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3.22 AVERAGE
3.22 AVERAGE
dark
emotional
reflective
medium-paced
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
dark
reflective
sad
medium-paced
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Complicated
Thomas is an asshole.
And that's fine, I like a well-written asshole. Most stories are better for having them. Yet within the first few chapters outlining Thomas's specific brand of pretentious asshole, despite the wonderful surreal premise, the vague rules surrounding death and the nearly-dead, I grew tired. And when Rachel was introduced, her willingness to fall into the orbit of such an asshole was exhausting. I wanted more from her, but she was very one-dimensional. Where Thomas was fleshed out - a lonely womanizer who regularly chases his lesbian best friend, a somewhat-functional alcoholic despite his clear frustration towards a childhood spent cleaning up after his continually drunk parents, someone who debates Foucault for fun at parties, often dramatically refers to a traumatic happening in his life apropro of nothing then refuses to expand upon it - Rachel is almost a blank slate. She is a reference librarian. She wears red lipstick and the same dark bob from middle school. She cheated on her college boyfriend Mark. See the difference?
I didn't stop reading strictly because the story evolved from vaguely romantic in a surreal kind of way to creepy and maybe a little abusive? And while it certainly doesn't seem glorified by the author or something to aspire towards, and I firmly believe that all kinds of relationships should be written, including the awful ones that make us feel a little ill, because it doesn't serve society to censor lest we forget, etc, etc.
I put The Regrets down because it wasn't making me feel compelled. Rachel's obsession with the most pretentious dead man isn't interesting. Even at moments when you want to yell at her, "Girl, run," like you're watching an episode of the Bachelorette and one of the guys just said something really sexist, you can't be bothered to be upset because who cares? These aren't characters I even want to muster the energy to yell at.
And that's fine, I like a well-written asshole. Most stories are better for having them. Yet within the first few chapters outlining Thomas's specific brand of pretentious asshole, despite the wonderful surreal premise, the vague rules surrounding death and the nearly-dead, I grew tired. And when Rachel was introduced, her willingness to fall into the orbit of such an asshole was exhausting. I wanted more from her, but she was very one-dimensional. Where Thomas was fleshed out - a lonely womanizer who regularly chases his lesbian best friend, a somewhat-functional alcoholic despite his clear frustration towards a childhood spent cleaning up after his continually drunk parents, someone who debates Foucault for fun at parties, often dramatically refers to a traumatic happening in his life apropro of nothing then refuses to expand upon it - Rachel is almost a blank slate. She is a reference librarian. She wears red lipstick and the same dark bob from middle school. She cheated on her college boyfriend Mark. See the difference?
I didn't stop reading strictly because the story evolved from vaguely romantic in a surreal kind of way to creepy and maybe a little abusive? And while it certainly doesn't seem glorified by the author or something to aspire towards, and I firmly believe that all kinds of relationships should be written, including the awful ones that make us feel a little ill, because it doesn't serve society to censor lest we forget, etc, etc.
I put The Regrets down because it wasn't making me feel compelled. Rachel's obsession with the most pretentious dead man isn't interesting. Even at moments when you want to yell at her, "Girl, run," like you're watching an episode of the Bachelorette and one of the guys just said something really sexist, you can't be bothered to be upset because who cares? These aren't characters I even want to muster the energy to yell at.
emotional
mysterious
medium-paced
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
No
reflective
fast-paced
Loveable characters:
N/A
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
reflective
Loveable characters:
No
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
While I'm not familiar with the taxonomy of ghosts--spectres, phantoms, wraiths, etc.--I'm somewhat more familiar with the feeling of being haunted--by people, events, and choices. In her novel The Regrets, Amy Bonnaffons explores the ways people can haunt and be haunted, how they take up space or don't, and how love and sex are almost complicated by each other and by the bodies we inhabit.
The novel follows 3 narrator's: Thomas the ghost, Rachel, and Mark, Rachel's ex. After he dies, Thomas is told not to make significant contact with the living during his 3 month purgatory on Earth. However, once he meets Rachel, Thomas throws caution to the wind, and they both embark on a relationship with an intensity and inevitability that can only be described as otherworldly.
The reason I love fabulism (and I would definitely categorize this book as such) is because it asks you to accept the bizarre as reality while also exploring it metaphorically. We're supposed to believe that Thomas is a ghost while also thinking about what that means, the how and why of ghosts and hauntings. Are certain people more susceptible to them the way Rachel is almost the perfect fit for Thomas but only after he's died? While Thomas somewhat follows the traditional formula for ghosts, a spirit with "unfinished business," his relationship with Rachel makes the reader question the very nature of existence and attachment.
Each character's narrative is deeply interior. They're all in their mid-late 20s, not yet settled into careers, friends, or self. Rachel especially struggles to own or even understand her own body and sexuality. At first, Thomas seems like her soulmate maybe because of his inconsistent corporeality or general impermanence, but Rachel soon realizes that lust and attraction are just as fleeting as mortality. In the end, maybe what this books is about the most is learning to distinguish what you can and can't or should and shouldn't hold onto.
The novel follows 3 narrator's: Thomas the ghost, Rachel, and Mark, Rachel's ex. After he dies, Thomas is told not to make significant contact with the living during his 3 month purgatory on Earth. However, once he meets Rachel, Thomas throws caution to the wind, and they both embark on a relationship with an intensity and inevitability that can only be described as otherworldly.
The reason I love fabulism (and I would definitely categorize this book as such) is because it asks you to accept the bizarre as reality while also exploring it metaphorically. We're supposed to believe that Thomas is a ghost while also thinking about what that means, the how and why of ghosts and hauntings. Are certain people more susceptible to them the way Rachel is almost the perfect fit for Thomas but only after he's died? While Thomas somewhat follows the traditional formula for ghosts, a spirit with "unfinished business," his relationship with Rachel makes the reader question the very nature of existence and attachment.
Each character's narrative is deeply interior. They're all in their mid-late 20s, not yet settled into careers, friends, or self. Rachel especially struggles to own or even understand her own body and sexuality. At first, Thomas seems like her soulmate maybe because of his inconsistent corporeality or general impermanence, but Rachel soon realizes that lust and attraction are just as fleeting as mortality. In the end, maybe what this books is about the most is learning to distinguish what you can and can't or should and shouldn't hold onto.
dark
emotional
funny
mysterious
reflective
relaxing
slow-paced
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
This book was bizarre and insane and beautiful and I loved it.
dark
mysterious
medium-paced
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes