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ewd09's review against another edition
4.0
I received The Metropolis Case from Goodreads First Reads. This book was mesmerizing. I don't know if this makes any sense, but the book was written like a ballet or an opera; you can feel the book moving as you read. Something about it immediately touched a chord with me and I fell in love. Gallaway's writing style fits the story perfectly with a perfect cadence, flowing prose and not one simple sentence throughout the book haha. At first I didn't think the story really had a plot, that he was just letting the story write itself, but the ending settled any confusion or doubts. The character's are incredible and Gallaway has a way of backpedaling through their lives, showing every facet of them, every little thing that happened that made them who they were, that guided them on their way to becoming the stars/people that they were. Great book!
zoemig's review against another edition
4.0
The Metropolis Case by Matthew Gallaway is the story of four intertwined lives brought together by Wagner's opera Tristan and Isolde. Their stories connect across time, with the oldest belonging to Lucien, a young man desperate to become an opera singer who falls in love with an architect in 1846 Paris. Over a century later in 1960s New York, Anna's career as an opera singer is just beginning to take off with her role as Isolde. In the 1970s, Maria follows her voice to Juillard as she attempts to break free from her mundane life in Pittsburgh. Finally, Martin is a forty-year-old lawyer, HIV positive and coming to grips with his life after the September 11th attacks on New York.
Gallaway easily intertwines a supernatural element inspired by the original opera after which his book is named, The Makropulos Affair, as Lucien's father works towards creating an elixir for immortal life. Although I tend to avoid books with a supernatural twist, I was so enraptured with Gallaway's writing and storytelling that I was willing to suspend belief when necessary. Admittedly the novel was unexpectedly graphic at times but only once was I made uncomfortable by a liaison between two individuals who are actually related to each other and which felt unnecessary to the actual development of the story. The novel itself is reminiscent of the storytelling of Michael Cunningham, who wrote The Hours and most recently By Nightfall not only because of the fact that they both deal with sexuality but also because like, By Nightfall, The Metropolis Case is a novel focused mainly around New York and what Nightfall did for the art world, Gallaway does for opera, allowing the reader a glimpse into what happens behind the scenes.
An aspect of The Metropolis Case which I found particularly interesting was the very original chapter headings, however I was less impressed by the fact the novel began with a chapter written in e-mail format a technique which was not repeated in the remaining pages. I found it a little odd to begin a book in one way and then to abandon the method in the rest of it. Ultimately though, this is a very minor complaint for a novel that I overall enjoyed. I really loved Gallaway's writing, as he seemed capable of sharing just the right amount of detail to intrigue but not overwhelm the reader. Gallaway is able to interweave an incredible number of themes into the compact chapters, touching on sexuality, love, friendship, passion and family. This is also the first book I have ever read involving opera, and for a form of music which has been so important over time it was really wonderful to finally get a glimpse into the power and the people behind it. The Metropolis Case is a book that can most easily be described as both literary and intellectual, nothing in the novel is straightforward but the reader is rewarded for their investment with a story that is both interesting and original.
Gallaway easily intertwines a supernatural element inspired by the original opera after which his book is named, The Makropulos Affair, as Lucien's father works towards creating an elixir for immortal life. Although I tend to avoid books with a supernatural twist, I was so enraptured with Gallaway's writing and storytelling that I was willing to suspend belief when necessary. Admittedly the novel was unexpectedly graphic at times but only once was I made uncomfortable by a liaison between two individuals who are actually related to each other and which felt unnecessary to the actual development of the story. The novel itself is reminiscent of the storytelling of Michael Cunningham, who wrote The Hours and most recently By Nightfall not only because of the fact that they both deal with sexuality but also because like, By Nightfall, The Metropolis Case is a novel focused mainly around New York and what Nightfall did for the art world, Gallaway does for opera, allowing the reader a glimpse into what happens behind the scenes.
An aspect of The Metropolis Case which I found particularly interesting was the very original chapter headings, however I was less impressed by the fact the novel began with a chapter written in e-mail format a technique which was not repeated in the remaining pages. I found it a little odd to begin a book in one way and then to abandon the method in the rest of it. Ultimately though, this is a very minor complaint for a novel that I overall enjoyed. I really loved Gallaway's writing, as he seemed capable of sharing just the right amount of detail to intrigue but not overwhelm the reader. Gallaway is able to interweave an incredible number of themes into the compact chapters, touching on sexuality, love, friendship, passion and family. This is also the first book I have ever read involving opera, and for a form of music which has been so important over time it was really wonderful to finally get a glimpse into the power and the people behind it. The Metropolis Case is a book that can most easily be described as both literary and intellectual, nothing in the novel is straightforward but the reader is rewarded for their investment with a story that is both interesting and original.
wordnerdy's review against another edition
1.0
http://wordnerdy.blogspot.com/2012/04/2012-book-107.html
tanyarobinson's review against another edition
Yes! I am loving these first-reads giveaways! This is the third book I've won in a week! If you're interested in reviewing new books for Goodreads, click on "find books" and then "giveaways." You can enter to win any of their "first reads" books that sound good to you. I'm really excited to read The Metropolis Case.
