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The House of Odysseus
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From the author of the critically acclaimed Ithaca - A Sunday Times Historical Fiction Book of the...
Historical fiction Greek mythology
Phil Leader (619 KP) rated A Clockwork Orange in Books
Nov 11, 2019
Grab a moloko or hot chai and peet it with your rot while you viddy my malenky review with your glazzies, real horrorshow.
Welcome to the world of Alex, a 15 year old boy living in some unspecified country in an unspecified future time. What Alex enjoys is classical music and ultraviolence. Every night he and his gang terrorise the streets looking for any kind of criminal activity, the more violent the better. They steal, burgle, assault and rape, all for fun.
When Alex is caught he is put in prison and then rehabilitated using an experimental procedure. But what effect will this have on Alex? And will it produce the desired results of preventing the youth turning every night into a time of danger for all.
The first thing any reader notices about the book is that, told from Alex's point of view, he uses street slang throughout. This makes it clear that the young have their own culture and are quite separate from the adults in terms of outlook and thinking. It also makes the reading quite immersive, like learning a foreign language particularly as only a very few of the words are ever explained and must be learned from context. This makes for a steep learning curve at the start of the book but it is worth the effort. The use of slang terms for the violent acts also helps to soften them a little - clearly what Alex does is horrendous but as it is described using these terms it is perhaps not so graphic as it would be otherwise.
Like critics of the film, it would be unfair to focus purely on the violence. The book is divided neatly into three parts. In the first we follow Alex as he perpetrates a number of terrible crimes. The second part describes his experiences in prison and is rehabilitation. The third what happens when he returns to society.
Burgess is clearly trying to make a number of points about individuality and state control of its citizens, and a fairly heavy handed job he makes of it too. But this is a slight volume - the paperback I read ran to a mere 140 pages - so there is little time for subtlety.
I would say the first two sections of the book were the best. The third section suffers a little from being rushed - it would have been better to have more insight into the world of the 'new' Alex - and also of the story being driven by coincidence after coincidence. This really did make the book seem like a sort of dream sequence where previous characters appeared and suddenly took on new meanings. In fact what it reminded me most of was the interrogation sequence in Alfred Bester's The Demolished Man. This did detract from the story for me but not enough to do much damage to the tale. The ending is particularly strong and positive, in a book full of desperation it strikes the perfect counternote.
For anyone interested in the social side of 'science fiction' this is definitely worth reading. A morality tale for the future.
Rated: Frequent and extreme violence
Welcome to the world of Alex, a 15 year old boy living in some unspecified country in an unspecified future time. What Alex enjoys is classical music and ultraviolence. Every night he and his gang terrorise the streets looking for any kind of criminal activity, the more violent the better. They steal, burgle, assault and rape, all for fun.
When Alex is caught he is put in prison and then rehabilitated using an experimental procedure. But what effect will this have on Alex? And will it produce the desired results of preventing the youth turning every night into a time of danger for all.
The first thing any reader notices about the book is that, told from Alex's point of view, he uses street slang throughout. This makes it clear that the young have their own culture and are quite separate from the adults in terms of outlook and thinking. It also makes the reading quite immersive, like learning a foreign language particularly as only a very few of the words are ever explained and must be learned from context. This makes for a steep learning curve at the start of the book but it is worth the effort. The use of slang terms for the violent acts also helps to soften them a little - clearly what Alex does is horrendous but as it is described using these terms it is perhaps not so graphic as it would be otherwise.
Like critics of the film, it would be unfair to focus purely on the violence. The book is divided neatly into three parts. In the first we follow Alex as he perpetrates a number of terrible crimes. The second part describes his experiences in prison and is rehabilitation. The third what happens when he returns to society.
Burgess is clearly trying to make a number of points about individuality and state control of its citizens, and a fairly heavy handed job he makes of it too. But this is a slight volume - the paperback I read ran to a mere 140 pages - so there is little time for subtlety.
I would say the first two sections of the book were the best. The third section suffers a little from being rushed - it would have been better to have more insight into the world of the 'new' Alex - and also of the story being driven by coincidence after coincidence. This really did make the book seem like a sort of dream sequence where previous characters appeared and suddenly took on new meanings. In fact what it reminded me most of was the interrogation sequence in Alfred Bester's The Demolished Man. This did detract from the story for me but not enough to do much damage to the tale. The ending is particularly strong and positive, in a book full of desperation it strikes the perfect counternote.
For anyone interested in the social side of 'science fiction' this is definitely worth reading. A morality tale for the future.
