Reading report
For the third time, I’m trying to read Rebecca. Some passages are very good. Some could have been trimmed down a bit. In general, the book emits a nice, festering scent of dread.
I was inspired to try out Rebecca again because I’d just finished a du Maurier-like James Bond novel: The Spy Who Loved Me. What a weird little book. Its narrator, a young woman, juxtaposes her sordid past with her terrifying present, in which two monstrous goons pursue her through a nightmarish landscape. Toward the end, James Bond becomes the narrator’s life-saver and lover. (I haven’t spoiled the plot, most of which can be discerned by reading the table of contents.) Bond behaves like a douchebag.
In the Bond novel, the haunted past is, for the most part, linearly recounted – not woven in along with the present terror, a technique that du Maurier skillfully employs in Rebecca. Ian Fleming should’ve written a second draft. But, apparently, he never did that with his novels. Not surprisingly, The Spy Who Loved Me was poorly received: none of the book’s plot was incorporated into the movie of that title, and Fleming made the book unavailable as a paperback for as long as he could.
These two fantastical novels have been something of a break from the realism of Sjöwall’s & Wahlöö’s police procedurals, of which I’ve read five in the last two months. I’m halfway through that series. I now have no trouble identifying the funny parts. When certain characters appear – especially the unrefined inspector Gunvald Larsson and the lazy patrolmen Kristiansson and Kvant – it’s a signal that humor is forthcoming. It’s the despairing kind of humor that says, “On such pillars as these, society rests.” The Swedish welfare state is criticized for allowing the lower orders to distract themselves with drugs, drink, and sex while the upper orders squirrel away the crucial assets. It’s a criticism from the Left: it explains why the workers of the world aren’t uniting.
I was inspired to try out Rebecca again because I’d just finished a du Maurier-like James Bond novel: The Spy Who Loved Me. What a weird little book. Its narrator, a young woman, juxtaposes her sordid past with her terrifying present, in which two monstrous goons pursue her through a nightmarish landscape. Toward the end, James Bond becomes the narrator’s life-saver and lover. (I haven’t spoiled the plot, most of which can be discerned by reading the table of contents.) Bond behaves like a douchebag.
In the Bond novel, the haunted past is, for the most part, linearly recounted – not woven in along with the present terror, a technique that du Maurier skillfully employs in Rebecca. Ian Fleming should’ve written a second draft. But, apparently, he never did that with his novels. Not surprisingly, The Spy Who Loved Me was poorly received: none of the book’s plot was incorporated into the movie of that title, and Fleming made the book unavailable as a paperback for as long as he could.
These two fantastical novels have been something of a break from the realism of Sjöwall’s & Wahlöö’s police procedurals, of which I’ve read five in the last two months. I’m halfway through that series. I now have no trouble identifying the funny parts. When certain characters appear – especially the unrefined inspector Gunvald Larsson and the lazy patrolmen Kristiansson and Kvant – it’s a signal that humor is forthcoming. It’s the despairing kind of humor that says, “On such pillars as these, society rests.” The Swedish welfare state is criticized for allowing the lower orders to distract themselves with drugs, drink, and sex while the upper orders squirrel away the crucial assets. It’s a criticism from the Left: it explains why the workers of the world aren’t uniting.
