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amysteele's review against another edition
5.0
With an emphasis on culture and art, Eventide is a meditation on solitude, success and meaningfulness. Working in a male-dominated field, art history professor Karolina Andersson begins working as thesis advisor to a male student who claims to have discovered new works of art by a female artist in the early twentieth century. He’s attractive and intriguing to Karolina who recently ended a long relationship and finds herself wondering if she wasted her prime years with this man and if she’s even doing what will make her the most fulfilled. She’s plateaued in her career and doesn’t have as much interest in it as she had when she was younger. As a woman who also wasted many years in a bad relationship, who never married or had children and in her late 40s, I found myself completely commiserating with Karolina. Author Therese Bohman writes: “Her ability to emphasize quickly with other people was the quality that had most frequently led to her being hurt.” Or writes: “Maybe she actually was tragic, one step away from living in the gutter, wandering around the city in a woolly hat and shouting at people.” Or this: “She wanted to give her body to men who definitely didn’t deserve her mind.” The novel strongly traverses through academia and the art world while illuminating both the personal and professional life, desires and challenges for this woman. Society sometimes doesn't know what to do with a woman of a certain age who failed to check off the boxes along the way. Bohman writes about educated, smart, disappointed single women over 40 so brilliantly that I’m a massive fan and will read anything she writes. I loved her novel The Other Woman and quickly devoured Eventide. Realistic, observant, dark and macabre in the best way, Eventide is a dazzling novel.
Stand out quotes:
“It was the overwhelming realization of what a university actually was that had made her stay, the amount of knowledge that was gathered there, the fact that it was a place where learning was generated. She had felt homeless until then, like an empty vessel, and everything that was housed in those university buildings breathed life into her: the knowledge, the art, the culture, the tradition.”
“When she was younger she had thought that people became more complicated when they were adults, that they started to have more complex thoughts, a more intricate emotional life. But people remained unchanged, driven by mechanisms no more advanced than acknowledgment and appreciation, still worried about how they looked in the eyes of others, still obsessed with the idea of status. The things that conveyed this status had changed, but the striving and the mechanisms were exactly the same as in the schoolyard.”
“She didn’t love Stockholm, and she probably never would. Every time someone said they loved Stockholm, she assumed they were lying. She regarded the city as a necessity, often an unpleasant one, but she also thought that everything it was accused of was probably true—snootiness, fearfulness, coldness, regimentation. She had never really felt at home here, but she had never really been unhappy either. Much the same could be said of her life as a whole.”
“She had started to regard those long, lazy visits to Athens as one of the joyful aspects of her life, until it occurred to her that perhaps that warm, fuzzy feeling wasn’t happiness at all, but merely the absence of unhappiness. One meaningless activity replaced by another, which was slightly less painful.”
“Was that why they had such grown-up lives with families and houses and display cabinets, and she had a noisy two-room apartment full of books and loneliness?”
“She hadn’t really felt anything for either of them, but their appreciation had made her feel good, their bodies made her feel less lonely for a while.”
Stand out quotes:
“It was the overwhelming realization of what a university actually was that had made her stay, the amount of knowledge that was gathered there, the fact that it was a place where learning was generated. She had felt homeless until then, like an empty vessel, and everything that was housed in those university buildings breathed life into her: the knowledge, the art, the culture, the tradition.”
“When she was younger she had thought that people became more complicated when they were adults, that they started to have more complex thoughts, a more intricate emotional life. But people remained unchanged, driven by mechanisms no more advanced than acknowledgment and appreciation, still worried about how they looked in the eyes of others, still obsessed with the idea of status. The things that conveyed this status had changed, but the striving and the mechanisms were exactly the same as in the schoolyard.”
“She didn’t love Stockholm, and she probably never would. Every time someone said they loved Stockholm, she assumed they were lying. She regarded the city as a necessity, often an unpleasant one, but she also thought that everything it was accused of was probably true—snootiness, fearfulness, coldness, regimentation. She had never really felt at home here, but she had never really been unhappy either. Much the same could be said of her life as a whole.”
