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lunaseassecondaccount's review against another edition
2.0
I really struggled with this book, particularly the language. I wanted to enjoy it, as the plot itself is all types of over the top dramatic, but the Ye Olde Time Language threw me. In saying that, I'm also trying to avoid reading books that I dislike, so after roughing it for half the book, I finally laid it aside. I'm sure I missed out on a lot of fun plot and events, but... well, no need to deal with unpleasantness, yeah?
goneabroad71's review against another edition
4.0
I expected this book to be a bit of a slog. What a pleasant surprise it turned out to be! Moll is so full of vitality and optimism that I couldn't help but smile through her adventures. She lives by her wits and knows how to seize an opportunity. My only quibble with this book is that it had no chapters. That format makes sense and fits the style of the prose, so I can't even fault it too greatly for that. A great read!
izzadorah's review against another edition
slow-paced
- Loveable characters? It's complicated
- Flaws of characters a main focus? Yes
3.0
I appreciated seeing the hardships a woman could have in the 17th century, but it did drag with how many troublesome adventures were included. We watch Moll Flanders constantly in danger during her thieving years, I think cutting the examples to a third or less would've still given the same effect, they felt very repetitive. An interesting read, just not super great.
Content Warnings
Moderate: Incest and Abandonment
Minor: Child death, Death, and Death of parent
elcaineelc's review
3.0
An detailed and interesting account of the life of Moll Flanders which presents a somewhat radical, pragmatic approach to ideas of marriage, money, poverty and being a woman in seventeenth century England. Defoe examines the relationship between relationships and money, the meaning of marriage in his society and the lack of social mobility and opportunities for many people in society, specifically women and those of the lower classes. At times it seemed somewhat convoluted and repetitive but by the end of the book I felt that the detail was justified because Defoe presents us with a consistent psychological study which does more than entertain - it questions and comments on some of the biggest issues of the time faced by women and I was continually surprised at the perceptiveness of the male author in writing about a female's position.
generalheff's review
1.0
I read and review a lot of books so I feel positively dirty for reviewing a book I have not finished! However, I trained as an epidemiologist and am all too aware of the fact that simply ignoring individuals who drop out of clinical trials early (right-censored data) will, obviously, bias your results. Indeed it is most likely to flatter the drug or intervention in question (people who drop out may have suffered hideous side effects for example). So pharma, so publishing: if all the people who dislike a book so strongly 'drop out' of reading it - and by reasons of conscience also opt not to review it - we will again end up in a situation where the average score is flattered and key evidence against the book is lost. This at least is the overly intellectual way I'm justifying reviewing this book (a similar process led me to score the terrible film Friday on Letterboxd recently despite quitting out halfway through).
What makes this book so awful (at least the first thirty odd pages): the introduction makes clear that the writing style will be stilted and tortuous. Defoe introduces the pseudonymous Moll Flanders (the author seeing fit to "conceal her true name" for the sake of propriety) and justifies telling such a licentious story for the sake of teaching the good how to live virtuously. It appears to me simply a means of selling the book to a more-easily titillated 17th century public while at the same time achieving Defoe's apparent aim to satirise serious moralising books of his day. The problem is, read today, discussions of virtue don't really register the same, making whatever this introduction might have meant to Defoe's audience hard to discern for the casual (read: not a university student) audience today.
Once the book proper begins, we switch to Moll's perspective. The writing style is the same: tortuous 17th century prose that is tiring to parse. The approach to the narrative compounds the tedium, as the rhythm is essentially 'I did this then this happened to me then I went there'. Even where we have dialogue between characters it is cast in a peculiar format. In early scenes where Moll reports the conversations between a brother and sister, instead of 'the sister said such and such' it is rendered as 'such and such, says the sister'. And then "Her younger brother cried this or that". There is something bizarrely stilted about all these interactions that pulls the reader right out of any sense of action or activity and constantly reminds us we are reading a rendition of events à la biography rather than à la novel.
What of the story itself? In the pages I read, Moll reports on her childhood (I first lived with the Gypsies, then with a woman in Colchester, everyone laughed when I said I wanted to be a gentlewoman and so on and so on). The formulaic delivery of all this information is compounded by the lack of believably, interesting characters to get a handle on and engage with. The constant harping on about how this or that event echoes in her disastrous future is exhausting ("But that which I was too vain of was my ruin" or "I saw the Cloud, tho' I did not foresee the Storm"). Most of this "ruin" is simply the 'crime' of having sex; I cringed reading Defoe's rendition of how this soon-to-be-fallen woman described her first time. "I made no more Resistance to him, but let him do just what he pleas'd; and as often as he pleas'd; and thus I finish'd my own Destruction at once, for from this Day, being forsaken of my Virtue, and my Modesty, I had nothing of Value left to recommend me, either to God's Blessing, or Man's Assistance.". Of course all this looks ridiculous in 2021 but even attempting to overcome my modern views it all comes across as deeply lazy storytelling.
