The Trouble with Goodreads and a Review of the Passing Tribute

I recently completed an ARC of this on #Pigeonhole 
It was rather a departure for them and not as well received as many of the books on there which I thought was rather disappointing. A few of the readers complained it was “too wordy” and not for them, so gave it up quickly, which is fair enough. However, what I thought was highly unfair was the subsequent one star reviews on Goodreads, particularly by people who didn't even finish it.

The book currently has an average review of two stars. One of the reviewers has complained that the author should basically be resigned to any level of criticism after he reported her review for spoilers. This must be the ultimate punch in the gut after she's had the opportunity to read his book for free. I can't say that I would feel comfortable doing that even if I disliked the book. I'll write an honest review wherever I can but I have to acknowledge the effort someone has put into it. Maybe if it was poorly edited or factually incorrect or problematic maybe you would be justified, but not on the basis that it was too hard for you to read!

Sorry guys, that's the way it is.

Anyway, on to the review. Yes, this is not a casual read. The author has experimented with the postmodern idea of avoiding 'the tyranny of plot’, comparing this to the work of Virginia Woolf. There are overarching themes and things that happened, but they are not linked together, this is to give a more naturalistic feel to the story. A series of impressions to give a feeling of what is happening. It particularly suits the settings of post war England and Vienna with the themes of desolation and rebuilding. It's an incredibly lyrical, poetic story which does use some words considered archaic or obscure, but I think it's justified. This is a story about two brothers, one living in England, the other in Vienna.

I thought the parts of the story set in Vienna worked better, particularly due to the character of Millie, who works as some light relief in what could have become rather a heavy story. In contrast, I found Richard's parts a bit more difficult due to his relationship with Helene who is enigmatic to the point that I didn't feel like I could get to grips with either her character or their relationship. I feel like I may have read it a bit too quickly and that maybe Pigeonhole didn't really work as a platform for it. This is the kind of book to savour the language, to re-read and to go back to previous parts to link it all together in your mind. It's not really a page turner, but can anybody really say that postmodern novels are? However, the fear of people giving poor reviews should never put an author off experimenting, else we would all still be reading the proto novels of people like Richardson and Defoe or confining ourselves to the same type of books time and time again.I hope that the poor reviews don't put people off reading it.

Where to next?

Had a bit of a binge on the Victorian pastiche, and I've now finished The Quincunx, as well as The Unburied and Rustication (all Charles Palliser). Then I went onto Kept (D J Taylor) and I'm about the finish Derby Day. I think that the two authors differ in that Palliser's novels are more centred on the plot and read more similarly to Dickens or Wilkie Collins. They are both postmodern, but somehow I find Taylor's postmodernism more extreme. Palliser's novels take the Victorian elements such as the coincidences and links between characters and multiply them to the extreme. The mysteries seem genuine mysteries which, in the case of the Quincunx, are not necessarily satisfactorily solved by the reader due to the unreliable FPN. Taylor's novels don't exactly read as murder mysteries, much to the disgust of some of the Goodreads reviewers, the mystery is more like how and why the characters are linked, and Taylor meticulously recreates Victorian atmosphere with references and excerpts from novels of the period as well as from recreated newspaper reports and letters. So far I have enjoyed all of them, but I have to say The Quincunx has been my favourite and one I'd like to re-read at some point.

So, I have sort of reached the point where I am not sure whether to go on with Victorian mysteries or move onto something else. I think I'd like to read An Instance of the Fingerpost before I get out of the genre for a spell; I know it's not Victorian but I think it would round it off nicely.

Otherwise, I have finished The Black Moon (Poldark). I am still meandering through Balzac, a couple of the stories have been a bit forgettable, but I think I will probably continue, although I feel like I am cheating a little on my Goodreads count as if I have a quiet day I can get through one or two in a few hours. I suppose it makes up for the giant books I am trying to read though. Otherwise, not a huge amount of progress on the other books I'm reading as I've been reading a couple of library books in the meantime.

 

If On A Winter's Night a Traveler

Having been warned by reviews that this was a 'difficult' book I ploughed on, undaunted. And gladly. I sometimes wish that people wouldn't label books this way, although I am attracted by a challenge. I can see why people would hate it, it is like a Russian nesting doll of novels and makes you question the very nature of reading itself. It can mess with the brain, yet here I am in the sure knowledge that I could read it dozens of times and still get something out of it.
The structure is somewhat mind-bending in the way that it is narrated. The book begins in the second person describing how you, 'the Reader' goes to a book shop looking for Calvino's new novel and begin reading it, the second chapter is purportedly that novel, but only the first chapter. At the end of the first chapter, the novel returns to 'the Reader' who realises that he is not reading the book he is supposed to have bought, and the rest of the novel is missing. The rest of the book is divided into second person narrative sections describing 'the Reader' on a frantic, fruitless quest for the rest of the novel, and the ten first chapters of the rest of the novels he encounters, all vastly ranging in genre and breaking off at a plot climax. If you didn't know what you were letting yourself in for, you would probably find it a really frustrating book to read, but there is some sort of plot in 'the Reader's' quest and his meeting of a fellow reader, Ludmilla and the other characters. It could all become too mind-bending, but is saved from this by the author's playfullness and the fact that it is not just one good story to read, but at least eleven (not counting the anecdotal stories 'the Reader' hears on the way).      
It's an extremely postmodernist book and I can see the way that it relates to the dreaded structuralist and post-structuralist texts I had to study at uni. On one hand it would have been great to study this alongside that part of the unit, on the other hand, I'm not sure I would have 'got' it at the time. We can't all be David Mitchell (the novelist who wrote a review in the Guardian describing how he was amazed as an undergraduate but not so much re-reading it). It also relates to the idea of the death of the author in that there is seemingly no unifying 'author' or 'authorial voice', there is the narrative voice of 'the Reader' sections, then the voices of the ten other authors. I can also see how it has influenced subsequent fiction. 
Anyway, hopefully I will re-read it again one day and perhaps study it in more detail.