“She had started to regard those long, lazy visits to Athens as one of the joyful aspects of her life, until it occurred to her that perhaps that warm, fuzzy feeling wasn’t happiness at all, but merely the absence of unhappiness. One meaningless activity replaced by another, which was slightly less painful.”
“Was that why they had such grown-up lives with families and houses and display cabinets, and she had a noisy two-room apartment full of books and loneliness?”
“She hadn’t really felt anything for either of them, but their appreciation had made her feel good, their bodies made her feel less lonely for a while.”
sometimesbryce's review against another edition
3.0
This had everything I like: art, unconventional love, feminism, but it fell just flat for me. It reminded me of a more rambling [b:What Belongs to You|29351628|What Belongs to You|Garth Greenwell|https://images.gr-assets.com/books/1456584658s/29351628.jpg|42499130], with a bit of an artistic matriarch ([b:Little Fires Everywhere|34273236|Little Fires Everywhere|Celeste Ng|https://images.gr-assets.com/books/1522684533s/34273236.jpg|52959357], [b:Harmless Like You|30231823|Harmless Like You|Rowan Hisayo Buchanan|https://images.gr-assets.com/books/1475286191s/30231823.jpg|50373970], etc.) thrown in. This isn't to say I didn't enjoy it. With a bit of trimming and restructuring, this could be an absolutely wonderful modern take on a book in the spirit of [b:The Awakening|58345|The Awakening|Kate Chopin|https://images.gr-assets.com/books/1170507247s/58345.jpg|1970518].
Karolina Andersson, a Swedish art professor, is adrift personally and professionally when she meets one of her graduate fellows who has been all across Europe conducting his research. His dissertation is focused on an unknown female artist who could change the history of art, both in Sweden and abroad. Bohman explores what it means to juggle being a woman with being a professional, loneliness, and love in her third book, translated by Marlaine Delargy.
This is a quiet, slow-burn of a novel. Bohman's biggest issue is her length. The plot is simply too simple to support nearly 250 pages. With a hundred or so pages trimmed out, this would be exceptional. I began sensing my interest fading about halfway through, and lost it entirely around 3/4. The only reason I clung on was because Bohman's prose (which must have had an impeccable translation from Delargy) is haunting and affecting. Her words draw you in you and keep you until it's safe to leave.
In a never-ending quest for my culture, it was lovely to read something from our rivals and I look forward to seeing what other books Bohman has.
Karolina Andersson, a Swedish art professor, is adrift personally and professionally when she meets one of her graduate fellows who has been all across Europe conducting his research. His dissertation is focused on an unknown female artist who could change the history of art, both in Sweden and abroad. Bohman explores what it means to juggle being a woman with being a professional, loneliness, and love in her third book, translated by Marlaine Delargy.
This is a quiet, slow-burn of a novel. Bohman's biggest issue is her length. The plot is simply too simple to support nearly 250 pages. With a hundred or so pages trimmed out, this would be exceptional. I began sensing my interest fading about halfway through, and lost it entirely around 3/4. The only reason I clung on was because Bohman's prose (which must have had an impeccable translation from Delargy) is haunting and affecting. Her words draw you in you and keep you until it's safe to leave.
In a never-ending quest for my culture, it was lovely to read something from our rivals and I look forward to seeing what other books Bohman has.
gurofl's review against another edition
reflective
medium-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
cubierocks's review against another edition
2.0
I felt like I reread the same sentence 100,000 times. The ending wasn't nearly as revelatory as I hoped. If you're looking for a nuanced look at childfree women in their 40s this may not be it.
natreadsthings's review against another edition
3.0
Karolina är professor i konstvetenskap på Stockholms universitet, har nyligen separerat och försöker navigera livet som ensam kvinna i 40-års åldern i ett samhälle som värderar tvåsamheten och kärnfamiljen. När hon ska handleda en ny förvånansvärt självsäker doktorand kanske hennes liv äntligen kan bli lite spänningsfullt igen.
