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Hazel (1853 KP) rated The Ice-Cream Makers in Books
Dec 14, 2018
<i>I received this book for free through Goodreads First Reads.</i>
An intriguing blurb promises an incredible story about an Italian ice-cream making family, however the story is nothing like you expect. Ernest van der Kwast’s <i>The Ice-Cream Makers</i> is set between a small village in Italy and the busy summer streets of Rotterdam. The Talamini family has been creating innovative ice-cream flavours for over a century, running a successful and hard-working parlour in the Netherlands. The business is handed down from father to son throughout the years, but now eldest son Giovanni has broken the tradition.
Giovanni Talamini has no interest in making ice-cream and would much rather spend the day reading poetry. After pursuing a literary career, Giovanni is now the director of the World Poetry Festival. Younger brother Luca has been left to pick up the <i>spatula</i> of the family business, but he has a problem of his own. Giovanni faces a dilemma: cut himself of from his family entirely or help his brother out with his peculiar request.
The highly unusual request mentioned in the blurb of <i>The Ice-Cream Makers</i> does not actually surface until the latter stages of the book. For the majority of the narrative there is no clear storyline, however the detail and information van der Kwast provides about ice-cream making, poetry and European culture makes the novel entirely worth reading. The request itself is entirely unexpected and not at all possible to guess, but it is an oddly brilliant way of reuniting two estranged brothers.
It takes a while for the narrative to start flowing as it constantly changes time periods. Giovanni, the narrator, rarely speaks in the present tense and is constantly relating events from his childhood and adulthood interspersed with family history and historical knowledge. On occasion the book takes on the air of an autobiography as Giovanni gives an in depth insight to the life of his family and his break from tradition. There is also the odd chapter that becomes almost a work of non-fiction, providing the reader with highbrow literary references and factual information about the history of ice-cream.
Once the scenes caused by the male sexual mind have been glossed over, <i>The Ice-Cream Makers</i> becomes a beautifully written, almost poetical story that compels and engages the reader despite the lack of a clear-cut storyline. The literary references will appeal to the intellectual, scholar, philosopher or culture enthusiast, for this novel teaches and inspires as well as entertains.
The amount of research van der Kwast conducted is phenomenal. The accuracy (or so is presumed) of the historical factors implies the author had thoroughly investigated the subject matter prior to writing. It is almost as though van der Kwast lived the life of Giovanni; it is entirely believable – hence the sense of an autobiography. Although the nature of the novel’s theme suggests a serious tone, van der Kwast has included a great deal of humour in the form of Giovanni and Luca’s father and his questionable mental health.
The lack of a climax prevents <i>The Ice-Cream Makers</i> from being described as an exciting book, however its beautifully poetic prose makes up for this absence. The philosophical insight into poetry will make you think about life and admire Giovanni for insisting on making his own way in the world. Likewise, Luca’s quiet acceptance and perseverance in the family business is also an admirable feat. Readers with a dislike for descriptive sexual scenarios may feel uncomfortable in a few of the resulting scenes, however the general story compensates for these distasteful passages. All in all, a high-quality work of fiction.
An intriguing blurb promises an incredible story about an Italian ice-cream making family, however the story is nothing like you expect. Ernest van der Kwast’s <i>The Ice-Cream Makers</i> is set between a small village in Italy and the busy summer streets of Rotterdam. The Talamini family has been creating innovative ice-cream flavours for over a century, running a successful and hard-working parlour in the Netherlands. The business is handed down from father to son throughout the years, but now eldest son Giovanni has broken the tradition.
Giovanni Talamini has no interest in making ice-cream and would much rather spend the day reading poetry. After pursuing a literary career, Giovanni is now the director of the World Poetry Festival. Younger brother Luca has been left to pick up the <i>spatula</i> of the family business, but he has a problem of his own. Giovanni faces a dilemma: cut himself of from his family entirely or help his brother out with his peculiar request.
The highly unusual request mentioned in the blurb of <i>The Ice-Cream Makers</i> does not actually surface until the latter stages of the book. For the majority of the narrative there is no clear storyline, however the detail and information van der Kwast provides about ice-cream making, poetry and European culture makes the novel entirely worth reading. The request itself is entirely unexpected and not at all possible to guess, but it is an oddly brilliant way of reuniting two estranged brothers.
It takes a while for the narrative to start flowing as it constantly changes time periods. Giovanni, the narrator, rarely speaks in the present tense and is constantly relating events from his childhood and adulthood interspersed with family history and historical knowledge. On occasion the book takes on the air of an autobiography as Giovanni gives an in depth insight to the life of his family and his break from tradition. There is also the odd chapter that becomes almost a work of non-fiction, providing the reader with highbrow literary references and factual information about the history of ice-cream.
