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3.78 AVERAGE
3.78 AVERAGE
I'm not very good at writing book reviews but I'll try my best with this one. When I first started reading this book I thought it was dry and boring. But the more I read it got better and turned out to be a real gem. What I loved about this novel was Forster's amazing narration, his understated humor of class division, and the way he directly talks to the reader, cleverly acknowledging their presence. I loved all the characters, they all are charming and amusing in their own way (even Cecil), especially Mr. Emerson and his son George Emerson (my new male literary crush). Lucy's character is very easy to relate to since a lot of young people are in what Mr. Emerson refers to as a "muddle". I can definitely identify with her condition and feelings. The pond scene with George, Freddy, and Mr.Beebe is great. My only complaint is with the ending, it is too abrupt, I wish there was more! This is the first E.M. Forster book I've read and I look forward to reading more of his work.
I saw the film right after I finished the book. I was so excited to see Daniel Day Lewis as Cecil! Great casting, best part of the film. I didn't like the guy who played George, I like mine better :)
I saw the film right after I finished the book. I was so excited to see Daniel Day Lewis as Cecil! Great casting, best part of the film. I didn't like the guy who played George, I like mine better :)
I am not cultured enough to understand all of the allusions and philosophy in this book, but I enjoyed this quick read. I want to see the movie - I think the dialogue and humor will come across wonderfully on film (and slightly better than it did for me in the book).
One of the reasons why I wanted to read [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] by [a:E.M. Forster|86404|E.M. Forster|https://images.gr-assets.com/authors/1402057803p2/86404.jpg] was because this book was listed in my alphabetized books-to-read list, which is alphabetized, on Google Docs. After sorting through some of the titles that began with 'a,' [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] had a title that captivated me as well as concepts and themes that compelled me to check this out at my library.
One of the many strengths of this novel is how vibrant the main character, Lucy Honeychurch, is. As the reader, I was advocating for Lucy to not only find what she wanted, but I wanted her to find herself. Lucy is musically gifted, and the motif of music also shows itself as a champion of the novel. Another strength of this novel is the way sociological expectations as well as familial expectations are portrayed. While the expectations have shifted today, I still think this novel holds relevance, especially within the way economic class is treated within this novel. I also think this author wrote about age very well in this novel. It feels as though the older characters in the novel symbolize an older, more traditional, view of what life should be like, and then the younger characters are representatives for what the contemporary viewpoint, at the time, is. The multiple theatrics of the characters was very entertaining as well; there are several conversations throughout the book that showcase a character fuming with fury or acting with passion rather than logic. I also think the commentary on Italian customs adjacent to British (or English?) customs was fun to read about as well. I think Forster had a beautiful handle on prose, there are many excerpts from the story that painted beautiful scenes and eloquently portrayed the physical environment that the reader is navigating.
There are a few weaknesses within the novel, and these weaknesses caused me to rate the book with less stars than most reviews. Outside of the main character, the characters are not very well constructed to the point where it is not only difficult, but almost unnecessary, to keep track of who is who. The reader knows a lot about Lucy, but the other characters seem to be on the fringes of Lucy Honeychurch's roller-coaster story. Religion also plays a very present role throughout the story, which almost weakens the story and almost serves as a distraction. The predictability of [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] kind of left me feeling a sense of nothingness, but I was entertained nonetheless. From the very beginning of the conflict Lucy is presented with, the reader is coaxed into wondering what Lucy is going to decide, even though it is very apparent what decision Lucy will make. I also must say that there were times when I wanted to stop reading the book (combination of disinterested, feeling like the plot stagnated, et cetera). However, I am still glad I read [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] altogether.
One of the many strengths of this novel is how vibrant the main character, Lucy Honeychurch, is. As the reader, I was advocating for Lucy to not only find what she wanted, but I wanted her to find herself. Lucy is musically gifted, and the motif of music also shows itself as a champion of the novel. Another strength of this novel is the way sociological expectations as well as familial expectations are portrayed. While the expectations have shifted today, I still think this novel holds relevance, especially within the way economic class is treated within this novel. I also think this author wrote about age very well in this novel. It feels as though the older characters in the novel symbolize an older, more traditional, view of what life should be like, and then the younger characters are representatives for what the contemporary viewpoint, at the time, is. The multiple theatrics of the characters was very entertaining as well; there are several conversations throughout the book that showcase a character fuming with fury or acting with passion rather than logic. I also think the commentary on Italian customs adjacent to British (or English?) customs was fun to read about as well. I think Forster had a beautiful handle on prose, there are many excerpts from the story that painted beautiful scenes and eloquently portrayed the physical environment that the reader is navigating.