1/31/11
Although I was prepared to love this book, I decided to put it down a third of the way through. The story was just starting to capture me, but the characters were pushing me away. I don't enjoy reading about homosexual exploration, which seemed to be the direction 2 of the 4 protagonists were going. Overall, I just felt a negative vibe and didn't want to continue.
1/31/11
Although I was prepared to love this book, I decided to put it down a third of the way through. The story was just starting to capture me, but the characters were pushing me away. I don't enjoy reading about homosexual exploration, which seemed to be the direction 2 of the 4 protagonists were going. Overall, I just felt a negative vibe and didn't want to continue.
unabridgedchick's review
3.0
Did... I find myself missing Pittsburgh as I read?: YES! I spent my formative teen years in Pittsburgh, near the suburb featured so predominantly in this novel. I was totally taken back!
Did... I wish I had Tristan & Isolde to listen to while I read?: YES! Find it -- it's a treat to hear, regardless, but especially when you hear something referred to by the characters.
Review: I have friends who are involved -- professionally -- in the opera world so I was immediately attracted to this novel. I'm not a singer nor a musician, and my interest in opera is based on seeing my friends perform, followed by an appreciation for the history of opera and the fantastical plotlines opera employs. Although this is a novel loosely oriented around Wagner's Tristan and Isolde, I don't think one needs to be an opera fan or musician to appreciate it.
This novel was surprising to me in that the jacket blurb lend me to believe it would be a historical novel more in the vein of Tracy Chevalier, perhaps literally following the characters through various productions Tristan & Isolde. Instead, the story follows four people as they follow their passions -- personally and professionally -- and weather intense emotional traumas. In particular, Martin -- the strongest character and story line, in my opinion -- lives through 9/11 in what was one of the first fictional renderings I've read of that day. It was startling and moving and felt very autobiographical.
The thing that kept me at 'like' rather than 'love' was the strong distance I felt in the narrative. All four main characters struggled with intense personal traumas and huge emotional canvasses, and yet, at all times I felt very much at arm's length. I don't know if this was intentional -- a novelistic rendering of audience (reader) and performer (character) -- but the effect was enough that I felt a bit like I was learning gossip third hand about friends of friends.
There's a whiff of some magical realism that came so late in the novel it felt a bit jarring but it's not entirely unwelcome, and I rather wish it had been introduced earlier in the book. The four main characters eventually all come together in a single plot line that strains credulity yet feels very satisfying; I'm reminded a bit of the over-the-top plot lines in most operas.
In the end, this is a promising debut and I'm really excited to see Matthew Gallaway's future novels.
Did... I wish I had Tristan & Isolde to listen to while I read?: YES! Find it -- it's a treat to hear, regardless, but especially when you hear something referred to by the characters.
Review: I have friends who are involved -- professionally -- in the opera world so I was immediately attracted to this novel. I'm not a singer nor a musician, and my interest in opera is based on seeing my friends perform, followed by an appreciation for the history of opera and the fantastical plotlines opera employs. Although this is a novel loosely oriented around Wagner's Tristan and Isolde, I don't think one needs to be an opera fan or musician to appreciate it.
This novel was surprising to me in that the jacket blurb lend me to believe it would be a historical novel more in the vein of Tracy Chevalier, perhaps literally following the characters through various productions Tristan & Isolde. Instead, the story follows four people as they follow their passions -- personally and professionally -- and weather intense emotional traumas. In particular, Martin -- the strongest character and story line, in my opinion -- lives through 9/11 in what was one of the first fictional renderings I've read of that day. It was startling and moving and felt very autobiographical.
The thing that kept me at 'like' rather than 'love' was the strong distance I felt in the narrative. All four main characters struggled with intense personal traumas and huge emotional canvasses, and yet, at all times I felt very much at arm's length. I don't know if this was intentional -- a novelistic rendering of audience (reader) and performer (character) -- but the effect was enough that I felt a bit like I was learning gossip third hand about friends of friends.
There's a whiff of some magical realism that came so late in the novel it felt a bit jarring but it's not entirely unwelcome, and I rather wish it had been introduced earlier in the book. The four main characters eventually all come together in a single plot line that strains credulity yet feels very satisfying; I'm reminded a bit of the over-the-top plot lines in most operas.
