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My rating 2.5
<i>I received this book for free through Goodreads First Reads. </i>
There is often a preconception that self-published books are not as good as those printed by world famous publishers. Yet, given a chance, there are a few that surprise you. Unfortunately, there are many issues with Laura Foster’s debut novel <i>Crimson</i>. The actual concept has promise of appealing to a range of readers due to falling into a variety of genres: fantasy, science fiction, young adult and paranormal/horror. Where the novel suffers is within the writing style and obvious lack of proof reading.
The storyline concentrates on a homeless young girl whose frightening nightmares have led her to believe she is in grave danger. Dawn Pearson, who the reader is led to believe is only twelve or thirteen years of age, is determined to get as far away from the creature in her dreams as possible. With the help of Mike, a friend she makes on the street, she narrowly escapes being captured by the red-eyed, irascible monster she has named Crimson.
While the pair flee, Dawn and Mike become aware of another terrifying beast, although neither understand why Dawn is being hunted. It soon manifests that Dawn harbours an ethereal power, suggesting that she is far from the human she believed herself to be. As the thrill of the chase heightens, readers are left with questions: who is Dawn? Who is the Crimson? Which characters can be trusted?
It is not clear what the target age group is, however the youthful ages of Dawn and Mike make it suitable for a young adult audience as well as adult readers in general. Dawn and Mike’s relationship, although sudden, becomes a key aspect of the story. For once a friendship between a male and female has no romantic connotations attached, thus not detracting from the surreal circumstances of the plot. Both Dawn and Mike show admiral traits of selflessness – something that ostracizes them from the remainder of ignoble characters.
Sadly, the dramatic climax spirals into confusion. Ever changing plot directions make it unclear who the heroes are, and perplexing scene descriptions make it difficult to picture what the author had in mind. This was a more prominent issue toward the conclusion of the book, resulting in an unsatisfying ending.
One of the major problems with the writing is the constant switching of points of view. Although written in third person, a narrative still speaks from one character’s perspective. This can change from character to character, but usually separated into different chapters. In <i>Crimson</i>, however, Foster alters the viewpoint from paragraph to paragraph. This occasionally makes the text difficult to follow.
As with any lengthy body of text, printing errors can occur – nobody is perfect. On the other hand, the amount of typos in <i>Crimson</i> makes it hard to believe that it had ever been proofread in the first place. Some mistakes are clearly typing errors that are (probably) not the author’s fault, however the repeated misuse of words such as seized/ceased and wondered/wandered are not easy to forgive.
Overall, the premise was there, the writing not so much. It is understood that Laura Foster is currently working on a sequel to <i>Crimson</i>, but its success rests on how well this first book is received. If people can tolerate the errors pinpointed above, then the author has nothing to worry about, yet as it stands, it does not look promising.
<i>I received this book for free through Goodreads First Reads. </i>
There is often a preconception that self-published books are not as good as those printed by world famous publishers. Yet, given a chance, there are a few that surprise you. Unfortunately, there are many issues with Laura Foster’s debut novel <i>Crimson</i>. The actual concept has promise of appealing to a range of readers due to falling into a variety of genres: fantasy, science fiction, young adult and paranormal/horror. Where the novel suffers is within the writing style and obvious lack of proof reading.
The storyline concentrates on a homeless young girl whose frightening nightmares have led her to believe she is in grave danger. Dawn Pearson, who the reader is led to believe is only twelve or thirteen years of age, is determined to get as far away from the creature in her dreams as possible. With the help of Mike, a friend she makes on the street, she narrowly escapes being captured by the red-eyed, irascible monster she has named Crimson.
While the pair flee, Dawn and Mike become aware of another terrifying beast, although neither understand why Dawn is being hunted. It soon manifests that Dawn harbours an ethereal power, suggesting that she is far from the human she believed herself to be. As the thrill of the chase heightens, readers are left with questions: who is Dawn? Who is the Crimson? Which characters can be trusted?
It is not clear what the target age group is, however the youthful ages of Dawn and Mike make it suitable for a young adult audience as well as adult readers in general. Dawn and Mike’s relationship, although sudden, becomes a key aspect of the story. For once a friendship between a male and female has no romantic connotations attached, thus not detracting from the surreal circumstances of the plot. Both Dawn and Mike show admiral traits of selflessness – something that ostracizes them from the remainder of ignoble characters.