There are a few weaknesses within the novel, and these weaknesses caused me to rate the book with less stars than most reviews. Outside of the main character, the characters are not very well constructed to the point where it is not only difficult, but almost unnecessary, to keep track of who is who. The reader knows a lot about Lucy, but the other characters seem to be on the fringes of Lucy Honeychurch's roller-coaster story. Religion also plays a very present role throughout the story, which almost weakens the story and almost serves as a distraction. The predictability of [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] kind of left me feeling a sense of nothingness, but I was entertained nonetheless. From the very beginning of the conflict Lucy is presented with, the reader is coaxed into wondering what Lucy is going to decide, even though it is very apparent what decision Lucy will make. I also must say that there were times when I wanted to stop reading the book (combination of disinterested, feeling like the plot stagnated, et cetera). However, I am still glad I read [b:A Room with a View|3087|A Room with a View|E.M. Forster|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388781285l/3087._SY75_.jpg|4574872] altogether.
It seems like a lot of the content needs an understanding of upper-class English society at the start of the 20th century. I found it really had to focus to keep my mind on the book as none of the characters grabbed me, nothing in the story hooked my interest.
I do wish that the book was longer, and I do wish that Forster would have paid much more attention to the story rather than the techniques.
dark
emotional
reflective
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
Not what I expected from a modernist (?) writer. The characters were written to life and all of them were likable in different ways. The love story was excellent but not the star of the show. I’d recommend to adults interested in light philosophy, light romance, humanism, modernism that isn’t cynical, Italian/English scenery, and good endings.
I loved this. A classic really is a classic for a reason - this book has some unnameable quality that elevates it above many other books, but I couldn't say what it is, exactly. All I know is that even now, 113 years after publication, it still makes an impact.
The novel starts as Lucy Honeychurch, the protagonist, and her cousin Charlotte sit down in the restaurant of a pension in Italy. It's (presumably) around the turn of the century, and Lucy is abroad for the first time. She is dying to be "worldly," to see things, to evolve. She's brought the right travel guide and learned the names of all the artworks one should be seeing while in Florence.
The pension also houses a range of other guests, including the Emersons (a father and a son, both named George).
And the Emersons are the very opposite of what you would expect from a relatively well-to-do British guy in a turn-of-the-century novel. They are, in fact, so thoroughly modern that it offends everyone they meet.
They despise artificiality.
They can't stand posturing.
They prize directness.
They believe in real passion, and in authenticity.
Needless to say, Lucy is shocked when she meets them (and Charlotte, as her chaperone, doesn't know how quickly she can Lucy away from them).
As their holiday continues, however, Lucy realizes she is vaguely intrigued by the Emerson's authentic way of living and being in the world. But she's from a conventional, relatively well-off family. When she gets home, she's pulled back into that conventional atmosphere - and that's when trouble starts.
I suppose one of the things that makes this novel transcend its time, is that Lucy's struggle is still relevant. Do we choose convention, or adventure? And at what cost?
Likewise, there are still many people who are unable to live authentic lives - either due to social or political pressures, or because they are afraid to stray from convention. And I'm not just talking about the Harry & Meghan's of this world, but of regular people who live relatively privileged lives. I have known, and do know, people who look down on certain travel destinations because they're not in guide books, or who tout the merits of a certain movie because this or that actor is in it (even though they have not seen the movie yet). There's very little difference between those people, and Lucy praising a statue because her Baedeker guidebook told her it's good.
It's bewildering to encounter people like that - people who have adopted other people's opinions to cover up the fact that they have none of their own.
(I'm not talking about being shaped by someone else's opinion - we all are. I'm talking about people who don't weigh or synthesize those opinions to then form a position of their own).
The Emerson's simply can't stand all this posturing, and actively speak out against it. It was fascinating to see that play out in a 1908 novel - it was as if a modern reader was talking back to Victorian characters in real time. Super interesting.
And Forster's clever commentary on the way women were treated in Edwardian England:
"'Come this way immediately,' commanded Cecil, who always felt that he must lead women, thoug he knew not whither, and protect them, though he knew not against what" (137).
I also loved Lucy's character development, which was subtle and convincing.
And the writing - oh, I LOVED the writing:
"Honest orthodoxy Cecil respected, but he always assumed that honesty is the result of a spiritual crisis; he could not imagine it as a natural birthright, that might grow heavenward like the flowers" (157).
"There is a certain amount of kindness, just as there is a certain amount of light,' he continued in measured tones. 'We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things; because the shadow always follows. Choose a place where you won't do harm - yes, choose a place where you won't do very much harm, and stand in it for all you are worth, facing the sunshine" (159).
