A NARROW TIME
This Book is Currently in the Wild!
1 journaler for this copy...
You ever wonder why you had to read Madame Bovary in tenth grade English or scan Cubist paintings in Intro to Art History? Cause they are good, right? Masterpieces? Well, sure, I understand that, but they still don't do it for me. I know I should appreciate them more, but they just didn't captivate my attention.
I don't like slogging through books. I am talking to you Heinlein! And you to Michael Downing of A Narrow Time!
First, the good. This book has amazing characterization. This would be a wonderful play and, considering the lack of description (I swear that the only color ever elaborated on was brown) could become so. Downing's fictional voice comes through strong and realistic, especially considering that the protagonist is a woman. "Michael Downing is a he!?," reads one of the blurbs on the back. Downing understands and respects his characters and paints them in the the fluctuating dynamics of everyday life. Ted (the husband) comes off as sometimes supportive and other times downright icy. Makes you think he is the suspect (The big plot point is that one of the couple's children has gone missing.) The office assigned to the case (Tim) feels like a good old boy when he joshes with Ted, but then just opens up when he pours his frustrations* about the fruitless search to Anne (the protagonist). We must remain true to ourselves (Unless you are a puppy kicker or something. Then get help), but we sure don't want to mess with each other on bad days. We throw up facades and schmooze to make up for something our identity can't convey. The characters in this book feel real.
Of course, considering that the book circles around a missing kid, I could have cared less for the actual missing kid! At the end Anne reminds herself (She has enough asides and soliloquies trump Hamlet and Macbeth) that they did everything for Sarah. Then why is she such a hollow character! I understand that she acts as a catalyst for the action, but with all the other people so well defined, to have her be this smiling kid in distress feels lazy.
The sense of place also feels weak. We are reminded several times that we are in Connecticut, but the town also feels hollow. I think Downing was trying to create Stepford, except that, we still can't imagine it. There are some strong scenes about a family trip to Maine, but then the kid vanishes and the whole town is a suspect. Good thing we got to know this group so well.
Because the book had the little mystery twist, I kept reading, but this one feels like so much spinning of mental wheels. At least for the reader. Downing put some solid work into this book and characterization is key to any great piece of fiction. My own work stinks because the lack of it.
Peace!
I don't like slogging through books. I am talking to you Heinlein! And you to Michael Downing of A Narrow Time!
First, the good. This book has amazing characterization. This would be a wonderful play and, considering the lack of description (I swear that the only color ever elaborated on was brown) could become so. Downing's fictional voice comes through strong and realistic, especially considering that the protagonist is a woman. "Michael Downing is a he!?," reads one of the blurbs on the back. Downing understands and respects his characters and paints them in the the fluctuating dynamics of everyday life. Ted (the husband) comes off as sometimes supportive and other times downright icy. Makes you think he is the suspect (The big plot point is that one of the couple's children has gone missing.) The office assigned to the case (Tim) feels like a good old boy when he joshes with Ted, but then just opens up when he pours his frustrations* about the fruitless search to Anne (the protagonist). We must remain true to ourselves (Unless you are a puppy kicker or something. Then get help), but we sure don't want to mess with each other on bad days. We throw up facades and schmooze to make up for something our identity can't convey. The characters in this book feel real.
Of course, considering that the book circles around a missing kid, I could have cared less for the actual missing kid! At the end Anne reminds herself (She has enough asides and soliloquies trump Hamlet and Macbeth) that they did everything for Sarah. Then why is she such a hollow character! I understand that she acts as a catalyst for the action, but with all the other people so well defined, to have her be this smiling kid in distress feels lazy.
The sense of place also feels weak. We are reminded several times that we are in Connecticut, but the town also feels hollow. I think Downing was trying to create Stepford, except that, we still can't imagine it. There are some strong scenes about a family trip to Maine, but then the kid vanishes and the whole town is a suspect. Good thing we got to know this group so well.
Because the book had the little mystery twist, I kept reading, but this one feels like so much spinning of mental wheels. At least for the reader. Downing put some solid work into this book and characterization is key to any great piece of fiction. My own work stinks because the lack of it.
Peace!
Journal Entry 2 by Gaeasoldier at Giant Eagle Supermarket in Lakewood, Ohio USA on Sunday, May 11, 2008
Released 15 yrs ago (5/10/2008 UTC) at Giant Eagle Supermarket in Lakewood, Ohio USA
WILD RELEASE NOTES:
RELEASE NOTES:
Sorry for the late release notes! My first release as a Lakewood resident. Left it by the automatic doors as you exit the market. Peace!
Sorry for the late release notes! My first release as a Lakewood resident. Left it by the automatic doors as you exit the market. Peace!
