was also a great deal of poverty which led to many physical illnesses because of overcrowding, poor nutrition and low sanitation levels. Victorian literature rarely discusses how the illness was developed, and often only alludes to its development, as it focuses much more on its effects. On the other hand, modern literature often discusses how these diseases are developed and tracks their development explicitly as well as highlighting its effects. This difference results from the fact that in the Victorian era much less was understood medically about both physical and mental diseases, so there was not as much material for Victorian authors to work with without making up untruths.

            Firstly, Emily Bronte in Wuthering Heights uses characters which clearly are not mentally or physically stable. Cathy appears to suffer from schizophrenia as her mental health starts to decline from a very early age, resulting in her hallucinating towards her death and believing in her own delusions. This illness is portrayed in a way which makes Cathy seem not only scary, but also devilish. During the Victorian era there was thought to be a link between sin and illness, especially mental illness; this explains why Bronte chooses to expose Cathy’s illness with negative imagery. Similarly, Heathcliff shows signs of depression: he weeps often, he loses interest in eating and sleeping, loses interest in social contact and at one point self-harms. Again, Heathcliff is a devilish figure. Bronte does not highlight the development of these illnesses or expose any reason behind why these characters are acting in this way, nor does she talk about their symptoms in any real detail. This seeming lack of interest in discussing the mental illness and how it affects the character may come out of the fact that mental illnesses were not deemed to be as important then as they are now: contemporary readers would likely not have wanted any greater analysis of Cathy and Heathcliff’s disorders.

On the other hand, modern literature discusses mental illnesses to a much greater extent. This is because the increase in medical work on them over the past hundred years or so has raised greater awareness of their existence as well as raising a greater level of understanding of them in the wider public. Ned Vizzini exposes the intricacies of a variety of different mental illnesses in his It’s Kind of a Funny Story. He was able to write such an accurate portrayal of these as a result of his own time spent in a psychiatric ward because of his severe depression. He was informed a great deal about the illness itself and used his own feelings and experiences to accurately portray what living with a mental illness is like. Unlike Bronte, he openly examines what factors can cause the development of a mental illness, the manifestations it can take as it develops and a variety of outcomes which can occur as a result of it.

Furthermore, there is a high lack of interest in the deaths of characters in Victorian fiction due to physical illnesses. Bronte barely remarks on Cathy’s death: one only knows that she is gone and her daughter is alive, whilst nobody witnesses Heathcliff’s death or knows the true reasoning for it. Moreover, in Gaskell’s North and South Bessy Higgins’ death, which is one of many deaths in the novel is described in a great amount of detail, but only in terms of her actions, thoughts and words during the time; there is only a little description of the convulsions which her body suffers from leading up to her death.

On the other hand, John Green in writing his modern novel The Fault in Our Stars exposes the causes, developments and results of having a serious physical illness. His exposition of how it feels to be a teenager with cancer touches the heart of many teenagers because they can relate to these characters in a way in which the Victorian literature discussed does not allow them to. Not only is the development of this illness portrayed in an accurate way, but the return of Augustus’ cancer (sorry, spoilers) exposes the complications of being a cancer survivor. The clear and detailed description of the decline in his health, written from the perspective of another cancer sufferer exposes the reality of this illness. Moreover, the grim reality of his death in that it does not occur at the end of the novel, but part way through, serves to remind the reader that when one dies that is not the end of the influence their illness has had: it affects many other people for a very long time. 

The Harry Potter series as a social commentary?

J.K.Rowling’s series of novels designed for teenagers seem to me to have a deep socio-historical context that is not clear upon an initial examination. This is often portrayed in a humorous manner which allows it to become a rather satirical representation of modern life.

            For starters, the character of Voldemort appears to be an amalgamation of several historical figures as well as a figment of Rowling’s imagination. Whether these influences were intentional or not is unclear, but as one of them especially is a clear character in the world’s cultural consciousness it is easy to recognise him. This particular individual is Adolf Hitler. The key parallel between the two of them is his insistence on eradicating those not of “pure-blood” (in Hitler’s case those not of the Aryan race, and in Voldemort’s those not of wizarding blood). This drive to eradicate people whom these powerful men saw as inferior to them led to cruelly hunt people down and murder them often in their homes. As Voldemort becomes more powerful, it becomes unsafe for students of Hogwarts who are of mixed blood or who derived from muggles to travel unprotected. This mimics a similar situation in Germany when Hitler was at the peak of his power. The almost hypnotic power of these two men in securing followers is also similar as people dis whatever was asked of them out of both fear and respect for these despotic leaders. Moreover, the existence of the Order of the Phoenix seems to be a representation of the Allies in World War II: they exist to stop the increasing malevolent power of Voldemort.

            Another character which appears to be embodied in Voldemort is that of Satan himself. In previous times the name Satan, Devil or even Beelzebub was something spoken with a great deal of fear, and thus was something to avoid. In a similar way Voldemort is largely called “You-know-who” or “He-who-must-not-be-named” in order to avoid incurring pain from him or one of his followers. Voldemort is an embodiment of all evils in the text and is the source of them also; there is an awareness in the books that if Voldemort did not exist the use of dark magic on muggles or other wizarding folk would not have occurred. Indeed, he tempts people to join his side with thoughts of safety and adoration, just as the devil tempts people to join him.

            There are several other aspects of the series which have satirical social contexts and, when contemplated, are rather funny. The primary example of this in my opinion is the fact that goblins run a bank. These shrunken, ugly creatures whose only concern is for gold caricature the popular perspective of bankers. Moreover, the corruption within the bank which emerges quietly throughout the books mimics the loss of trust our modern day English public have felt in the banking system. Not only are several people’s vaults broken into (something that can only be done with the help of a goblin) but in Harry Potter and the Deathly Hallows we are given a first-hand view of how a goblin will breach the bank he works for in order to seek personal wealth.

However, perhaps the most important aspect of the series which is most relevant to modern day life is the fact that how you perceive someone’s character is from the way they act is not their true character. In our modern society we are endlessly encouraged to understand the importance of beauty. Also, in the majority of modern texts we have lost the depth of characters that formerly existed in classical tomes. Yet J. K. Rowling has managed to bring this back, particularly in the characters of Snape and Professor Dumbledore. The immense plot twist towards the end of the series of books in which we realise that Dumbledore isn’t as much of a paragon of excellence as Harry understood him to be and that Snape does have a heart, at the centre of which is Harry himself, forces modern readers to accept that you can never truly know a person until you have been inside their head. This is an important lesson to learn as it highlights that we ought to suspend our judgements on everybody as you cannot know their nature or true motivations. This appears to be the most potent lesson for modern day readers to take in by reading these books and thus ought to remain with us for a long time after the reading of them has been completed.

Is Lionel Shriver’s We Need To Talk About Kevin a simplistic, grotesque reading of Freud’s works or a more ethical social reading of modern day America?

The crude, graphic language of this modern text, at once compelling and repugnant, in fact seems to show that this book is not about either of the topics highlighted above, but about both of them. This language is initially applied to Eva’s (the protagonist’s mother) sexual life with her husband, but as the novel takes a sickening plunge it becomes enmeshed with the murderous violence of the book’s eponymous “hero”, Kevin. Arguably Kevin’s actions are a symbol of the violence taking place in America when Shriver wrote the novel (early 2000s), and Eva’s are those of a sexualised, neurotic mother and thus these two characters encapsulate what I see as being the two key influences on the text.

Firstly, the Freudian scenes lord over the text. Not only are they frequent, but they are memorable because of their graphic and disturbing nature. Shriver confronts us with the sexualisation of a mother-son relationship that is physically and emotionally repellent to us. In my opinion the disgusting nature of their relationship peaks when Kevin masturbates in front of her mother, and yet she does not immediately recoil from this, but watches before telling him to stop. Freud theorised that parents repress their child’s sexuality; all children are born sexual, but are misguided by information given to them by their parents about sex. Thus Shriver exposes what happens if one’s parents do not repress their sexuality. This is scene not only through the Kevin’s phallic stage of development (as highlighted above), but also through his anal one, as he wears nappies for a prolonged period of time, thus pleasing himself through his fecal matter.

