McEwan is in the book news lately for three passages in his novel, Atonement, which have some resemblance to a wartime nurse's memoir he openly acknowleged using for research. Atonement is one of my favorite novels of recent years and for the record, it wasn't those three passages that put it at the top of my list. The question of plagiarism in fiction is sometimes an interesting one--but in this case, it seems to be too much ado about too little.
For awhile, I avoided reading this earlier novel, The Comfort of Strangers, partly because I wasn't too excited by my other McEwan reading, Amsterdam, and a brief foray into The Cement Garden didn't grab me either, not to mention I was traumatized by a teenage viewing of the movie adaptation (Christopher Walken plays the villain--need I say more?) but actually this short novel is compelling for a lot of the reasons Atonement is--it takes you in very very close to another person's experience. McEwan is a master of taking his time in scene, observing setting, action and thoughts at a pace slower than which most of us actually live. And so as a reader you're forced tightly inside of the point of view character's experience. In the case of Comfort of Strangers, it is a nightmare travel experience that made me unlikely to ever set foot in Venice. A colleague and I recently decided that the tourist literature of Italy can be split into two camps--the romantic dream (say Room with a View) or the deadly.
"What sort of diary should I like mine to be? Something loose knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful that comes into my mind. I should like it to resemble some deep old desk, or capacious hold-all, in which one flings a mass of odds and ends without looking them through." --Virginia Woolf
Showing posts with label Ian McEwan. Show all posts
Showing posts with label Ian McEwan. Show all posts
Tuesday, November 28, 2006
Friday, May 06, 2005
Saturday by Ian McEwan
I’m a big fan of Mrs. Dalloway, which seems to have been the blueprint for Saturday, and I’m a big fan of Atonement, McEwan’s previous novel, and this dual fandom probably made it difficult for me to fall for this novel. But the book does represent some smart decisions—for example, making your narrator expert in something (in this case, neuroscience) gives him an interesting way of seeing the world, and giving him a poet-daughter who is trying to educate him on literature allows him to talk about art in a way that the stereotypical neurosurgeon would not—but ultimately those smart decisions left me cold when the novel’s climactic event brought the two together in a way that seemed far too convenient for the writer. Much to admire here though.
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