Sadly, the dramatic climax spirals into confusion. Ever changing plot directions make it unclear who the heroes are, and perplexing scene descriptions make it difficult to picture what the author had in mind. This was a more prominent issue toward the conclusion of the book, resulting in an unsatisfying ending.
One of the major problems with the writing is the constant switching of points of view. Although written in third person, a narrative still speaks from one character’s perspective. This can change from character to character, but usually separated into different chapters. In <i>Crimson</i>, however, Foster alters the viewpoint from paragraph to paragraph. This occasionally makes the text difficult to follow.
As with any lengthy body of text, printing errors can occur – nobody is perfect. On the other hand, the amount of typos in <i>Crimson</i> makes it hard to believe that it had ever been proofread in the first place. Some mistakes are clearly typing errors that are (probably) not the author’s fault, however the repeated misuse of words such as seized/ceased and wondered/wandered are not easy to forgive.
Overall, the premise was there, the writing not so much. It is understood that Laura Foster is currently working on a sequel to <i>Crimson</i>, but its success rests on how well this first book is received. If people can tolerate the errors pinpointed above, then the author has nothing to worry about, yet as it stands, it does not look promising.
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Molly J (Cover To Cover Cafe) (106 KP) rated A Heart Revealed (Winds of Change, #2) in Books
Feb 27, 2019
*This review is from my blog and originally published in 2011*
Okay. Let me take just one moment to reflect on this book. *Reflecting* Okay. That’s better. WOW. I don’t even know where to begin. There is so much to say about this novel. Let me start off by saying if you’ve never read a Julie Lessman novel, stop what you are doing right now, and grab a copy. You won’t be sorry. The first novel I read by her was last September, entitled A Hope Undaunted, book 1 in this Winds Of Change series. I couldn’t believe how much I fell in love with her work! I was then lucky enough to win all three novels in her first series, The Daughters of Boston. Though they are still sitting on my shelf to be read, they are definitely calling my name and I can’t wait to go back and read them.
Now, on to the rest. In the first book in this series, I fell in love with Luke McGee. In this novel, I think I love Sean O’Connor even more. I really enjoy Snickers bars, so see, Julie? You could send SEAN my way, and I’d be forever blissfully happy. I LOVED his character. He was great in his role in A Hope Undaunted , but reading his story with the focus on him, was absolutely amazing. His past wasn’t perfect, and there were times when he went wild with anger, but he overcame that. There was one thing from his past that he holds inside though. No one, not even his nosy sisters, know. That is until, he finds himself drawn to his best friend Emma in a way that he couldn’t imagine. He opens up to her….with everything.
Emma Malloy. Bless her soul. She was a wonderful character, flawed and sweet, and wanting everyone close to her to be happy. Including Sean. When she finds her self falling in love with him, when she’s still married to the man who beat her 11 years ago, she’s determined to push him off on Rose Kelly…the woman who loves him. Trouble is, something happened to Sean and he won’t try with Rose.
Oh, I so want to go on and on….but I’m SO close to giving away the plot! I DO NOT want to do that! I want you to devour the book like I did and take the time to reflect on the wonderfulness of this novel. It’s stunning. It’s breath taking. It’s a roller coaster of emotions, from happiness, to sadness, to anger, to pride, to passion. It has a WHOPPER of a twist and an ending that will leave you smiling and tears running down your face. Not to mention I LOVED Casey Herringshaw and Michelle Tuller’s characters 😉 *grins*!
I highly suggest that you grab a copy of this novel NOW. It’s 5 Books worthy, two thumbs up, hats off, a home run, a winner, a best seller……what ever you want to call it’s that. Julie Lessman really has a way to make ME feel a part of the heart of the story. She speaks to me through the words of her characters, and really brings me closer to God each time. She is by far my absolute FAVORITE Christian novelist and I will NEVER part with her books. They are forever on myself for me to read and reread, and reflect on each time. I am looking forward to book three in this series, Steven O’Connor’s story. Sweet angels in Heaven, though, Julie, do you have to make us wait a whole YEAR!?!? *Sigh* Oh well. All the more for me to savor that one upon it’s release.