Once the scenes caused by the male sexual mind have been glossed over, <i>The Ice-Cream Makers</i> becomes a beautifully written, almost poetical story that compels and engages the reader despite the lack of a clear-cut storyline. The literary references will appeal to the intellectual, scholar, philosopher or culture enthusiast, for this novel teaches and inspires as well as entertains.
The amount of research van der Kwast conducted is phenomenal. The accuracy (or so is presumed) of the historical factors implies the author had thoroughly investigated the subject matter prior to writing. It is almost as though van der Kwast lived the life of Giovanni; it is entirely believable – hence the sense of an autobiography. Although the nature of the novel’s theme suggests a serious tone, van der Kwast has included a great deal of humour in the form of Giovanni and Luca’s father and his questionable mental health.
The lack of a climax prevents <i>The Ice-Cream Makers</i> from being described as an exciting book, however its beautifully poetic prose makes up for this absence. The philosophical insight into poetry will make you think about life and admire Giovanni for insisting on making his own way in the world. Likewise, Luca’s quiet acceptance and perseverance in the family business is also an admirable feat. Readers with a dislike for descriptive sexual scenarios may feel uncomfortable in a few of the resulting scenes, however the general story compensates for these distasteful passages. All in all, a high-quality work of fiction.
Ross (3284 KP) rated The Court of Broken Knives in Books
Aug 7, 2018
Finally, well executed, gritty literary fantasy
I had skimmed some reviews of this book after seeing glowing recommendations of it in different facebook groups. I was warned the tone of the narrative was off-putting and very different to the genre. I have read a few authors who try and put a more literary, almost poetic slant on the narrative in fantasy books and I always found it a bit flowery and took me out of the story.
Not so here. I'll admit the tone took me a couple of chapters to get to grips with, but I am so glad I stuck with it. The lyrical poetry contained within the narrative is so good that it adds to the story being told, it puts some emotion into the storytelling, something that is so sorely lacking from many books in third-person narrative.
Descriptions of people, places, feelings, events take on a whole new level of tangibility so rarely felt in fantasy fiction (without going down the Stephen King route of describing everything, and avoiding the Robert Jordan horse/riding dress description pratfalls).
The only place this becomes an issue is at times in the action scenes. On occasion I had to re-read a passage to work out what had actually happened - while I enjoyed the words I had struggled to pick up on what had occurred.
The story itself is not overly elaborate and unfolds before you with little warning. It felt like a natural, flowing journey than a series of events loosely tied together. We have the gritty mercenary company en route to unleash hell on the Empire, the great priestess of the God of living and dying (who has to sacrifice someone every few days to ensure life and death continue to operate properly) and we have the political manoeuvrings of the high lords within the Empirical council. This is all weaved together in the first third of the book to an excellent, surprising conclusion (in what many authors would have filled a whole book with ad nauseum), with the remainder of the book being a journey through wild country while everyone double-crosses everyone else.
This is of the grim-dark sub-genre, which basically means everyone is a bit of a shit, and bad things happen to nice people. There are no heroes here. There are characters you come to rout for (or despise) but you know it is wrong to do so as they are all so nasty and flawed in so many ways, like humanity itself.
Don't be expecting a happy ending!
Not so here. I'll admit the tone took me a couple of chapters to get to grips with, but I am so glad I stuck with it. The lyrical poetry contained within the narrative is so good that it adds to the story being told, it puts some emotion into the storytelling, something that is so sorely lacking from many books in third-person narrative.
Descriptions of people, places, feelings, events take on a whole new level of tangibility so rarely felt in fantasy fiction (without going down the Stephen King route of describing everything, and avoiding the Robert Jordan horse/riding dress description pratfalls).
The only place this becomes an issue is at times in the action scenes. On occasion I had to re-read a passage to work out what had actually happened - while I enjoyed the words I had struggled to pick up on what had occurred.
The story itself is not overly elaborate and unfolds before you with little warning. It felt like a natural, flowing journey than a series of events loosely tied together. We have the gritty mercenary company en route to unleash hell on the Empire, the great priestess of the God of living and dying (who has to sacrifice someone every few days to ensure life and death continue to operate properly) and we have the political manoeuvrings of the high lords within the Empirical council. This is all weaved together in the first third of the book to an excellent, surprising conclusion (in what many authors would have filled a whole book with ad nauseum), with the remainder of the book being a journey through wild country while everyone double-crosses everyone else.
This is of the grim-dark sub-genre, which basically means everyone is a bit of a shit, and bad things happen to nice people. There are no heroes here. There are characters you come to rout for (or despise) but you know it is wrong to do so as they are all so nasty and flawed in so many ways, like humanity itself.