In the end, this is a promising debut and I'm really excited to see Matthew Gallaway's future novels.
piercedkl's review
5.0
I read a brief snippet about this book in the New York Times, as well as Barnes & Noble. I was intrigued enough to keep looking for it and remembering the name of the book. I was not let down. I'd like to write that it is the story of the writing of "Tristan und Isolde" and the first production of that work - but it is so much more. There are three great story lines that are woven in such a way to make an amazing novel. When a novel drives the reader to start exploring other art works - I think that is a sign of a well written book. After reading this I started looking through my Opera recordings, and asking about the best recording of Wagner's Tristan - as well as adding Visconti's "Ludwig" to my netflix queue.
I look forward to a second novel from Mr Gallaway, and a third, fourth, etc.
I look forward to a second novel from Mr Gallaway, and a third, fourth, etc.
katyjean81's review
5.0
This book was amazing! I absolutely must see Tristan and Isolde now, because this story was so original and complex and beautiful and such a surprisingly lovely tapestry of dissonant voices that do not seem at first to blend but end together in such a satisfying and resounding way that it just seems impossible that it is not somehow taken from the opera that is the crux of this entire story. I love, love, loved it. I laughed and cried.
Mr. Gallaway, this book was an absolute delight. Thank you for writing it.
Mr. Gallaway, this book was an absolute delight. Thank you for writing it.
katrinaburch's review
1.0
What a horrible book! Not only does the plot line not makeany sense till the lasr eighth of the book but he has three of his main characters commit incest. Granted the they don't know they they do but once you've figered out some of the plot you know they do. I also didn't like the fact thst Maria and Marin were ok with the story Leo told them... I would have been "are you Nuts?! You can't be over 200 years old." That just isn't possible.
I received this book as the winner in a Goodreads.com giveaway.
I received this book as the winner in a Goodreads.com giveaway.
leighryks's review
2.0
Three stories entwined around the opera Tristan und Isolde following: Lucien through late 1800’s europe, Maria through her youth in 70’s Pittsburg and 80’s NYC, and Martin who is an attorney in 2001 NYC. It seemed so promising, but I almost abandoned it halfway through. As I kept reading, I began to analyze why it was that I didn’t like it. Af first, I thought it was because I found the characters self-centered. This is told in a rotating third person narrative and each of them has a rather solitary personality. Gallaway often just describes their thoughts and emotions in long frank paragraphs rather than developing them another way and I think that lends the idea that they overly self-obsessed. Awkward dialog was avoided by not really having any. For example, it took a bit a careful reading to figure out that Maria really was truly sad about the loss her parents not just upset about the social anxiety that telling people about it caused. Though Maria and Lucien are opera singers, I was also disappointed that music did not play as large a role in the novel as the beginning chapters promised though it did reappear at the end. This is Gallaway’s first novel, so perhaps he’ll improve over time.
This also has some bizarre themes with regards to parents as well that is ultimately the reason that I kept reading. Each of the main characters has lost at least one parent and more than one character is adopted only to loose their adoptive parents as well. The overall head count is high--parents, lovers and even cats. I’m familiar with the fairytale Tristan and Isolde think of it as tragic for its romantic elements. I as far as I can tell the book is not reflecting the opera. Gallaway blunts says the Love and Death is a theme in the opera, but his story develops more along the lines of loneliness (more a personal choice for social isolation) and death. There are also some rather disturbingly dispassionate women (Martian’s ex-wife and Anna), creepy father imagery (for example Maria’s toying with her dead father’s good luck charm after casual sex with a man 30 years her senior), and. I’ll admit I read with the fascination of a armchair psychoanalyst because there is definitely something here and I can’t tell how much is intentional. I read through some of other reviews and noticed that most of the people who ranked it this low seem to have done it because of the homosexual love scenes. This wasn’t a problem for me. I remain much more upset by whatever is underlying the depiction of women.
This also has some bizarre themes with regards to parents as well that is ultimately the reason that I kept reading. Each of the main characters has lost at least one parent and more than one character is adopted only to loose their adoptive parents as well. The overall head count is high--parents, lovers and even cats. I’m familiar with the fairytale Tristan and Isolde think of it as tragic for its romantic elements. I as far as I can tell the book is not reflecting the opera. Gallaway blunts says the Love and Death is a theme in the opera, but his story develops more along the lines of loneliness (more a personal choice for social isolation) and death. There are also some rather disturbingly dispassionate women (Martian’s ex-wife and Anna), creepy father imagery (for example Maria’s toying with her dead father’s good luck charm after casual sex with a man 30 years her senior), and