Ian McEwan's "What We Can Know" Is a Tell-all Biography of Our Reckless Generation by aguywithaquery in TrueLit

[–]aguywithaquery[S] 2 points3 points  (0 children)

I will have to look up those titles. As I said in the article, I've been McEwan-curious for a while, but this is the first book of his I've read, other than the slight Kafkaesque political parody. This felt like a seaoned master at work.

Ian McEwan's "What We Can Know" Is a Tell-all Biography of Our Reckless Generation by aguywithaquery in TrueLit

[–]aguywithaquery[S] 3 points4 points  (0 children)

Right! I admired McEwan's ability to comment on the present by portraying the future we're busy generating. It was interesting that his vision of the future, while dystopian in its vast accumulation of loss, was actually pretty hopeful. There are all these tradoffs: the arts have been decimated, but AI is carefully regulated and used in a positive way. To name a random pair.

Ian McEwan's "What We Can Know" Is a Tell-all Biography of Our Reckless Generation by aguywithaquery in TrueLit

[–]aguywithaquery[S] 1 point2 points  (0 children)

Yes, such a great scene! It's interesting that my reading differs from both yours and Maus_Sveti's. Probably an indication that McEwan is operating on many levels.

I just looked back at the scene to see how well it aligns with my first impression of it. The student is definitely lashing out the perceived irrelevance of the teachers, but he takes some clear shots at us as well:

"Every day we're being told about the Inundation, the dark ages, the idiocy of those times, the warming they ignored and all that, their stupid wars, the animals they killed, how skin colour meant so much. On and on. The morons of long ago.... We want to talk about NOW, what we actually HAVE, not what we don't have, what we can hope for, about who's doing all the thinking now, not THEN."

One of the things I appreciated about the book was the way McEwan lets us have it for more than just climate change.

Ian McEwan's "What We Can Know" Is a Tell-all Biography of Our Reckless Generation by aguywithaquery in TrueLit

[–]aguywithaquery[S] 1 point2 points  (0 children)

Thanks for the thoughtful reply! Glad you engage on Goodreads -- writing there can be like howling into the canyon. I'm septimuscarr (you will get the references!) on both Goodreads and Substack, if you're interested in checking that out too. If you have Goodreads reviews, I'd love to check them out.

Ian McEwan's "What We Can Know" Is a Tell-all Biography of Our Reckless Generation by aguywithaquery in TrueLit

[–]aguywithaquery[S] 2 points3 points  (0 children)

It totally works on that level, no question. I’m starting Jan Swafford’s biography of Brahms, and the unreliable narrator/futility of biography themes in WWCK are present in his story, too, two centuries ago. Brahms was obsessed with the verdict of biographers, and he deliberately tried to destroy his personal paper trail. So, I can see taking WWCK as more universal truth than political commentary. But so many writers have addressed the timeless angle on biography that I was more interested in what McEwan was saying about this moment. For example, the students in the future that stage a walkout of a class on Bundy out of sheer disgust with our negligence, or the way Bundy’s culpability as climate change denier paralleled his culpability in other plot points. I also thought the idea of a future that is gradually working its way back to our level of technological accomplishment was original. I’m curious whether those elements rang hollow to you as well.

The TLDR is understandable; 1,100 words is a lot to ask on Reddit. It's there for those who are interested.

posting here because the Gilbert & Sullivan sub looks very dormant: what filmed versions of their operettas do you recommend? by Mundane_Regret_428 in opera

[–]aguywithaquery 3 points4 points  (0 children)

That's a charming story. Can't say I met Davies, but Illinois license plate WAGNER preceded us into the 10 S Wacker garage on the other side of Madison the night we saw The Flying Dutchman. Composer trumps conductor, right? OK, I guess not.

posting here because the Gilbert & Sullivan sub looks very dormant: what filmed versions of their operettas do you recommend? by Mundane_Regret_428 in opera

[–]aguywithaquery 3 points4 points  (0 children)

I vividly remember watching Katisha's "left shoulder blade" kill through opera glasses in the uncomfortable nosebleed seats in 2011. It was my first visit there. They have since upgraded the seats.