Moll might be developed eventually as a character, but in the beginning she is just a vessel for society's views. This is, so I'm told, a satire so this may all be by clever design but read today that aspect is lost while the tedious storytelling and dull plot cannot stand on its own. I was reminded in all this of Justine by Sade; that book is infinitely more gruesome and violent than Moll Flanders. But both appear to tell the story of a potentially pure or virtuous woman who is buffeted by fortunes in a world seemingly out to corrupt her. I imagine Moll Flanders becomes a little more of a protagonist in her story than Justine, but I didn't care to find out. She falls into prostitution, provides a little bit of scintillating entertainment for the reader of the time, provides amusement as an apparently satirical take on sententious contemporary books to the more erudite reader, and is ultimately redeemed. Not a bit of which is interesting to read today. My next but one book is Robinson Crusoe. That will be the acid test of whether I dislike Defoe or simply this book. Till then, I will busy myself with a book worth my time.
What makes this book so awful (at least the first thirty odd pages): the introduction makes clear that the writing style will be stilted and tortuous. Defoe introduces the pseudonymous Moll Flanders (the author seeing fit to "conceal her true name" for the sake of propriety) and justifies telling such a licentious story for the sake of teaching the good how to live virtuously. It appears to me simply a means of selling the book to a more-easily titillated 17th century public while at the same time achieving Defoe's apparent aim to satirise serious moralising books of his day. The problem is, read today, discussions of virtue don't really register the same, making whatever this introduction might have meant to Defoe's audience hard to discern for the casual (read: not a university student) audience today.
Once the book proper begins, we switch to Moll's perspective. The writing style is the same: tortuous 17th century prose that is tiring to parse. The approach to the narrative compounds the tedium, as the rhythm is essentially 'I did this then this happened to me then I went there'. Even where we have dialogue between characters it is cast in a peculiar format. In early scenes where Moll reports the conversations between a brother and sister, instead of 'the sister said such and such' it is rendered as 'such and such, says the sister'. And then "Her younger brother cried this or that". There is something bizarrely stilted about all these interactions that pulls the reader right out of any sense of action or activity and constantly reminds us we are reading a rendition of events à la biography rather than à la novel.
What of the story itself? In the pages I read, Moll reports on her childhood (I first lived with the Gypsies, then with a woman in Colchester, everyone laughed when I said I wanted to be a gentlewoman and so on and so on). The formulaic delivery of all this information is compounded by the lack of believably, interesting characters to get a handle on and engage with. The constant harping on about how this or that event echoes in her disastrous future is exhausting ("But that which I was too vain of was my ruin" or "I saw the Cloud, tho' I did not foresee the Storm"). Most of this "ruin" is simply the 'crime' of having sex; I cringed reading Defoe's rendition of how this soon-to-be-fallen woman described her first time. "I made no more Resistance to him, but let him do just what he pleas'd; and as often as he pleas'd; and thus I finish'd my own Destruction at once, for from this Day, being forsaken of my Virtue, and my Modesty, I had nothing of Value left to recommend me, either to God's Blessing, or Man's Assistance.". Of course all this looks ridiculous in 2021 but even attempting to overcome my modern views it all comes across as deeply lazy storytelling.
Moll might be developed eventually as a character, but in the beginning she is just a vessel for society's views. This is, so I'm told, a satire so this may all be by clever design but read today that aspect is lost while the tedious storytelling and dull plot cannot stand on its own. I was reminded in all this of Justine by Sade; that book is infinitely more gruesome and violent than Moll Flanders. But both appear to tell the story of a potentially pure or virtuous woman who is buffeted by fortunes in a world seemingly out to corrupt her. I imagine Moll Flanders becomes a little more of a protagonist in her story than Justine, but I didn't care to find out. She falls into prostitution, provides a little bit of scintillating entertainment for the reader of the time, provides amusement as an apparently satirical take on sententious contemporary books to the more erudite reader, and is ultimately redeemed. Not a bit of which is interesting to read today. My next but one book is Robinson Crusoe. That will be the acid test of whether I dislike Defoe or simply this book. Till then, I will busy myself with a book worth my time.
ophiwrights's review
slow-paced
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.0
Just... no. Just no. There is only so much child abandonment one can take before chucking a book across a room.
lidia_fraile's review against another edition
4.0
Una lectura muy entretenida y ligera (teniendo en cuenta el contenido del libro). Es como el contrapunto total de Dickens
dominil's review against another edition
3.0
Milioni di facce e un solo nome (finto, per giunta)
In realtà non sono mai stata motivata a leggere Moll Flander. L'ho aggiunto a suo tempo alla TBR soprattutto perché l'avevo studiato con letteratura inglese ed è uno dei tanti classici imprescindibili (ne esistono che non lo sono?).