Den här boken gjorde mig så förbryllad. Å ena sidan har den mycket jag är intresserad av och som är relevant eller igenkännande i mitt liv. Jag gillar campusromaner och jag har ett intresse för konst även om jag inte kan mycket (fast vissa referenser förstod jag! fan va smart jag kände mig då). Jag själv tog min master i litteraturvetenskap på Stockholms universitet, och trots att det inte är inom konst anser jag (kanske felaktigt, men troligtvis inte) att humanioraämnena går väldigt hand i hand ibland och kunde därför föreställa mig typ allt som befann sig inom universitetets väggar i berättelsen. Och kanske det gjorde att jag inte riktigt kunde lista ut vem Karolina egentligen är som karaktär. Hon skiftade till utseende mellan mina gamla lärare, och kanske det gjorde mig obekväm. Samtidigt är detta inte den första eller sista romanen jag läser med universitet som miljö (min masteruppsats handlade om campusromanen, hallå!) så det BORDE inte vara enda anledningen till mina blandade känslor heller.
Jag fick heller inget grepp om storyn. Eller egentligen FÖRSTÅR jag ju exakt vad den ville säga och varför den byggdes upp som den gjorde, men jag tycker tyvärr inte att den gjorde meningen rättvisa. Försök till filosoferande och miljöbeskrivningar blev utdragna på ett sätt som var tråkigt, då läsaren inte riktigt hade fått anledning att bry sig än och i princip aldrig fick det. Jag tyckte själva delarna om konst var intressanta, men jag kan se hur det kan vara ointressant för andra, och då skulle en spännande och/eller bra handling balansera ut det, men jag tycker det saknades. Allt handlade om männen och ensamheten, och jag kanske är orättvis som tycker den ska handla om annat ifall det inte var författarens intention, men det skildrades på ett upprepande, oengagerande, ja, tråkigt vis som bara kändes uttjatat. Karaktären fick aldrig riktigt lysa igenom. Jag tror att filosoferandet om livet och konst skulle fungera som ett sätt att låta oss lära känna Karolina, men det kändes ofta slumpartat och klumpigt placerat. Jag menar då inte själva skrivandet - det finns ingen tvekan om att Therese Bohman är en bra författare, men kanske inte helt författaren för mig då. Men jag gillade hennes senaste, Andromeda, så det kanske bidrar till besvikelsen.
Jag kände mig också lite halvtriggad av handledarsamtalen då jag blir påmind om mina egna, men det är mitt egna problem...
Den här boken gjorde mig så förbryllad. Å ena sidan har den mycket jag är intresserad av och som är relevant eller igenkännande i mitt liv. Jag gillar campusromaner och jag har ett intresse för konst även om jag inte kan mycket (fast vissa referenser förstod jag! fan va smart jag kände mig då). Jag själv tog min master i litteraturvetenskap på Stockholms universitet, och trots att det inte är inom konst anser jag (kanske felaktigt, men troligtvis inte) att humanioraämnena går väldigt hand i hand ibland och kunde därför föreställa mig typ allt som befann sig inom universitetets väggar i berättelsen. Och kanske det gjorde att jag inte riktigt kunde lista ut vem Karolina egentligen är som karaktär. Hon skiftade till utseende mellan mina gamla lärare, och kanske det gjorde mig obekväm. Samtidigt är detta inte den första eller sista romanen jag läser med universitet som miljö (min masteruppsats handlade om campusromanen, hallå!) så det BORDE inte vara enda anledningen till mina blandade känslor heller.