Don't be expecting a happy ending!
Hazel (1853 KP) rated Hostage Three in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
<i>Hostage Three</i> is the second literary thriller by Carnegie Shortlisted Nick Lake. I must admit that I was a little apprehensive about reading this book after having read Lake’s first literary thriller, <i>In Darkness</i>, which, although well written, was rather hard going and, at times, boring. However I really enjoyed <i>Hostage Three</i>. Maybe it helped having a narrator I could relate to more, or maybe it was because the narrative was not shared between two major different time periods as <i>In Darkness</i> was. Whatever the reason, it was good.
The narrative jumps straight in to something happening in 2008 on the coast of Eyl, Puntland, Somalia. Seventeen-year-old Amy Fields is on a yacht, there are pirates; it appears someone is about to be killed. End of part one. What has happened? What is going to happen? Begin part two, three and a half months earlier. From this moment on Amy narrates what has happened in the lead up to the initial insight given and what happened afterwards. The reader learns more about Amy, her father and his wife, Sarah, who Amy constantly refers to as ‘the stepmother’, which gives an indication of their tense relationship. Throughout the book there are also flashbacks to what happened to Amy’s real mother, a sufferer of severe OCD, and the events that caused Amy to become the rebellious teenager she is portrayed as at the beginning of the novel.
Amy and her family end up travelling the world on a private yacht only to get taken hostage by pirates in the Indian Ocean. To begin with it is clear that the Fields family and yacht crew are the goodies and the pirates the baddies, however Amy begins to develop a complicated, secret relationship with one of the pirates, Farouz. The reader discovers the pirates’ motives, well at least Farouz’s motives, behind the hostage situation. Things begin to look less black and white, less good versus bad. And everything, of course, becomes more complex once romance is thrown into the mix.
<i>Hostage Three</i> is well worth a read. Lake writes really well and keeps the reader engaged. It is as if Amy is talking to the reader the entire time. Once you get used to the unconventional use of punctuation (no speech marks) it will become fast paced and you will be torn between wanting to read it all in one go and wanting to slow down to prevent it from ending too soon!
<i>Hostage Three</i> is the second literary thriller by Carnegie Shortlisted Nick Lake. I must admit that I was a little apprehensive about reading this book after having read Lake’s first literary thriller, <i>In Darkness</i>, which, although well written, was rather hard going and, at times, boring. However I really enjoyed <i>Hostage Three</i>. Maybe it helped having a narrator I could relate to more, or maybe it was because the narrative was not shared between two major different time periods as <i>In Darkness</i> was. Whatever the reason, it was good.
The narrative jumps straight in to something happening in 2008 on the coast of Eyl, Puntland, Somalia. Seventeen-year-old Amy Fields is on a yacht, there are pirates; it appears someone is about to be killed. End of part one. What has happened? What is going to happen? Begin part two, three and a half months earlier. From this moment on Amy narrates what has happened in the lead up to the initial insight given and what happened afterwards. The reader learns more about Amy, her father and his wife, Sarah, who Amy constantly refers to as ‘the stepmother’, which gives an indication of their tense relationship. Throughout the book there are also flashbacks to what happened to Amy’s real mother, a sufferer of severe OCD, and the events that caused Amy to become the rebellious teenager she is portrayed as at the beginning of the novel.
Amy and her family end up travelling the world on a private yacht only to get taken hostage by pirates in the Indian Ocean. To begin with it is clear that the Fields family and yacht crew are the goodies and the pirates the baddies, however Amy begins to develop a complicated, secret relationship with one of the pirates, Farouz. The reader discovers the pirates’ motives, well at least Farouz’s motives, behind the hostage situation. Things begin to look less black and white, less good versus bad. And everything, of course, becomes more complex once romance is thrown into the mix.
<i>Hostage Three</i> is well worth a read. Lake writes really well and keeps the reader engaged. It is as if Amy is talking to the reader the entire time. Once you get used to the unconventional use of punctuation (no speech marks) it will become fast paced and you will be torn between wanting to read it all in one go and wanting to slow down to prevent it from ending too soon!
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Suswatibasu (1701 KP) rated Churchill and Orwell: The Fight for Freedom in Books
Jan 2, 2018
Intriguing comparison between opposing men
Thomas E. Rick's fascinating account of the lives two of the most renowned British men seems an unlikely match, but nevertheless a good comparison. Literary leftist giant George Orwell and Conservative heavyweight Winston Churchill appear to be as far apart from one another, however, their visions of freedom actually divulge.
Ricks points out, both men's "dominant priority, a commitment to human freedom, gave them common cause", despite Orwell being an introvert and Churchill being a prominent orator - and it seems to be the common thread that ties them throughout.