Ma quando, due giorni fa, ho deciso di regalarmi un libro per il mio compleanno, in libreria sono stata attratta da questo romanzo, che ho portato a casa con me.
Posso dire che è stata una conversazione unidirezionale con una chiacchierona divertente, ma piuttosto prolissa e poco dettagliata nelle parti più interessanti.
La cosa che mi ha molto colpito di questo romanzo è la mancanza quasi assoluta di nomi e descrizioni di persone. La protagonista e narratrice afferma che Moll Flanders sia il suo pseudonimo e non svela mai quale sia il suo vero nome. Nessuno delle persone incontrate ha un nome, a parte una detenuta che non è interessante e che scompare sette righe dopo e il primo marito di Moll, che ha addirittura anche un soprannome, tanto che gli altri due personaggi importanti nelle vicende del libro sono identificate con il ruolo che hanno nella vita della protagonista: la Governante e il marito del Lancashire.
Forse per il carattere picaresco della storia o per il fatto di essere uno dei primi romanzi moderni, non c'è tanta introspezione psicologica, pur essendo il fine del libro essere un monito contro le cattive scelte, e Moll passa dall'essere sola, sconsolata, povera e senza amici a ricca dama piena di mariti e conoscenti quasi a ogni giro di pagina, spesso senza nemmeno una grande spiegazione sul cambiamento di situazione.
Moll ha una voce esilarante, senza falsi pudori o peli sulla lingua e ci dona una descrizione a tutto tondo dell'epoca in cui vive pienamente, passando dall'alta società ai passi fondi di Londra, viaggiando dall'Inghilterra all'Irlanda alla Carolina e alla Virginia, sempre con la sua indole operosa, nel bene e nel male.
Vive davvero molte vite soprattutto nell'età più matura, vicina alla vecchiaia, e fa con successo e facilmente azioni, come rubare, che ho sempre considerato avessero bisogno di una agilità propria di persone molte più giovane di quanto sia lei. Inoltre accetta la sua società com'è e decide di sfidare con le sue stesse regole, vincendo spesso e volentieri, contro le costrizioni dell'essere donna e della povertà, spettro che la insegue imperterrita.
Moll non ha vergogna o paura, se non dell'essere povera e questo la spinge a darsi da fare, spesso all'opposto della moralità e non parlo solo dei furti, ma anche di tutte le volte che si è fatta sposare passando per ricca, pur non dicendo effettivamente nessuna bugia. In questo è una vera figlia del suo tempo, frutto di una borghesia operosa e decisa ad avere successo a ogni costo.
Anche il carcere, una volta diventata una criminale, è una delle sue bestie nere e una delle pagine più agghiaccianti e interessanti del libro, dando una vera e propria visione non solo degli ambienti e delle persone rinchiuse, ma anche del cambiamento psicologico che rende Newgate da inferno a luogo ideale di vita per i carcerati.
Ciò è molto più plausibile in Moll della sua improvvisa conversione.
Mi ha colpito molto il fattore del denaro, da cui Moll è ossessionata e di cui parla continuamente. E' strano pensare come si potesse vivere con sei sterline l'anno in maniera più che decorosa e le cameriere ne guadagnassero 3 all'anno, mentre ora probabilmente non ci si compra nemmeno un paio di mutande. E' strano vedere come il suo mondo e il nostro parlino due lingue diverse, anche moralmente parlando (Moll usa spesso il termina puttana ma non come lo intendiamo noi) e che si debba stare attenti a tradurre.
Non è una lettura che prenda particolarmente molto, soprattutto la fine, che tende a trascinarsi. Di certo è davvero entusiasmante per il mondo che viene descritto senza riguardi, con un'ironia deliziosa, e per l'effervescente eroina.
In realtà non sono mai stata motivata a leggere Moll Flander. L'ho aggiunto a suo tempo alla TBR soprattutto perché l'avevo studiato con letteratura inglese ed è uno dei tanti classici imprescindibili (ne esistono che non lo sono?).
Ma quando, due giorni fa, ho deciso di regalarmi un libro per il mio compleanno, in libreria sono stata attratta da questo romanzo, che ho portato a casa con me.
Posso dire che è stata una conversazione unidirezionale con una chiacchierona divertente, ma piuttosto prolissa e poco dettagliata nelle parti più interessanti.
La cosa che mi ha molto colpito di questo romanzo è la mancanza quasi assoluta di nomi e descrizioni di persone. La protagonista e narratrice afferma che Moll Flanders sia il suo pseudonimo e non svela mai quale sia il suo vero nome. Nessuno delle persone incontrate ha un nome, a parte una detenuta che non è interessante e che scompare sette righe dopo e il primo marito di Moll, che ha addirittura anche un soprannome, tanto che gli altri due personaggi importanti nelle vicende del libro sono identificate con il ruolo che hanno nella vita della protagonista: la Governante e il marito del Lancashire.