Rated: Frequent and extreme violence
Bob Mann (459 KP) rated You Were Never Really Here (2018) in Movies
Sep 28, 2021
Joachim Phoenix delivers a standout performance in a violent tale of crusading.
Joachim Phoenix (“Her”) is a very intense actor, and fits perfectly here into the role of Joe. For he is a hired thug, available to do over anyone you think deserves dispatching or giving a good telling off. His weapon of choice for this task is a ball-point hammer, bought each time from a local hardware shop. He is a ghost, who drifts in and out of his jobs, face concealed by a hoodie and emanating an air of menace that automatically deflects enquiring eyes.
When hired by a Senator (Alex Manette) to rescue his wayward daughter Nina (Ekaterina Samsonov) from the clutches of a paedophile gang, Joe delivers on the job with gusto, and – you sense – a degree of satisfaction. But then things go from bad to violent worse and Joe is drawn into a deadly high stakes game. As things get more and more personal, Joe embarks on a personal crusade for justice and retribution.
The real joy of this film is that Joe is such a nuanced character. Yes, he’s a brutal thug, but is still living with and loving his aged and demented mother (Judith Roberts), even though she drives him to distraction. He’s also clearly damaged himself, with a high degree of OCD behavior exhibited. Via clever flashbacks, we get hints to the route that led the boy to become this damaged man. As a sociopath, when things go wrong he could just say “F*** it” and walk away. But he doesn’t. Is this altruism? A sense of professional pride? Or is it the sight of a path to redemption? Although you could strongly argue that revenge kicks in to reinforce his decision, Lynne Ramsay‘s screenplay leaves things deliciously vague. Ramsey also directs expertly: she previously did 2011’s “We Need To Talk About Kevin”.
“I don’t like gory films” you might say “so this doesn’t sound like one for me”. Me neither, but actually, the trailer makes the film seem worse than it is. The violence is more alluded to than shown. Most of the “hammer action” is done either in long shot or seen on CCTV cameras, and you don’t get to see much of the outcome. There is only one really gory bit that I remember (shut your eyes where Phoenix answers the knock at the hotel door if you are squeamish!).
This doesn’t mean that it’s a comfortable watch though. It’s an insanely tense film since you’re not sure the direction it will go in next (think “Get Out”), and it has more than its fair share of “WTF” moments, especially in a dramatic closing scene. There are some memorable cinematic moments as well: a young girl in a nightie in the paedophile den blankly observing Joe’s handiwork being one that stays with you.
It’s a standout film, winning Best Actor (for Phoenix) and best screenplay (for Ramsey) at Cannes. It will be in a strong position to make my films of the year list. Highly recommended.
When hired by a Senator (Alex Manette) to rescue his wayward daughter Nina (Ekaterina Samsonov) from the clutches of a paedophile gang, Joe delivers on the job with gusto, and – you sense – a degree of satisfaction. But then things go from bad to violent worse and Joe is drawn into a deadly high stakes game. As things get more and more personal, Joe embarks on a personal crusade for justice and retribution.
The real joy of this film is that Joe is such a nuanced character. Yes, he’s a brutal thug, but is still living with and loving his aged and demented mother (Judith Roberts), even though she drives him to distraction. He’s also clearly damaged himself, with a high degree of OCD behavior exhibited. Via clever flashbacks, we get hints to the route that led the boy to become this damaged man. As a sociopath, when things go wrong he could just say “F*** it” and walk away. But he doesn’t. Is this altruism? A sense of professional pride? Or is it the sight of a path to redemption? Although you could strongly argue that revenge kicks in to reinforce his decision, Lynne Ramsay‘s screenplay leaves things deliciously vague. Ramsey also directs expertly: she previously did 2011’s “We Need To Talk About Kevin”.
“I don’t like gory films” you might say “so this doesn’t sound like one for me”. Me neither, but actually, the trailer makes the film seem worse than it is. The violence is more alluded to than shown. Most of the “hammer action” is done either in long shot or seen on CCTV cameras, and you don’t get to see much of the outcome. There is only one really gory bit that I remember (shut your eyes where Phoenix answers the knock at the hotel door if you are squeamish!).
This doesn’t mean that it’s a comfortable watch though. It’s an insanely tense film since you’re not sure the direction it will go in next (think “Get Out”), and it has more than its fair share of “WTF” moments, especially in a dramatic closing scene. There are some memorable cinematic moments as well: a young girl in a nightie in the paedophile den blankly observing Joe’s handiwork being one that stays with you.
It’s a standout film, winning Best Actor (for Phoenix) and best screenplay (for Ramsey) at Cannes. It will be in a strong position to make my films of the year list. Highly recommended.
