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Sunday, May 25, 2014

Allegiant by Veronica Roth: Thoughts

Okay, so I finally read it. I've been straying away from reading book series since it was hard to keep up and I was discovering stand-alones

Some background: I discovered Divergent in the summer of 2012 by just picking it up at Target. I had no idea what to expect, but I really enjoyed it. The fear landscape concept was right up my alley; I generally liked the ideas better than The Hunger Games; and you got to know the supporting characters in the competition more than the latter because they didn't all have to die. The only issue I had was the romance--not so much that it happened, it's better than others, after all--but the heavy description of making out. (This is, of course, a personal taste, and it doesn't happen as much in the sequels or the movie.) I picked up Insurgent soon after that and maybe began reading it in September/October of that year, but due to increased schoolwork and books I was reading for school, I progressed very slowly and naturally got frustrated because it seemed to never end. I vaguely remember good parts, though. But in general, by response upon finishing was "good, I can get on reading more books now" rather than "oh no, when does the next one come out?" With that mindset, I didn't expect too much from Allegiant, so I was more likely to enjoy it.

Also, so I don't get an angry comment, THERE ARE SPOILERS

Now, for my quick thoughts:

I honestly forgot all about how Insurgent ended when I began to read Allegiant. I remembered the factionless and Evelyn, but all I remembered of the video was the urge to leave the city because it was time. I didn't realize there were hints about the city being an experiment, so I found the infodumps at the beginning to be interesting because I didn't expect it. The gene ideas were almost as interesting as the fear simulations.

Divergent was a book packed with twists and thrills, and then Insurgent, from my point of view at least, seemed to be long and more meandering, but still plenty of exploration and twists. This book is about the same size, but it is a lot less packed. Not a lot actually seems to happen, and it mostly takes place in one setting. In fact, most of it is probably exposition.

So, of course I have to talk about the alternating point of views. I feel like the major problem was the publisher's, not Roth's--the names are only given at the beginning of each chapter and sometimes they can be missed; it would have been much better if the name was on the page somewhere, like some books have author/title headings. It is a bit difficult to just tell who is telling the story just by reading a little bit, but as someone who plans to write from multiple points of view, that isn't always a criticism; the writing style should not vary unless one of the characters is drastically different. Still, Tris and Tobias do seem remarkably similar. The good thing about the dual  POV was that it allowed readers to sympathize with both characters in their conflicts and Tobias could go off on his own, which was how this plot was structured. Also, that ending.

The series is also written in present tense, which takes a bit to get used to and I personally think it can sound less sophisticated. There were also some comments by the narrators inserted into pages that were mostly dialogue that seemed to just be there to break up the dialogue and were also not as insightful as they should have been. I unfortunately don't have an example because I didn't keep track of that while reading, but there were quite a few times I wondered, "Why is that sentence there?"

Allegiant carries on with the relationship angst introduced in Insurgent. I'm not a big fan of relationship angst, but at least it got resolved in this one. I'm all for couples having problems, but I feel like their issues have always been dragged out and petulant rather than something to really worry about. Real life is often like that though, so I don't know whether to complain. Tris's jealousy is definitely a realistic response in the ugly tradition of things we don't like to admit, but it could be written as more relatable and less reactionary and annoying. Because of that I was more inclined to go along with Tobias in the rebellion plan, which of course backfired, leading Tris to get angry again about how she was right. Where's the unconditional love and understanding?

So, the ending. I tend to feel satisfied with endings for the actual ending part. I'm kind of obsessed with the general idea. Also, I overheard from a friend what happened at the end here, so it wasn't too much of a shock (sorry). With that said, I think it was a logical conclusion. Of course Tris would sacrifice herself, and I don't think I have to reiterate why to those of you who have read the book (though I feel like Caleb could have explained it better to Four). She's been brave and selfless from the beginning. And it's all a relief coming off of her jealousy.

I may have actually enjoyed Tobias grappling with the memory erasure serum more, though. Because Christina is right: remembering who you are and how you came to be that way is something you should never risk throwing away, however painful remembering is.

I don't have a problem with Tris dying. Tris died because she's a better character than Four, because she did something he wouldn't have thought to do. We'll never know that, of course, but I got the impression from Four that he always wanted to preserve both of their lives. And Tris found a better way out, and she might have survived too if it weren't for David's gunshots. Not only would Tris have suffered if Caleb walked in there--in a way Four may not have understood--but I doubt he would have been able to still activate the box while under attack and wounds like she had. It's not just a simple bait and switch. She's the key. And she wanted to be. And because of that, Tobias will be an even better person.

That's not cruel at all.

Saturday, May 17, 2014

The Ocean at the End of the Lane: Commentary and Review

I am not accustomed to doing book reviews, and unless I have something really serious to say about an issue, I think it's more fun to read a discussion of themes and greater connections rather than a review, so I am going to attempt to do that. There will be minor spoilers. You may not have the same definition of "minor" that I do, so proceed with caution. (If you want to know what I think quality-wise, it's this: read it. I loved it.)

[I should also note that this has been saved as a draft for a while, and since then I've read more Sandman and American Gods.]

Before this, the only Neil Gaiman book I had read was The Graveyard Book several years ago, though I also had read the first few issues of Sandman at this point and see his Doctor Who episodes. I was interested in beginning to delve more into his work with this book because it appeared to be a nice childhood tale of nostalgia...and boy, how was I wrong. It morphed into something all the more terrifying and thrilling.

The plot began to sound mystic, and suddenly it was full-blown, gloriously unexplained fantasy. Perhaps only Gaiman can get away with it, but I envy how he leaves so much vague and unexplained, really allowing it to be magical and imaginative. It's a balance I've struggled with my own writing, as I feel like I should explain how everything works with the Internet's tendency to scrutinize everything, but this ends up being fruitless for fantasy.

Anyway, perhaps the most memorable and disturbing part in the book for me was when the protagonist notices there is a hole in his foot, decides it's not worth his parents' attention, and grabs tweezers and pulls out a worm and washes it down the bathtub drain. I'm not sure what bothered me more: the fact that there was a worm in his foot, or that he was completely unphased by it. I know my brother would have been screaming when he was seven.

The Ocean at the End of the Lane is full of childhood but timeless horror, and in addition to the genre I find the target age range interesting. Despite being through the eyes of a seven-year-old, Gaiman stated he decided to not market it toward younger readers because there is not enough hope, and I suppose I would have to agree, though there is hardly anything adult, never mind on the scale of American Gods. Ultimately, though, this decision resulted in the novel being more sophisticated in writing style (Coraline seemed to me to be very obviously written for kids) and deal with some dark themes, and there are many of those. The first chapter sees his cat being run over; the second, a man committing suicide; and the third, nearly choking to death. Rather than a child's story, it's a child in the adult world.

Something else that intrigued me was that the narrator is never given a name. But it's not just him, it's all the human characters: there's just "my sister," "the opal miner," etc. It's the otherworldly characters that have names, and appropriately unique and mythological ones at that. This seems to be a theme in Gaiman's work (just look at Shadow!): names are nebulous things, especially for ordinary people, but can be used to great effect in displaying the scope and size of fantastical characters.

The ending is a twist and a little bit ambiguous. It may be tragic, but it's the kind I prefer: [SPOILERS] memory issues. Not a definitive wipe, but something quieter, and it's exactly the kind of thing I love.

Blending childhood adventure with horror, mystery, and darkness, The Ocean at the End of the Lane is a treat, clocking in at just under 200 pages...but one that I devoured slowly, wishing to stay immersed in its grand scope for longer.