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3.91 AVERAGE
3.91 AVERAGE
A drama adaptation by Brian Sibley of the entire Gormenghast trilogy. The ending was flat compared to the rest but I liked the atmospheric gothic tones with faint traces of Shakespeare, whilst Titus finds himself on a quest.
I listened to this after coming across the book, a trilogy, which, along with the author, is new to me. What caught my eye were the illustrations in the book. Skimming through it I see there is more interesting story details. This, and how the writer and artist are part of the story they’ve created, I can see myself enjoying reading this.
I listened to this after coming across the book, a trilogy, which, along with the author, is new to me. What caught my eye were the illustrations in the book. Skimming through it I see there is more interesting story details. This, and how the writer and artist are part of the story they’ve created, I can see myself enjoying reading this.
dark
emotional
funny
mysterious
sad
tense
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
It's like a gothic horror as written by Doctor Seuss. Extremely weird and highly recommended.
dark
funny
mysterious
slow-paced
That was a bizarre and wonderful book. I feel like I couldn't really concentrate on the intricacies of it because I was listening to the audiobook and the narrator was so engrossed in his voices, some of them were indecipherable.
Made for the whole experience though.
Made for the whole experience though.
adventurous
funny
mysterious
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Everyone in this book is insane it’s awesome
Reading again after 30 years, having originally thought it quite disappointing, it is now probably 3.5 stars if we're honest but I'm falling closer to 3: a book to admire but not really one to love (for me). Peake's flowery prose style just becomes too much for me too often, with everything over-described to the point where it feels like he is simply using words to imply something they don't even mean.
Add to that the fact that almost every conversation between two characters is incredibly irritating to read: none of these characters ever listen to each other and almost all of them feel the need to say everything twice. While there is obviously a 'realism' to that and, of course, I understand there is an intentional grotesqueness to each of them, that doesn't mean I can enjoy it.
Principally this book suffers in a few key points:
- The pacing is mostly quite slow. There are a couple of spectacularly thrilling sections but between and around them, not huge amounts happen.
- The characters are almost entirely unlikeable at the start. By the end a few have earned your liking but not without reservation.
- The misogyny is, no doubt, unconscious but it really stands out to me now in a way I'd never have noticed on my first read in my late teens. Almost every female character is negatively portrayed or simply given no agency. Principally they are written as stupid or, even if they show some intelligence, they are negatively portrayed in terms of their looks and/or character.
- Steerpike as a hinge of the story, which I'll come to below
There are also quite negative senses given to fatness, although all the characters are stupendously over-characterised e.g. Slagg is seemingly a midget while Swelter gigantic as well as overweight. And the word 'g*psy' is used frequently as an offhand (and seemingly affectionate) way to describe Fuschia, which is obviously a little off-putting now.
One thing I was surprised it lacked was a definitive statement on class. In my memory I thought maybe teenage me hadn't realised there was a treatise on pulling down the rich due to Steerpike pulling himself out of the kitchens to effectively stagger the Groans...but actually that's not really the case. Steerpike thinks only of himself and attaining power. That he shakes the foundations is merely a side-effect of that desire. Moreover, he's incredibly intelligent and plots...but everyone else in the book is so dull-headed that there's little to really take away from this. There are moments towards the end of a sense that Prunesquallor and the Countess have their eye on him but nothing more, he never has to match wits with anyone so there's no tenseness from seeing him worm his way through this structure, it's simply that he's the first person with any imagination and wit to even try. I'd like to be on his side as he tries to pull down these rich classes but, again, you simply can't like him enough and his methods lack any thought for others.
Add to that the fact that almost every conversation between two characters is incredibly irritating to read: none of these characters ever listen to each other and almost all of them feel the need to say everything twice. While there is obviously a 'realism' to that and, of course, I understand there is an intentional grotesqueness to each of them, that doesn't mean I can enjoy it.
Principally this book suffers in a few key points:
- The pacing is mostly quite slow. There are a couple of spectacularly thrilling sections but between and around them, not huge amounts happen.
- The characters are almost entirely unlikeable at the start. By the end a few have earned your liking but not without reservation.
- The misogyny is, no doubt, unconscious but it really stands out to me now in a way I'd never have noticed on my first read in my late teens. Almost every female character is negatively portrayed or simply given no agency. Principally they are written as stupid or, even if they show some intelligence, they are negatively portrayed in terms of their looks and/or character.
- Steerpike as a hinge of the story, which I'll come to below
There are also quite negative senses given to fatness, although all the characters are stupendously over-characterised e.g. Slagg is seemingly a midget while Swelter gigantic as well as overweight. And the word 'g*psy' is used frequently as an offhand (and seemingly affectionate) way to describe Fuschia, which is obviously a little off-putting now.
One thing I was surprised it lacked was a definitive statement on class. In my memory I thought maybe teenage me hadn't realised there was a treatise on pulling down the rich due to Steerpike pulling himself out of the kitchens to effectively stagger the Groans...but actually that's not really the case. Steerpike thinks only of himself and attaining power. That he shakes the foundations is merely a side-effect of that desire. Moreover, he's incredibly intelligent and plots...but everyone else in the book is so dull-headed that there's little to really take away from this. There are moments towards the end of a sense that Prunesquallor and the Countess have their eye on him but nothing more, he never has to match wits with anyone so there's no tenseness from seeing him worm his way through this structure, it's simply that he's the first person with any imagination and wit to even try. I'd like to be on his side as he tries to pull down these rich classes but, again, you simply can't like him enough and his methods lack any thought for others.
challenging
dark
mysterious
slow-paced
Plot or Character Driven:
A mix
I don't know what to say about this magnificent book, except that it's not about the plot. It's about the writing. Oh the writing! Sentences to ruminate on, characters to marvel at. Steerpike! Dr Prunesqualor! It's all just completely marvellous. Good wholesome bizarre, alternative fairytale-esque fun. 5 stars, how could it not be?
adventurous
challenging
dark
funny
inspiring
lighthearted
mysterious
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
This book, despite being a genre I normally love, just did NOT speak to me at all! I actually bailed on it.