The author's focus on Orwell felt far more interesting than Churchill's background, given that Orwell served in various armed forces around the world by choice, and usually fighting with the underdog. He was also poverty-stricken for a period of time, in which he wrote the classic memoir Down and Out in Paris and London. But Churchill's ability to change minds across the political sphere is legendary.
While certainly not exhaustive, this book provides an overview of the lives of both influential men, delving into each's careers as the themes of war, politics, and personal liberties are explored. It may be seen as a bit of a stretch given the two never actually met, however, it is still informative and entertaining.
Ricks points out, both men's "dominant priority, a commitment to human freedom, gave them common cause", despite Orwell being an introvert and Churchill being a prominent orator - and it seems to be the common thread that ties them throughout.
The author's focus on Orwell felt far more interesting than Churchill's background, given that Orwell served in various armed forces around the world by choice, and usually fighting with the underdog. He was also poverty-stricken for a period of time, in which he wrote the classic memoir Down and Out in Paris and London. But Churchill's ability to change minds across the political sphere is legendary.
While certainly not exhaustive, this book provides an overview of the lives of both influential men, delving into each's careers as the themes of war, politics, and personal liberties are explored. It may be seen as a bit of a stretch given the two never actually met, however, it is still informative and entertaining.
Sam (74 KP) rated A Thousand Perfect Notes in Books
Mar 27, 2019
I was so excited to start this. To begin with, I liked Beck and I loved August and I really felt for both of the characters.
But overall, the book just didn’t feel right. The language used was very poetic, almost as if C.G. Drews was just trying to make Instagram-worthy quotes. The language seemed really forced and really out of context. I can’t understand how a story about an abused teen would use very romanticised and literary language.
In any other context, I think I would quite like her writing style, but I feel that it really didn’t fit in at all here.
And then there’s the way that every few pages the lines
are
like
this
For absolutely no reason at all, and then for about fifty pages you see no use of this writing style almost as if the author has forgotten that she was trying to use this as a feature.
I get that this is a debut, but it just seemed really amateurish and didn’t flow at all. I started off liking the characters, and I finished hating them.
The only reason that this is two stars instead of one is that I did actually manage to finish it.
But overall, the book just didn’t feel right. The language used was very poetic, almost as if C.G. Drews was just trying to make Instagram-worthy quotes. The language seemed really forced and really out of context. I can’t understand how a story about an abused teen would use very romanticised and literary language.
In any other context, I think I would quite like her writing style, but I feel that it really didn’t fit in at all here.
And then there’s the way that every few pages the lines
are
like
this
For absolutely no reason at all, and then for about fifty pages you see no use of this writing style almost as if the author has forgotten that she was trying to use this as a feature.
I get that this is a debut, but it just seemed really amateurish and didn’t flow at all. I started off liking the characters, and I finished hating them.
The only reason that this is two stars instead of one is that I did actually manage to finish it.
David McK (3372 KP) rated Casino Royale Vintage 007 in Books
Jan 30, 2019
The very first James Bond (now a cultural phenomenon) book, and I'm sorry, but - much like the most recent Bond film of the same name - it's very hard to make high stakes gambling interesting or exciting (without being personally involved).
And that's the crux of this book: British (not-so) secret Agent James Bond is chosen to go undercover to bankrupt Le Chiffre in gambling at the Casino Royale of the title.
THis Bond is also quite 'hard', more akin to the Bond of the Dalton or Craig era of the films than to that of (say) the Moore era or - my favourite - the Brosnan era. As the first novel in the series, this also highlights to Bond just how cold the spy game an be, with the inclusion of Vesper Lynd: one of only two female's in his (literary) life who have such an impact on him.
While the prose does flow well enough, and the novel is short enough not to out-stay it's welcome, it none-the-less failed to ignite any desire in me to hunt down any other of Ian Fleming's Bond novels: I'm not going to avoid them (or say no if I come across them), but neither I am going to actively hunt them out.
And that's the crux of this book: British (not-so) secret Agent James Bond is chosen to go undercover to bankrupt Le Chiffre in gambling at the Casino Royale of the title.
THis Bond is also quite 'hard', more akin to the Bond of the Dalton or Craig era of the films than to that of (say) the Moore era or - my favourite - the Brosnan era. As the first novel in the series, this also highlights to Bond just how cold the spy game an be, with the inclusion of Vesper Lynd: one of only two female's in his (literary) life who have such an impact on him.
While the prose does flow well enough, and the novel is short enough not to out-stay it's welcome, it none-the-less failed to ignite any desire in me to hunt down any other of Ian Fleming's Bond novels: I'm not going to avoid them (or say no if I come across them), but neither I am going to actively hunt them out.