Okay. Let me take just one moment to reflect on this book. *Reflecting* Okay. That’s better. WOW. I don’t even know where to begin. There is so much to say about this novel. Let me start off by saying if you’ve never read a Julie Lessman novel, stop what you are doing right now, and grab a copy. You won’t be sorry. The first novel I read by her was last September, entitled A Hope Undaunted, book 1 in this Winds Of Change series. I couldn’t believe how much I fell in love with her work! I was then lucky enough to win all three novels in her first series, The Daughters of Boston. Though they are still sitting on my shelf to be read, they are definitely calling my name and I can’t wait to go back and read them.
Now, on to the rest. In the first book in this series, I fell in love with Luke McGee. In this novel, I think I love Sean O’Connor even more. I really enjoy Snickers bars, so see, Julie? You could send SEAN my way, and I’d be forever blissfully happy. I LOVED his character. He was great in his role in A Hope Undaunted , but reading his story with the focus on him, was absolutely amazing. His past wasn’t perfect, and there were times when he went wild with anger, but he overcame that. There was one thing from his past that he holds inside though. No one, not even his nosy sisters, know. That is until, he finds himself drawn to his best friend Emma in a way that he couldn’t imagine. He opens up to her….with everything.
Emma Malloy. Bless her soul. She was a wonderful character, flawed and sweet, and wanting everyone close to her to be happy. Including Sean. When she finds her self falling in love with him, when she’s still married to the man who beat her 11 years ago, she’s determined to push him off on Rose Kelly…the woman who loves him. Trouble is, something happened to Sean and he won’t try with Rose.
Oh, I so want to go on and on….but I’m SO close to giving away the plot! I DO NOT want to do that! I want you to devour the book like I did and take the time to reflect on the wonderfulness of this novel. It’s stunning. It’s breath taking. It’s a roller coaster of emotions, from happiness, to sadness, to anger, to pride, to passion. It has a WHOPPER of a twist and an ending that will leave you smiling and tears running down your face. Not to mention I LOVED Casey Herringshaw and Michelle Tuller’s characters 😉 *grins*!
I highly suggest that you grab a copy of this novel NOW. It’s 5 Books worthy, two thumbs up, hats off, a home run, a winner, a best seller……what ever you want to call it’s that. Julie Lessman really has a way to make ME feel a part of the heart of the story. She speaks to me through the words of her characters, and really brings me closer to God each time. She is by far my absolute FAVORITE Christian novelist and I will NEVER part with her books. They are forever on myself for me to read and reread, and reflect on each time. I am looking forward to book three in this series, Steven O’Connor’s story. Sweet angels in Heaven, though, Julie, do you have to make us wait a whole YEAR!?!? *Sigh* Oh well. All the more for me to savor that one upon it’s release.
Home Design DIY Interior Room Layout Space Planning & Decorating Tool - Mark On Call for iPhone
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Jamie (131 KP) rated Men Explain Things to Me: And Other Essays in Books
Jul 26, 2017
Poorly written (2 more)
Not intersectional
Lack of sources in the physical version
Mediocre essays, I wish I could've liked this more
Disappointment and shallow is probably the most apt descriptions I can think of when describing this book which is really sad because I usually enjoy feminist essays.
The titular essay, Men Explain Things to Me, discusses the author’s experiences with men explaining things with the assumption that she couldn’t possibly know due to her gender. While I was nodding my head that yes, I have experienced this as well, there was not much else. There was little to no research into the history of why this might be or any additional insight into the topic which was really a let down, I didn’t feel like I got much out of it. I should have known that the rest of the essays in this collection would be the same but I was optimistic.
One of the better essays was In Praise of the Threat: What Marriage Equality Really Means which discussed how the fight for marriage equality, or same-sex marriage, has been redefining the traditional gendered views of marriage and I thought that this was really great. However in a later essay Solnit goes on to claim that gay marriage would never have been possible if it weren’t for feminists redefining marriage as a union between equals, which is a statement I found both bold and mildly insulting.
I also need to address a specific statement that became the basis the essay, The Longest War, which was the following:
“Violence doesn’t have a race, a class, a religion,
or a nationality, but it does have a gender.”