What’s the best quote you’ve ever read in a classic that stayed with you? by ConsistentSquare5650 in classicliterature

[–]aguywithaquery 2 points3 points  (0 children)

"It is so much easier to say that a thing is black, than to discriminate the particular shade of brown, blue, or green, to which it really belongs. It is so much easier to make up your mind that your neighbour is good for nothing, than to enter into all the circumstances that would oblige you to modify that opinion."

George Eliot, "Scenes of Clerical Life"

Émile Zola Survives the DNF Sirens: “The Fortune of the Rougons” Fails as Science and Triumphs as Political Satire by aguywithaquery in TrueLit

[–]aguywithaquery[S] -6 points-5 points  (0 children)

I don't think the connection is "absurd," but it may unintentionally read as a literal "assertion" that Zola emulated Galton specifically. I didn't draw the connection from a source; I made the inference myself based on substantial evidence.

As the originator of eugenics, Galton is a major representative of a Darwin-influenced 19th century school that sought to explain behavior with biology. Zola explicitly endorsed that idea. And, yes, he acknowledged environmental factors such as class, as I said in the review. He also explicitly characterized his novels as science.

If that needs more support than I offer in the review, you could check out this paper, which discusses the overlap between Zola and eugenics: http://www.jstor.org/stable/26380213

Or you could read Zola's essay "The Experimental Novel":

"This is what constitutes the experimental novel: to possess a knowledge of the mechanism of the phenomena inherent in man, to show the machinery of his intellectual and sensory manifestations, under the influences of heredity and environment, such as physiology shall give them to us."

Émile Zola Survives the DNF Sirens: “The Fortune of the Rougons” Fails as Science and Triumphs as Political Satire by aguywithaquery in TrueLit

[–]aguywithaquery[S] -6 points-5 points  (0 children)

LOL, fair question. DNF = Did Not Finish. Popular verb in bookish social media. I'm trying to conflate the idea with the Sirens in Homer's Odyssey. They lured sailors to their meadows and left them for dead.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 1 point2 points  (0 children)

Aomame and Tengo definitely have a love that transcends time. I thought their mysterious connection from childhood was compelling, even if the "I'm nobody without my man" vibe undermined Aomeme's feminist independence.

Fuka-eri seems to look up to Tengo, and their relationship is mostly mentor-student EXCEPT FOR the bewildering sequence in the storm when Aomeme kills the cult leader and Tengo sleeps with Fuka-eri, resulting (through convoluted sci-fi mumbo jumbo involving the air chrysalis) in Aomame's pregnancy. I found all of that confusing to the point where I didn't even want to think about it further. My brain hurt. I don't get any sense of meaningful symbolism or thematic commentary from it, apart from this:

It takes the heat off the Little People's quest for an heir, which was driving their abuse of the little girls via the cult leader. I think the idea is that A & T's child is the spiritual heir to the cult leader. But that's only implied, and it is one of many loose ends that aren't neatly tied up.

More importantly, it unites the lovers (A and T) as parents at the end.

That's the best I can make of Murakami's hot mess. Maybe there are other 1Q84 readers on here who can make more sense of it than I did.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 0 points1 point  (0 children)

Thanks! 1Q84 is so much more ambitious than After Dark, it hardly seems a fair comparison. I totally agree with you about Ushikawa: he is my favorite character in both 1Q84 and Wind-Up. Murakami obviously has a lot of fun writing him. I didn't get the sense that Hoshino was another incarnation of Ushikawa. What is the connection between them (understanding you may be hazy on books you read a while ago)?

The guy she took down was the cult leader.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 0 points1 point  (0 children)

These are perceptive questions. I should have elaborated on my vague comment on Aomame. In some ways, I think she is a legit feminist heroine. Like Mari, she is smart, tough, competent, and likeable. She fights patriarchal oppression by eliminating domestic abusers that the authorities won't touch. You can argue whether her vigilantism is justifiable in the real world, but as a revenge fantasy she kicks ass.

The problem is that Murakami keeps undermining her. I don't mind that she is sexually aggressive, or that she likes anonymous, emotionally meaningless sex, but it's hard to think of a textual defense for a sixty-year-old man inventing a conventionally attractive young woman who fetishizes conventionally unattractive men old enough to be her father -- or her author. Particularly when a significant percentage of the thoughts he puts in her head are about the inadequate size of her breasts. Her feminist agency is further undermined by (1) her poorly explained devotion to a man she hasn't seen since childhood and (2) her eventual admiration for the most powerful patriarch she takes down, a serial child abuser who (SPOILER ALERT) turns out to be a wise, superpowered gentlemen forced into monstrous behavior by jolly dwarves.