Jenny Houle (24 KP) rated The Forgotten Girls in Books
Jan 13, 2018
Received an ARC from First To Read for an honest review:
First, I like many others it seems, did not know from the blurb that it was book 6 in a series. That scared me just a tiny bit when I started it, but as I read the book I realized it definitely also works as a standalone.
Second, I'm not big on crime novels that are not of the "cozy mystery" variety. That being said, the more violent scenes in this book were not...bothersome. It worked it's way up in intensity, but there was nothing that forced me to step away from the book and take a breather.
That being said, though, the book was full of amazing scenes beautifully described that you couldn't, as a reader, NOT picture, even if you didn't want to. Lines like: "Even the sky seemed static, just a blank wall, a paint swatch, 'chronic depression gray'." were scattered throughout, and they place you in the wintry, desolate, desperate situation of the characters so that you are right beside them, experiencing what they are, for better or worse.
Overall, I really enjoyed the book, even though the content was not a topic of my normal choosing (sorry, serial killers hunting women freak me out).
Extra bonus for the techy geek stuff I didn't know about the "cloud" that I had to double check with the more "techno-advanced" member of our household about. Definitely makes me think twice about the idea of even donating a used phone.
First, I like many others it seems, did not know from the blurb that it was book 6 in a series. That scared me just a tiny bit when I started it, but as I read the book I realized it definitely also works as a standalone.
Second, I'm not big on crime novels that are not of the "cozy mystery" variety. That being said, the more violent scenes in this book were not...bothersome. It worked it's way up in intensity, but there was nothing that forced me to step away from the book and take a breather.
That being said, though, the book was full of amazing scenes beautifully described that you couldn't, as a reader, NOT picture, even if you didn't want to. Lines like: "Even the sky seemed static, just a blank wall, a paint swatch, 'chronic depression gray'." were scattered throughout, and they place you in the wintry, desolate, desperate situation of the characters so that you are right beside them, experiencing what they are, for better or worse.
Overall, I really enjoyed the book, even though the content was not a topic of my normal choosing (sorry, serial killers hunting women freak me out).
Extra bonus for the techy geek stuff I didn't know about the "cloud" that I had to double check with the more "techno-advanced" member of our household about. Definitely makes me think twice about the idea of even donating a used phone.
Haley Mathiot (9 KP) rated The Murder House in Books
Apr 27, 2018
Reading this book was a rollercoaster of emotions...
As far as the book itself, there were good things and bad things. Some of the good things included the rollercoaster mentioned above of feeling like patterson was just messing with my head, the fact that the characters were so clearly defined and constructed, and the plot itself.
Some of the not so good things included the violent descriptive murder scenes (which is one of the reasons I didn’t continue with the Alex Cross series. I quit after Kiss the Girls.). I understand those scenes were in there to make me hate the bad guy and desperately want him to get caught and go to jail, but I also wasn’t happy with how descriptive it was.
There was also a lot of overdramatic moments between some of the characters that made me want to roll my eyes, even in the heat of a very serious moment.
Lastly, Patterson is great at writing violence and murder, but not so great at writing subtley-blossoming romance between two unlikely characters. It felt awkward.
Overall I have mixed feelings about The Murder House. It was an excellent story, but I wouldn’t recommend it to anyone who can’t handle a good murder scene. The writing isn’t phenomenal, but I also enjoyed 85% of my time spent listening to it. So make your judgement on how you tend to respond to violence and gore, and let me know what your face ends up looking like.
As far as the book itself, there were good things and bad things. Some of the good things included the rollercoaster mentioned above of feeling like patterson was just messing with my head, the fact that the characters were so clearly defined and constructed, and the plot itself.
Some of the not so good things included the violent descriptive murder scenes (which is one of the reasons I didn’t continue with the Alex Cross series. I quit after Kiss the Girls.). I understand those scenes were in there to make me hate the bad guy and desperately want him to get caught and go to jail, but I also wasn’t happy with how descriptive it was.
There was also a lot of overdramatic moments between some of the characters that made me want to roll my eyes, even in the heat of a very serious moment.
Lastly, Patterson is great at writing violence and murder, but not so great at writing subtley-blossoming romance between two unlikely characters. It felt awkward.
Overall I have mixed feelings about The Murder House. It was an excellent story, but I wouldn’t recommend it to anyone who can’t handle a good murder scene. The writing isn’t phenomenal, but I also enjoyed 85% of my time spent listening to it. So make your judgement on how you tend to respond to violence and gore, and let me know what your face ends up looking like.