It is very apparent that Solnit doesn’t know a thing about intersectionality because any minority can tell you that the statement above is laughably false. Is it true, statistically, that more reported violent crimes are perpetrated by men? Yes. Do people in many societies have an issue with toxic masculinity? Yes. Does this mean, then, that violence has a gender, that it is purely a male problem? No. To say that it doesn’t have a specific race, class, religion, or nationality despite evidence to the contrary throughout history is naïve.
Solnit continues on to rant about how men are the almost exclusive source of violence and assault and how everyone should acknowledge this so we can go about finding solutions. She doesn’t go into much more depth than that or offer up much in the way of solutions herself. A large portion of the essay is just her fluffing up the piece with a literal list of vague examples which might not mean much to folks less knowledgeable about violent crimes. There are also quite a few statistics thrown in with absolutely no sources to back up the claims.
Not that I doubt the information provided, but in times where people cherry pick the news to fit their own narrative books like this become questionable. After flipping through the back of the book I eventually found a note in the acknowledgements section that Solnit chose to edit out her sources for the book version, but that they could be found on the online versions of her essays. It’s careless and lazy for an author that wants to be taken seriously.
Solnit also postulates at several points that because she has published several books that she is an authority and I found that sort of attitude to be self defeating. She talks about another author that she argued with about Virginia Woolfe and claims that she had “won” which just makes the author sound childish, and I wondered what the point of the essay was to begin with. It felt out of place for the rest of the collection and any connections she attempted to make were shaky at best.
I think that Solnit had some good ideas but the execution was extremely poor. Because she spends so much time listing examples and being over dramatic in her descriptions the actual point of discussion in her essays becomes muddled and unclear. There are far better essays out there that address the exact same topics. Men Explain Things to Me just wasn’t worth the time.
The titular essay, Men Explain Things to Me, discusses the author’s experiences with men explaining things with the assumption that she couldn’t possibly know due to her gender. While I was nodding my head that yes, I have experienced this as well, there was not much else. There was little to no research into the history of why this might be or any additional insight into the topic which was really a let down, I didn’t feel like I got much out of it. I should have known that the rest of the essays in this collection would be the same but I was optimistic.
One of the better essays was In Praise of the Threat: What Marriage Equality Really Means which discussed how the fight for marriage equality, or same-sex marriage, has been redefining the traditional gendered views of marriage and I thought that this was really great. However in a later essay Solnit goes on to claim that gay marriage would never have been possible if it weren’t for feminists redefining marriage as a union between equals, which is a statement I found both bold and mildly insulting.
I also need to address a specific statement that became the basis the essay, The Longest War, which was the following:
“Violence doesn’t have a race, a class, a religion,
or a nationality, but it does have a gender.”
It is very apparent that Solnit doesn’t know a thing about intersectionality because any minority can tell you that the statement above is laughably false. Is it true, statistically, that more reported violent crimes are perpetrated by men? Yes. Do people in many societies have an issue with toxic masculinity? Yes. Does this mean, then, that violence has a gender, that it is purely a male problem? No. To say that it doesn’t have a specific race, class, religion, or nationality despite evidence to the contrary throughout history is naïve.
Solnit continues on to rant about how men are the almost exclusive source of violence and assault and how everyone should acknowledge this so we can go about finding solutions. She doesn’t go into much more depth than that or offer up much in the way of solutions herself. A large portion of the essay is just her fluffing up the piece with a literal list of vague examples which might not mean much to folks less knowledgeable about violent crimes. There are also quite a few statistics thrown in with absolutely no sources to back up the claims.
Not that I doubt the information provided, but in times where people cherry pick the news to fit their own narrative books like this become questionable. After flipping through the back of the book I eventually found a note in the acknowledgements section that Solnit chose to edit out her sources for the book version, but that they could be found on the online versions of her essays. It’s careless and lazy for an author that wants to be taken seriously.
Solnit also postulates at several points that because she has published several books that she is an authority and I found that sort of attitude to be self defeating. She talks about another author that she argued with about Virginia Woolfe and claims that she had “won” which just makes the author sound childish, and I wondered what the point of the essay was to begin with. It felt out of place for the rest of the collection and any connections she attempted to make were shaky at best.
I think that Solnit had some good ideas but the execution was extremely poor. Because she spends so much time listing examples and being over dramatic in her descriptions the actual point of discussion in her essays becomes muddled and unclear. There are far better essays out there that address the exact same topics. Men Explain Things to Me just wasn’t worth the time.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013