On Green Dolphin Street by Sebastian Faulks

If you are a fan of Sebastian Faulks's writing then this one is another winner. The careful way in which he unfolds his characters and develops them using a backdrop in history is fascinating. I particularly love the way that he uses authorial intrusion and the way in which his characters inner feelings are explored.

On the other hand, not one for those who are searching for a deep war novel having read 'Birdsong'. Read with this in mind and appreciating the exploration of characters and words and you will not be disappointed.

A Short History of Tractors in Ukrainian by Marina Lewycka

Laugh out loud funny, a good light read. The story is an insight into the difficulties faced by many families and the struggles that come with age. 

Mostly told through direct speech and little authorial intrusion. Marina Lewycka introduces her characters slowly, unraveling mysteries and flaws with stories of the past. Description is not what makes it unusual. Although the novel is mostly seen through the eyes of one character, actions and decisions taken by other characters and how they are revealed make up a large part in how the reader judges the characters.

I particularly enjoyed the way the plot breaks with snippets of detail and history about tractors in Ukraine, a book that one of the characters writes. The novel within a novel, mise-en-abime, technique works really well with the main plot. The differences of the two stories highlighting the vast differences in society and between the two cultures: Ukrainian and British.

The plot would make for an excellent script of a play as I think there is strengh in the story and characters to entertain and educate an audience.

A good novel if you are looking for something different. Not your average classic love story or war history novel.

Favourite quotation:

"Weddings like funerals, provide the perfect arena for family drama: there are the rituals, symbolic costumes, and every opportunity for snobbery in its many guises."

Birdsong by Rachel Wagstaff at The Comedy Theatre

Passion, forbidden love and brutality of the battleground

 

Ben Barnes says: "It's amazing how many people have tapped into this book as something that feels very personal to them, even though it's fictional." in BBC News interview. This stage version of Sebastian Faulk’s best-loving novel, is able to convey this very feeling.  The love-war tale against a war backdrop is epic. Gripping scenes transport the viewer, between the tearful love story and the tragedies of war.

The use of juxtaposition from one scene to another adds to the vulnerable state of the characters and delicate situations they face. The acting is successful in conveying the journeys of love and war faced and how in turn, these mature them. 

Costumes add to the beautiful simplicity: Lisette’s white garments contrasting with Isabella’s splashes of red. Battleground and trench scene attire bring forward to uniform-like nature of the situation, with little difference between the men: They all face the same daily living nightmare. 

Depictions of life on the trenches and the battles are recreated through outstanding set designs. The juxtaposition of clear daylight, fresh air and laughter of previous scenes with Isabella and Stephen with those of cramp and dimly lit underground trenches is a stark reminder of the life thousands of soldiers lived through. In addition to this, the birdsong that is heard and echoed on the empty, silent battlefield is chilling to the bones and reminiscent of Faulk’s harrowing descriptions of the scenes at the Somme. 

Transporting you emotionally, the sounds and lighting augment the reality. The roll of names of officers killed during the Battle of the Somme, with the simplicity of the stage is harrowing. The manner in which the names are called out in subsequent order, with a distinct lack of emotion highlights the futility of war and disturbing realism of the number of lives lost.

The entrapment scene with Stephen and Jack is particularly commendable. The acting is magnificent, showcasing the camaraderie between soldiers in situations of life and death. This followed by a striking field of red poppies on a bed of grass. A perfect ending to a remarkable show.   

Poignant, enthralling and beautifully acted. Not to be missed.

 

Sources: 

BBC Interview with Ben Barnes- http://www.bbc.co.uk/news/entertainment-arts-11288511

 http://www.birdsongtheplay.com/ 

Cast: The stage version has been penned by Rachel Wagstaff, with Trevor Nunn directing. Alongside Barnes, the cast includes Nicholas Farrell (Chariots of Fire), Iain Mitchell (La Cage Aux Folles), Genevieve O'Reilly (Spooks) Lee Ross (EastEnders) and Zoe Waites (The Other Boleyn Girl).

The Time Traveller's Wife- novel by Audrey Niffenegger and film directed by Robert Schwentke

This was a publishing sensation. Could it be due to the fact that the novel combines two of the most loved types of genre, romance/love and fantasy/sci-fi? One thing is for certain, it definately has a page-turner quality about it. 

Having read the book and then watched the film adaptation, I believe the novel would have been better translated into a mini series on television rather than a film, because a series could have celebrated the page-turner quality to build up suspense and create further interest. For example, it is clear from early on that Henry is a time-traveller in the film, whereas the build-up to the explanation leaves the reader speculating while reading the novel. This could have been used to heighten curiosity in a television series format. I am not convinced that viewers of the film who had not previously read the novel got the same sense of urgency that comes across in Niffenegger's novel, particularly in the earlier time travelling scenes.

Niffenegger writes most of the novel using direct speech. The flicking back and forth from past, present and future works well as a way for the reader to appreciate the urgency and sense of time that Henry experiences. The narration splits also, at times being told through Claire's eyes whilst other times through Henry's. While I appreciate this literary technique in other works- namely Margaret Atwood's novels, in this it did not work as well. There was something missing for me: a lack of description and authorial intrusion made it feel almost like a script at some points in the novel. However, one thing is clear: the novel is called The Time Traveller's Wife, not 'The Time Traveller' and the reader is able to feel more sensitivity towards Claire than Henry. It is fair to say that it is not as evident in the film and at times almost feels as if the novel centres around Henry. 