Jag fick heller inget grepp om storyn. Eller egentligen FÖRSTÅR jag ju exakt vad den ville säga och varför den byggdes upp som den gjorde, men jag tycker tyvärr inte att den gjorde meningen rättvisa. Försök till filosoferande och miljöbeskrivningar blev utdragna på ett sätt som var tråkigt, då läsaren inte riktigt hade fått anledning att bry sig än och i princip aldrig fick det. Jag tyckte själva delarna om konst var intressanta, men jag kan se hur det kan vara ointressant för andra, och då skulle en spännande och/eller bra handling balansera ut det, men jag tycker det saknades. Allt handlade om männen och ensamheten, och jag kanske är orättvis som tycker den ska handla om annat ifall det inte var författarens intention, men det skildrades på ett upprepande, oengagerande, ja, tråkigt vis som bara kändes uttjatat. Karaktären fick aldrig riktigt lysa igenom. Jag tror att filosoferandet om livet och konst skulle fungera som ett sätt att låta oss lära känna Karolina, men det kändes ofta slumpartat och klumpigt placerat. Jag menar då inte själva skrivandet - det finns ingen tvekan om att Therese Bohman är en bra författare, men kanske inte helt författaren för mig då. Men jag gillade hennes senaste, Andromeda, så det kanske bidrar till besvikelsen.
Jag kände mig också lite halvtriggad av handledarsamtalen då jag blir påmind om mina egna, men det är mitt egna problem...
denovo_reviews's review against another edition
2.0
This writing style was odd to me and the protagonist drove me crazy. Maybe I’m just not in the right headspace to hear the story of a sad professional who is struggling with being single, but it wasn’t for me this time around.
I will say though - the ending had me pretty hype. A good lesson for mediocre dudes.
I will say though - the ending had me pretty hype. A good lesson for mediocre dudes.
narcyzowa's review
3.0
Takie 2,75/5. Sięgnęłam po nią, jako po ostatnią książkę autorki (z tych przetłumaczonych na język polski) i niestety podoba mi się najmniej. Może przez to, że mogłam już ją porównać do reszty dzieł Therese Bohman, ta wydała mi się taka najbardziej hmm… nijaka?
erboe501's review against another edition
emotional
reflective
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Flaws of characters a main focus? Yes
3.25
For such a slim novel, Bohman covers a lot of philosophical ground with her protagonist. I found Karolina a complicated, rather incomprehensible character. Perhaps some of her inscrutability to me is her Swedishness. Her moral compass is straightforward when it comes to aesthetics and good art, but her emotional and relational landscape seemed incredibly messy. To feel so much, but to hold people at such a distance from real vulnerability. To be so lonely and casually sleep with so many men. She's in a lot of emotional pain, but that pain didn't reach me.
Most of the novel could be a little depressing. The center of the book is Karolina's inner state, less so the potentially groundbreaking art history discovery. An art history thriller/mystery is not what this book is, nor is it dark academia. And the academic scenes and art descriptors/research were some of my favorite bits of the book. But the ending does bring some satisfaction in regard to the excavation of this lost female artist and the duplicitous student who discovered her.
Most of the novel could be a little depressing. The center of the book is Karolina's inner state, less so the potentially groundbreaking art history discovery. An art history thriller/mystery is not what this book is, nor is it dark academia. And the academic scenes and art descriptors/research were some of my favorite bits of the book. But the ending does bring some satisfaction in regard to the excavation of this lost female artist and the duplicitous student who discovered her.
magda_doublebookspresso's review
2.0
O ile "Ta druga" zrobiła na mnie ogromne wrażenie, o tyle przez "O zmierzchu" z trudem przebrnęłam.
Główna bohaterka, profesor Historii sztuki idzie przez życie dość krnąbrnie, myląc przy tym przygodny seks i alkoholizm z wolnością. Postać odrzuca swoją postawą. Jeżeli sobie z czymś nie radzi, ucieka w pracę lub wino.
Bohman popłynęła w dygresjach - a to o sztuce, a to o artystach, trochę o przyrodzie , innym razem o wystroju mieszkania. Książka złożona z 200 stron nużyła niemiłosiernie
Główna bohaterka, profesor Historii sztuki idzie przez życie dość krnąbrnie, myląc przy tym przygodny seks i alkoholizm z wolnością. Postać odrzuca swoją postawą. Jeżeli sobie z czymś nie radzi, ucieka w pracę lub wino.
Bohman popłynęła w dygresjach - a to o sztuce, a to o artystach, trochę o przyrodzie , innym razem o wystroju mieszkania. Książka złożona z 200 stron nużyła niemiłosiernie