However, Shriver takes the opposite view to Freud: she shows that by not repressing the sexual, Oedipal urges of a child towards both his mother and himself the child can still grow up neurotic. Kevin makes no attempt to stop his animosity towards his father, and yet he can conceal it. This act of concealing which is usually performed by the unconscious but here has to be performed by Kevin’s conscious ego creates a great deal of psychical energy within him. This thus erupts and results in him not only killing his father, but shooting him through the penis as an additional wound. The murder appears to arise out of a deep seated hatred of his father as a person, but this specific wound combined with the murder of his younger sister appear to show that this more likely arose out of jealousy regarding his mother’s affection.

Although the novel does have this Freudian foundation, it is a rather complex narrative as Shriver focuses on the mother’s perspective within an ethico-social context. The narrative is written from a retrospective point of view; she is contemplating whether or not the actions Kevin took were a result of him being inherently evil or her poor nurturing. This simple nature-nurture dilemma is never answered in the text, and many people and critics have entirely opposing views on it. Shriver appears to be highlighting that Kevin’s character is not developed because of one of these aspects of his infantile life, but because of a combination of the two.

The disgusting reaction of the community to Eva is also an ethical dilemma: how does one treat someone who has raised a child who has massacred children living in your community? Or perhaps even your own child? Their violent, antisocial reaction links in with the nature/nurture dilemma: are they inherently antisocial and this traumatic event merely worked as a trigger for this or was the event the reason why they behave in this way? All these questions remain an unanswered undercurrent of the book which I believe works as an appropriate antithesis for the simplicity of her Freudian content.

Eating disorders as a form of suppression in Literature: outdated Victorian form of control or a modern one?

For this week’s blog I was inspired by a recent article called “5 reasons to date a girl with an eating disorder”, placed up on an internet forum which I’m sure has incited many to anger. This article outlines what the “author” believes to be perfectly acceptable reasons for choosing a girl suffering in this way over others: she is good at sex, she costs men less money, she is often rich, she is vulnerable and she will be more likely stay thin and “pretty” than other girls. Not only does this have the potential to encourage or “trigger” many girls to furthering their own disorders, or subliminally placing the idea into their unconscious, but it also adheres to antiquarian views on women.

When one considers the Victorian novel, in particular upper-class Victorian women, one cannot help but construct the image of a fainting, pathetic figure falling into the arms of a sturdy man. Literature has progressed from this ideal, however society doesn’t seem to have done so.

Wuthering Heights is a key example of the wasting-away of a woman until her death in Victorian fiction. This form of death is alluded to in many novels from this period, without much thought being given to it by the modern reader. However, in this case, as well as more discreetly, Cathy, the key female character in the novel, reaches a point of hysteria (“coincidentally” driven to this by men) at which point she breaks down and refuses to eat. This mission of starvation incapacitates her to such an extent that she never recovers. Her fragile and vulnerable state does indeed endear her rival lovers to her, but not because she is somehow more attractive, but because they know it will kill her. This novel is over 100 years old and yet manages to understand the concept of an eating disorder better than the modern understanding in that article.

Indeed, modern literature has moved away from the idealisation of a skinny white woman and has begun to accept people of all sizes as attractive. A key example of this is in Delillo’s White Noise (published 1986). The key protagonist’s descriptions of his wife are nearly always concerned with her socially “unacceptable” size as she is overweight. However, this does not paint her in a negative light; she is beautiful. All of his descriptions of her size come paired with his lust for her body and her mind intertwined to create who she is as a person.

This is where modern texts and thoughts should be situated, in a place in which size does not matter in terms of the integrity of a person. Jack, the protagonist mentioned above, has also married several other people whose weight has not been discussed. This is because the author understands the modern world: someone’s weight is not a necessary factor in who they are. The important point about women and their shape in this text is that it is transient: women can be who they want to be and for as long as they want to be. It is not down to men to categorize whether a woman’s weight is “good” or not, it is up to women to have that control.