Overall I would say that the mixture of themes used and the way in which the novel opens and finishes are its more stronger qualities. However, I did not feel the urge to immediately recommend it or reading further on the work and author upon completion. Whilst it would appeal to many readers, it did not tick the boxes of things I seek in a work of fiction. Finally, one thing I would suggest is for readers to watch the film adaptation and compare the differences.

Small Island by Andrea Levy

Another magnificent piece of literature using war as a backdrop. Andrea Levy tells the story of prejudice, hardships, circumstance and passion.  The story is narrated from the perspective of four different characters. The way in which the voice of narration is shifted as well as the time space, draws in the reader drawn as individual stories unfold. Furthermore, Levy writes uses direct speech and local dialects, interemingling Jamaican style with Cockney style. This gives each character a uniqueness and personalisation which in turn make them come alive as people jumping off the page, rather than two-dimensional characters.

Skillfully written, the narration is not in any way judgemental or demeaning and the themes of racism and cultutral differences are tackled delicately. Levy uses juxtaposition creatively, both in showing attitudes between the English and Jamaicans as well as writing of different situations. There is force in the writing, creating tension for the reader. In addition to this, the use of pathetic fallacy is powerful and exemplary.

Funny yet tragic, an absolute must-read.

The BBC adaptation by John Alexander is excellent. Beautifully adapted and superbly acted, it is loyal to the novel and manages to retain the warmth of the story.

Pride and Prejudice - Adapted for the stage by Simon Reade

I saw this at the Oxford Playhouse earlier this year and it was wonderfully done. As any die-hard Austen fan knows, this particular work of hers is not easy to transcribe into film, let alone theatre. The costumes were spot-on and the set design very impressive. Lighting, music and sound complement the story as it unfoldswhilst managing to match to the mannerisms of each character.

All in all, a beautiful transcription that preserves the charm of the best-loved novel. A highly recommended show. The Theatre Royal Bath Productions are currently touring the UK with this so catch it while you can.

 

http://www.oxfordplayhouse.com/archive/show.aspx?eventid=1307

Producing Company - Theatre Royal Bath Productions

Further Information

Director - Toby Frow
Designer -  Christopher Wood
Lighting - Johanna Town
Music & Sound - Richard Hammarton

Susan Hampshire leads as Mrs Bennett.

Mrs Moneypenny: Survival in the City

Survival in the City by Mrs Moneypenny

Excellent writing by Mrs Moneypenny. Intelligent and humourous whilst retaining a light-hearted style. Highly recommended to anyone, from beginners in the financial world to high-flying City workers. A must read for followers of Mrs Moneypenny's FT Weekend column.

The Boy with the Topknot: A Memoir of Love, Secrets and Lies in Wolverhampton by Sathnam Sanghera

The Boy with the Topknot: A Memoir of Love, Secrets and Lies in Wolverhampton by Sathnam Sanghera

Excellent first novel tackling the theme of cultural difference and growing up. Gripping and laugh out loud funny from start to finish, Sanghera tackles delicate themes and issues in multicultural Britain admiringly. If you like his style and manner from his column in The Times then you will enjoy this. 

The Book Thief by Markus Zusak

The Book Thief by Markus Zusak

I loved this book. So much so that when I finished it, I turned to the front and began reading it from the start again.

Zusak writes beautifully. The narrator style is unique, witty and engaging. The characterisation is done in a very creative and individualistic way and the use of literary techniques in the novel is impressive. As a result, the way in which relationships develop as the story unfolds is wonderful.

If like me you like to gain an understanding and appreciation of time periods, situations and events then this book will give you just that. You will laugh, cry and be immersed and in array of emotions along the way. Zusak's manner of using history as a backdrop to educating the reader is brilliant.

I would recommend it to anybody who appreciates good story-telling and experimental writing styles. I have bought this book as a gift for many friends since reading it. Heartwrenching yet heartwarming at the same time.

Charlottte Gray by Sebastian Faulks

A beautiful novel about hope, loss and combat set in a World War II backdrop.  
Horrors of war are described in minute detail and the use of synasthaesia help heighten the impact. The juxtaposition between the different atmospheres and situations experienced by the characters is skilfully used to transport the reader between the accounts, which link together. Although the story is told in the third person, you are able to feel each character's conflicts and emotion. The multiple accounts do not isolate you, instead they involve the reader and keep them gripped by the events that unfold.
The use of historical background and the accurate detail with which events are unfolded intensify the drama.
Compelling, moving and haunting. Powerful, emotional and painfully descriptive. A wonderful read and a definite war literature must-read.

Favourite quotations:

“Charlotte pulled back the door of the compartment and stepped out. Levade had told her one day that there was no such thing as a coherent human personality. When you are forty you have no cell in your body that you had at eighteen. It was the same, he said, with your character. Memory is the only thing that binds you to earlier selves; for the rest, you become an entirely different being every decade or so, sloughing off the old persona, renewing and moving on. You are not who you are, he told her. Nor who you will be.”

p.471.

“She could still recall the feeling of intense separation from the world that meeting Gregory had induced in her. She had never really believed that It would work out happily, she had hoped, but she had not believed. Before she left Edinburgh, her father had warned her that it was dangerous ever to think that one had solved buried problems of memory and fear. The human desire for neatness, he said, would always ultimately be defeated by the chaos of the mind’s own truths” – p486.