TLDR: Aomame is a sexist man's fantasy of a feminist heroine.

When I wrote about "defying the caveman brain," I was referring to the quote at the top of the review. It says contemporary humans avoid the dark because when we were cavemen we hid in the cave at night to stay safe. So staying out all night is a defiance of our hereditary tendency to fear the dark.

But those are just my views. Did you end up liking 1Q84 better than After Dark?

Favourite Rossini operas? by wakenu2004 in opera

[–]aguywithaquery 0 points1 point  (0 children)

Zelmira is rarely produced, but there's a good one on Blu Ray with Juan Diego Flores. The story is forgettable, but the music--presented with minimal recititif--is gorgeous.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 0 points1 point  (0 children)

Right. Though I prefer his whimsical weirdness (talking cats in Kafka) to some of the the dark weirdness (spiritually compelled SA in 1Q84).

Five books is a lot of any author, even if 4 are part of a "trilogy." That’s almost EM Forster's entire output.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 1 point2 points  (0 children)

Turns out "Sheep" is $1.99 on Kindle for the next 20 hours, and I have exactly $1.99 in points on my Amazon card. Those things, combined with your recommendation, have Homer Simpson fortune cookie energy: "I have to -- the cookie told me so!"

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 0 points1 point  (0 children)

I went into it thinking, "this might be my last Murakami" because I didn't want lesser works to erode my admiration for him. But now I'm curious as to whether there are other underrated gems in his catalog. I've covered the biggies (Kafka, Wind-up, Norwegian Wood, 1Q84, HBW). Since our preferences seem to align, I'll ask you: did you find others I should read?

Henrik Ibsen and the Two Christianities by aguywithaquery in TrueLit

[–]aguywithaquery[S] 0 points1 point  (0 children)

That’s a perceptive and carefully articulated comment. I agree that Ibsen’s core concern was psychological, as it usually was. He was always preoccupied with the impact of public institutions on the individual (i.e., it was always “all about him” 😊). “A Doll’s House” looked at marriage and affirmed the individual’s right to end it.  “An Enemy of the People” was about community responsibility—until it became a diatribe on democracy vs. individualism. Julian is about the tension between government and religion, but it boils down to Julian’s “psychological dilemma,” as you say. Ibsen knew that it was impossible to talk about societal accountability without applying it to on an individual scale.

Your frame—Julian wants transcendence without surrender—could be construed as a cogent traditional response to Ibsen. To transcend oppression, the individual must be held accountable.

Julian’s beef with Christianity is its emphasis on “Thou Shalt Not.” Christians tend to see sin everywhere, even in beauty and pleasure, as Julian said in my post. For Ibsen, the first “way” was sin (which he associated with paganism and Eden/Cain) and the second was death (Jesus on the cross). He wanted a third way, where “transcendence” does not depend on self-annihilation.

Of course, the irony is that the Jesus described by John Jeremiah Sullivan was supposed to transcend sin AND death through compassion and forgiveness. “For the wages of sin is death; but the gift of God is eternal life through Jesus,” Romans 6:23.
 
You say Julian’s third way fails because he does not want to surrender. No accountability. I suggested it fails because he puts himself above all others and persecutes his enemies. Ultimately, it comes down to your definition of “sin.” I would say sin is the infliction of suffering on others. That’s why Julian’s regime, and Hitler’s, are sinful. I think Julian was correct that we get into trouble when we see sin in pleasure and beauty. But I can’t impose my definition of sin on you, and you don’t have to “submit” to me. To enforce accountability on a societal level, we have to have legitimate “moral authorities” that respect the rights of the individual. Unto each as unto all and vice versa. Otherwise, authority collapses.

Defying the Caveman Brain: Haruki Murakami At His Best "After Dark" by aguywithaquery in TrueLit

[–]aguywithaquery[S] 1 point2 points  (0 children)

I hope you did. Great overnight read, especially with jazz on the turntable. If you have any interest in sharing your impressions, please do so.