This is an example of how modern fiction has moved away from the physical constrictions on women of the Victorian era. Not only are women free to utilise their bodies sexually in the way in which they desire, but they also should be free to develop their bodies in the way in which they desire. Neither should they, nor would they, have to be constrained in an ideal modern world, however social constraints, particularly those enforced by males, as well as the marketing industry are attempting to trap women of our generation once again and thus are unfortunately subverting the literary move towards a modern representation of women. 

Modern Literature and the World Wars; A thought upon Remembrance Day

November 11^th 1918; a date known worldwide. The immense importance of the Great War as well as the Second World War, both of which we think upon during Remembrance services on this date each year, has been endlessly portrayed in fiction throughout the 20^th and 21^st Centuries.

As these wars are a huge part of our cultural consciousness as both a nation and a world, many have become desensitised to it. There are masses of both literary works and films depicting the horrifying reality of war. Thus, the question arises: how does one go about creating a sense of empathy for those who lived and served during the two World Wars in a largely desensitised young generation of people?

The answer appears to lie in subverting the idea of a traditional narrator. When one picks up a book concerning these two wars the story is generally told by an omniscient narrator, a man on the front line, or a woman (nearly always a wife or mother) left behind.

In my opinion, there have been three key modern books which have done this in a way which allows for an empathetic understanding of these two wars for both children and adults.

The first of these is War Horse, written by Michael Morpurgo. His novel is written from the perspective of a horse (although not an entirely original idea if we remember Anna Sewell) during this horrendous time. Morpurgo removes the reader from the domestic front in that the tale is not told from the perspective of a family member, but retains the intensity of emotion within the family unit during the time of fear that was the First World War.

Indeed, the narrative perspective here allows the author to use a single narrator throughout the novel to travel various places and permit the reader to understand the war from different perspectives. It would have been impossible, without writing a clichéd spy novel, to have the reader see the war from both a German and English perspective had a person rather than a horse been used as narrator. It allows the reader to distance itself from mankind in a way that makes one realise that different nations are not different at heart. The horse has no natural racial bias, and neither should we.

Secondly, we have The Book Thief, written by Markus Zusak. This book has an arguably even more inventive style than War Horse as it is narrated by death; a circumstance rarely seen in literature, if ever. The portrayal of death as an anthropomorphic figure again allows us as readers to take a step back from being part of humanity and examine the horrors which humanity has released into the world. The haunting book cover, which depicts death in the visage of the Grim Reaper holding the hand of a small girl and dancing, exposes the way in which Death interacts with both the narrative and the characters. He is not a menacing figure, but displays a playful, often humourous persona, as well as being a rather pathetic figure in that he is burdened by the sadness of the loss of everybody in the world. He has not had to bury a brother, mother, sister, or any kind of relative, but has had to carry each one out of life. Thus the reader’s empathy is heightened as not only are we saddened by the loss of each character in the novel because of the effect of the death on the living, but also because of the effect of the death on Death itself.

Finally, we have The Boy in the Striped Pajamas, written by John Boyne which is narrated from the point of view of a young boy. The extreme naivety of this German child contrasts the disgusting actions of his father and the commanders associated with him, allowing us readers to feel arguably more horrified at the actions of those men, purely because they are not innocent. The use of childlike words, for-example “Out-with” as a misunderstanding of Auschwitz, heightens the empathy we feel for this boy who is utterly clueless as he enters a gas chamber at the end of the novel. However, this novel is particularly interesting as one feels a sick sense of justice when this boy is gassed as his father, who presides over the camp, is forced to realise the effect of these camps. It seems as though nothing else could have forced this upon him.

The immense success of these texts, all of which have won awards for their staggering exposition of the two World Wars serve an important function in modern society: keeping the horrors of the war in the forefront of our memory, ensuring it never again occurs.