This is tough, unremitting and depressing going but essential reading as we wind down to the end of empire. Mirrored in here are the actions of our own civilisation; just substitute terrorist for barbarian (as A Short History of Progress suggests). I do believe though that Coetzee is ambivalent about who are the true barbarians. Might they not be the enforcers of empire itself? The armies (and police forces)?
And are we at the end? Is there even an end? The author writes that: “Empire has located its existence not in the smooth recurrent spinning time of the cycle of the seasons but in the jagged time of rise and fall, of beginning and end, of catastrophe.” Indeed so far all civilisations have fallen so it’s as well to have an allegory for the times – tough, unremitting and depressing though it may be.
As part of being on the Kindle Owners’ Lending Library, we get an option to give Ashton Walks away for zero, nothing, zilch. In the spirit of Monty Python‘s banker sketch, I’m not quite sure how this works for us but from about eight o’clock tomorrow that’s how much the eBook will cost. For 24 hours only.
Ashton Walks is now on Kindle for the princely sum of £1.91. It’s gone global too ($3.08 in the United States of Americawl). I will get it out to Apple’s iBookstore but not before next year. This is a condition of signing up to the Kindle Owners’ Lending Library, for what it’s worth. I have no idea but “not very much” is the most likely value.
So, grab your soon-to-be-collectable first edition.
Our newest publication houses five loosely linked short stories inspired by a walk in the Somerset countryside to the west of Bristol. This work grew out of an idea of writing a set of connected stories. We wanted to do something new, having already published on the themes of Hair and, unsurprisingly, Hidden Bristol.
Love it! The most wonderful thing about this collection of short shorts is that you can’t outguess the stories. You may think you know where they’re going by convention but it ain’t necessarily so. For instance, The Art of Desire twists and turns so that the ending is always in doubt – masterful. Somerset-based Emma (the E in E.J.) also subverts the odd fairy tale: The Tenth Lord is one such.
My favourite, The Need to Create, has such a fertile premise that it could have gone in a million directions. I swear a novel is struggling to break out too. I also like its political slant and its potential for really bad taste. On a personal note the Winchester (Hampshire, I hope) setting also made me smile.
This is a bloody good read in that it ticks all the thriller boxes. In particular it rattles on at pace, introduces twists and keeps you guessing to the end. On the downside the production of the book seems rather rushed (maybe to beat real life?) with some untidy writing but it’s all perfectly readable.
My focus is on whether it’s believable, especially in the light of my own researches into peak oil and collapse. For that is the “what if” here and my answer is a qualified yes, despite a touch of over-dramatisation. The violence card gets overplayed and too early. One of the characters mentions Lord of the Flies and it’s an apt yardstick. Golding’s classic racks up the menace until it spills over into violence – more effective than starting at high pitch.
One slight plot hole concerns Jenny’s journey, which doesn’t make much geographic sense. Having the M1 erroneously running past Birmingham probably shows some confusion in the author’s mind – good trainspotting by me though!
At the denouement I rather sided with the baddies: this poor old planet does needs a damn good cull of the human race – motivation for my own apocalyptic book really. It’s schadenfreude on a grand scale in revenge for mankind’s arrogance. Much better to get it out on the page than in real life, eh? Discuss.
Because I’m attempting to write something along the lines of Love in the Time of Flu, why not see how the Master does it?
And he is a master of storytelling. This is a book to wave in the face of those who parrot, ‘Show, don’t tell’ when they critique your work. Marquez is an effective teller. He certainly kept me going for 346 big pages.
Having said which, I could happily have put the book down and not read another word at any stage. I wasn’t that interested in how it would turn out and I had no sympathy with any character. I do sympathise with that because it’s hard to write people in that fine line between sugar and acid. I tend too far toward acid myself.
My biggest gripe with the book – and here be plot spoiler so look away now – relates to my lack of sympathy for Florentino Ariza, the unrequited lover. In my world such a character loses most of his credibility the first time he shags another woman. When he becomes a serial offender, in fact an obsessive, I’ve lost the point of the story altogether.
Continent, Crace’s first book, is different. I don’t think it’s a novel, for a start. It reads like seven short stories. And why did he have to invent a seventh continent as backdrop? I’ve never been to Africa or South America but have read enough from both to visualise them as the perfect settings for this book.
That apart, it is of course a good read and two of the pieces stand out – On Heat in the middle, with a very fine twist, and Electricity as a good example of prefiguring a final scene. A sense of menace suffuses all the stories; perhaps this disturbance casts the reader into Crace’s unknown world, an unknown continent of the imagination.