Forse per il carattere picaresco della storia o per il fatto di essere uno dei primi romanzi moderni, non c'è tanta introspezione psicologica, pur essendo il fine del libro essere un monito contro le cattive scelte, e Moll passa dall'essere sola, sconsolata, povera e senza amici a ricca dama piena di mariti e conoscenti quasi a ogni giro di pagina, spesso senza nemmeno una grande spiegazione sul cambiamento di situazione.
Moll ha una voce esilarante, senza falsi pudori o peli sulla lingua e ci dona una descrizione a tutto tondo dell'epoca in cui vive pienamente, passando dall'alta società ai passi fondi di Londra, viaggiando dall'Inghilterra all'Irlanda alla Carolina e alla Virginia, sempre con la sua indole operosa, nel bene e nel male.
Vive davvero molte vite soprattutto nell'età più matura, vicina alla vecchiaia, e fa con successo e facilmente azioni, come rubare, che ho sempre considerato avessero bisogno di una agilità propria di persone molte più giovane di quanto sia lei. Inoltre accetta la sua società com'è e decide di sfidare con le sue stesse regole, vincendo spesso e volentieri, contro le costrizioni dell'essere donna e della povertà, spettro che la insegue imperterrita.
Moll non ha vergogna o paura, se non dell'essere povera e questo la spinge a darsi da fare, spesso all'opposto della moralità e non parlo solo dei furti, ma anche di tutte le volte che si è fatta sposare passando per ricca, pur non dicendo effettivamente nessuna bugia. In questo è una vera figlia del suo tempo, frutto di una borghesia operosa e decisa ad avere successo a ogni costo.
Anche il carcere, una volta diventata una criminale, è una delle sue bestie nere e una delle pagine più agghiaccianti e interessanti del libro, dando una vera e propria visione non solo degli ambienti e delle persone rinchiuse, ma anche del cambiamento psicologico che rende Newgate da inferno a luogo ideale di vita per i carcerati.
Ciò è molto più plausibile in Moll della sua improvvisa conversione.
Mi ha colpito molto il fattore del denaro, da cui Moll è ossessionata e di cui parla continuamente. E' strano pensare come si potesse vivere con sei sterline l'anno in maniera più che decorosa e le cameriere ne guadagnassero 3 all'anno, mentre ora probabilmente non ci si compra nemmeno un paio di mutande. E' strano vedere come il suo mondo e il nostro parlino due lingue diverse, anche moralmente parlando (Moll usa spesso il termina puttana ma non come lo intendiamo noi) e che si debba stare attenti a tradurre.
Non è una lettura che prenda particolarmente molto, soprattutto la fine, che tende a trascinarsi. Di certo è davvero entusiasmante per il mondo che viene descritto senza riguardi, con un'ironia deliziosa, e per l'effervescente eroina.
chairmanbernanke's review against another edition
4.0
A timeless story of one adventurer’s life. Impressively written, and clearly reflective of another time. Still worth reading more than three centuries after the first edition.
dwarvenk1ng's review against another edition
2.0
I've read this book as a school assignment, which made it a tedious endeavor from the very start. Since I had but little time to read it, I completed the entire thing in more or less two sittings, something that proved too overwhelming for my mind. The book has no chapters and is overflowing with plain, crude text with paragraphs that reach up to an entire page in length. Reading this, and especially for a prolonged period, would undoubtedly tire any eyes on the planet.
Despite this, the writing style wasn't too bad and was actually very enjoyable and is, in my honest opinion, the only thing that stands out in this book. Like many authors of his time, Defoe was master of the English tongue and, naturally, masterfully wrote this story. If the case were the opposite, it would be nigh unreadable. Therefore its flow is a saving grace for making it at least a readable piece.
As for the plot, it is appalling, dull, and drags on for far too long. The thieving part of the story was way too long, considering how the other parts of Moll's life were mostly compact. At any rate, this story is a 5/10 at best, though since there are no 0.5-star ratings on GoodReads, I rate it 2/5, rounding it at the lower side, for it genuinely deserves no more.
Despite this, the writing style wasn't too bad and was actually very enjoyable and is, in my honest opinion, the only thing that stands out in this book. Like many authors of his time, Defoe was master of the English tongue and, naturally, masterfully wrote this story. If the case were the opposite, it would be nigh unreadable. Therefore its flow is a saving grace for making it at least a readable piece.
As for the plot, it is appalling, dull, and drags on for far too long. The thieving part of the story was way too long, considering how the other parts of Moll's life were mostly compact. At any rate, this story is a 5/10 at best, though since there are no 0.5-star ratings on GoodReads, I rate it 2/5, rounding it at the lower side, for it genuinely deserves no more.