"'Do trust me, Miss Honeychurch. Though life is very glorious, it is difficult. She was still silent. 'Life,' wrote a friend of mine, 'is a public performance on the violin, in which you must learn the instrument as you go along.' I think he puts it well. Man has to pick up the use of his functions as he goes along - especially the function of Love" (212).
And finally, this fantastic, feminist avant-la-lettre speech by George Emerson, of which this is only a fraction:
"He daren't let a woman decide. He's the type who's kept Europe back for a thousand years. Every moment of his life he's forming you, telling you what's charming or amusing or ladylike, telling you what a man thinks womanly; and you, you of all women, listen to his voice instead of to your own" (174).
Ah, so good.
This novel is quiet and thrilling all at once, and I will definitely read more of Forster's work after this marvellous introduction.
The novel starts as Lucy Honeychurch, the protagonist, and her cousin Charlotte sit down in the restaurant of a pension in Italy. It's (presumably) around the turn of the century, and Lucy is abroad for the first time. She is dying to be "worldly," to see things, to evolve. She's brought the right travel guide and learned the names of all the artworks one should be seeing while in Florence.
The pension also houses a range of other guests, including the Emersons (a father and a son, both named George).
And the Emersons are the very opposite of what you would expect from a relatively well-to-do British guy in a turn-of-the-century novel. They are, in fact, so thoroughly modern that it offends everyone they meet.
They despise artificiality.
They can't stand posturing.
They prize directness.
They believe in real passion, and in authenticity.
Needless to say, Lucy is shocked when she meets them (and Charlotte, as her chaperone, doesn't know how quickly she can Lucy away from them).
As their holiday continues, however, Lucy realizes she is vaguely intrigued by the Emerson's authentic way of living and being in the world. But she's from a conventional, relatively well-off family. When she gets home, she's pulled back into that conventional atmosphere - and that's when trouble starts.
I suppose one of the things that makes this novel transcend its time, is that Lucy's struggle is still relevant. Do we choose convention, or adventure? And at what cost?
Likewise, there are still many people who are unable to live authentic lives - either due to social or political pressures, or because they are afraid to stray from convention. And I'm not just talking about the Harry & Meghan's of this world, but of regular people who live relatively privileged lives. I have known, and do know, people who look down on certain travel destinations because they're not in guide books, or who tout the merits of a certain movie because this or that actor is in it (even though they have not seen the movie yet). There's very little difference between those people, and Lucy praising a statue because her Baedeker guidebook told her it's good.
It's bewildering to encounter people like that - people who have adopted other people's opinions to cover up the fact that they have none of their own.
(I'm not talking about being shaped by someone else's opinion - we all are. I'm talking about people who don't weigh or synthesize those opinions to then form a position of their own).
The Emerson's simply can't stand all this posturing, and actively speak out against it. It was fascinating to see that play out in a 1908 novel - it was as if a modern reader was talking back to Victorian characters in real time. Super interesting.
And Forster's clever commentary on the way women were treated in Edwardian England:
"'Come this way immediately,' commanded Cecil, who always felt that he must lead women, thoug he knew not whither, and protect them, though he knew not against what" (137).
I also loved Lucy's character development, which was subtle and convincing.
And the writing - oh, I LOVED the writing:
"Honest orthodoxy Cecil respected, but he always assumed that honesty is the result of a spiritual crisis; he could not imagine it as a natural birthright, that might grow heavenward like the flowers" (157).
"There is a certain amount of kindness, just as there is a certain amount of light,' he continued in measured tones. 'We cast a shadow on something wherever we stand, and it is no good moving from place to place to save things; because the shadow always follows. Choose a place where you won't do harm - yes, choose a place where you won't do very much harm, and stand in it for all you are worth, facing the sunshine" (159).
"'Do trust me, Miss Honeychurch. Though life is very glorious, it is difficult. She was still silent. 'Life,' wrote a friend of mine, 'is a public performance on the violin, in which you must learn the instrument as you go along.' I think he puts it well. Man has to pick up the use of his functions as he goes along - especially the function of Love" (212).
And finally, this fantastic, feminist avant-la-lettre speech by George Emerson, of which this is only a fraction:
"He daren't let a woman decide. He's the type who's kept Europe back for a thousand years. Every moment of his life he's forming you, telling you what's charming or amusing or ladylike, telling you what a man thinks womanly; and you, you of all women, listen to his voice instead of to your own" (174).
Ah, so good.
This novel is quiet and thrilling all at once, and I will definitely read more of Forster's work after this marvellous introduction.
A humorous, charming love story that has some funny moments but honestly didn’t do a lot for me