It is rare to find literature that consumes one's entire life, but Robert Jordan held mine firmly for a long period of time.
While waiting for the final book of The Wheel of Time, I have been reading a variety of novels. It is only recently, however, that I began to read in the same genre as Jordan's epic work. Finding a copy of Medalon by Jennifer Fallon, I sought to placate myself with another fantasy world.
This was hopeless. The sheer volume of detail, rhetoric, character development, plot and even scenery of The Wheel of Time series towers above all other fantasy works. The books have dealt with the complicated issues of love and lust, morality, religion and war to name but a few. In addition to this, just about every journey or occurrence in the lives of the main characters (of which there are about a dozen) is chronicled in brilliant detail.
Of course, Fallon may not be aiming to approach fantasy writing in the same manner. But one cannot help but be drawn into Jordan's vibrant universe, and consequently think less of parallel literature. The ease with which one can insert themselves into this world and the preference readers have held for the series is not an insult to other writers, but a testament to its own magnificence.
Robert Jordan's death was not the end of his legacy, nor was The Wheel of Time the beginning of epic fantasy. But it was a beginning.
-The English Student
Saturday, February 23, 2008
Sunday, February 17, 2008
Ulysses - An Epic For The Comatose?
James Joyce presents a unique stream of consciousness in Ulysses. However, this conflicts with our own flow of thought.
When reading the thoughts of Leopold Bloom or Stephen Dedalus, we follow the progression of their feelings. They see or hear something and instantly consider experiences that they innately associate with these sources.
Unfortunately, I have my own stream of consciousness. So, as Bloom considers death, prompted by a letter from his daughter, I consider death, prompted by his thoughts. Consequently, the text is somewhat forgotten in lieu of my personal considerations. If anyone is to truly understand all occurrences in Ulysses, they would do well to enter a mental state of hibernation.
However, while the comatose may appreciate the subtle nuances of the text and associate themselves more readily with the main characters, they would lose the essence of the narrative. By allowing our minds to wander in the same manner as Leopold Bloom, Ulysses reaches further into the depths of humanity.
A web of thought and emotion is woven through the intermingling consciousness of both the reader and character, making Ulysses not just a book, but a living investigation of humanity.
-The English Student
When reading the thoughts of Leopold Bloom or Stephen Dedalus, we follow the progression of their feelings. They see or hear something and instantly consider experiences that they innately associate with these sources.
Unfortunately, I have my own stream of consciousness. So, as Bloom considers death, prompted by a letter from his daughter, I consider death, prompted by his thoughts. Consequently, the text is somewhat forgotten in lieu of my personal considerations. If anyone is to truly understand all occurrences in Ulysses, they would do well to enter a mental state of hibernation.
However, while the comatose may appreciate the subtle nuances of the text and associate themselves more readily with the main characters, they would lose the essence of the narrative. By allowing our minds to wander in the same manner as Leopold Bloom, Ulysses reaches further into the depths of humanity.
A web of thought and emotion is woven through the intermingling consciousness of both the reader and character, making Ulysses not just a book, but a living investigation of humanity.
-The English Student
Saturday, February 9, 2008
Queens of the Stone Age: Concert Review
Objectivity is not always a useful writing stance. For true appreciation of art, a personal style is essential. Consequently, I begin this "review" knowing full well that I am a completely biased fan!
However, I do find it hard to believe that there were any unbelievers left after Queens of The Stone Age rolled into my local area. Following the release of their fifth studio album, Josh Homme and his latest rabble of rockers have taken to touring, bringing their brand of guitar fuelled, robot rock mayhem on the road.
My city was no exception to the coming of their elegant chaos. After beginning their set with the Era Vulgaris opener, there was no letting up as Josh Homme, buoyed by hardcore Queens Joey Castillo and Troy Van Leeuwen ripped the venue down around us. Powerful drum work and piercing guitar riffs pounded across the crowd, allowing fresh rookies Michael Shuman and Dean Fertita to fill in the gaps with style.
Jettisoning more popular songs such as "No One Knows" allowed room for the real fan favourites that varied from the beautiful depression of "In The Fade" to the evil carnage of "Infinity", with the highlight of the night being "You Can't Quit Me Baby". By augmenting these unusual set choices with classics such as "Go With The Flow", Homme successfully created an experience that, while full of diversity, still epitomised everything that the band has been doing since their self-titled debut.
Journalism is not about callous factual records. The passion and fire elicited by this amazing concert simply cannot be forced into a neutral framework. I leave that, to the hacks...
-The English Student
However, I do find it hard to believe that there were any unbelievers left after Queens of The Stone Age rolled into my local area. Following the release of their fifth studio album, Josh Homme and his latest rabble of rockers have taken to touring, bringing their brand of guitar fuelled, robot rock mayhem on the road.
My city was no exception to the coming of their elegant chaos. After beginning their set with the Era Vulgaris opener, there was no letting up as Josh Homme, buoyed by hardcore Queens Joey Castillo and Troy Van Leeuwen ripped the venue down around us. Powerful drum work and piercing guitar riffs pounded across the crowd, allowing fresh rookies Michael Shuman and Dean Fertita to fill in the gaps with style.
Jettisoning more popular songs such as "No One Knows" allowed room for the real fan favourites that varied from the beautiful depression of "In The Fade" to the evil carnage of "Infinity", with the highlight of the night being "You Can't Quit Me Baby". By augmenting these unusual set choices with classics such as "Go With The Flow", Homme successfully created an experience that, while full of diversity, still epitomised everything that the band has been doing since their self-titled debut.
Journalism is not about callous factual records. The passion and fire elicited by this amazing concert simply cannot be forced into a neutral framework. I leave that, to the hacks...
-The English Student
Sunday, February 3, 2008
Sweeney Todd: A Review
Tim Burtons' masterpieces continue to be a much needed ray of darkness in an all too bright sky.
As the name suggest, Sweeney Todd: The Demon Barber of Fleet Street explores the life of a barber living on Fleet Street in London. He is imprisoned on a false charge and returns from his internment to find his wife dead and his daughter in the clutches of the evil Judge Turpin. A sordid tale of vengeance follows.
Such a story naturally hinges on the acting ability of the protagonists. Unfortunately, much of the back story regarding Todd's (Johnny Depp) family is washed over, making his desire for bloody revenge hard to understand. Despite this problem, the acting prowess of Depp and Helena Bonham Carter is fully on display. Depp comes across as a morbid David Bowie from the Labyrinth, while Carter's portrayal of Mrs. Lovett can be likened to a demonic form of Mrs. Havisham.
As usual, Burton retains his specific sense of style with a deliciously evil flourish. The gloomy greys of London are the perfect canvas for Burton to quite literally rain blood down upon.
Sweeney Todd: The Demon Barber of Fleet Street conforms to the directors exacting standards. Coupled with an outstanding performance by Johnny Depp, this film successfully confirms Burtons' status as a contemporary genius.
-The English Student
As the name suggest, Sweeney Todd: The Demon Barber of Fleet Street explores the life of a barber living on Fleet Street in London. He is imprisoned on a false charge and returns from his internment to find his wife dead and his daughter in the clutches of the evil Judge Turpin. A sordid tale of vengeance follows.
Such a story naturally hinges on the acting ability of the protagonists. Unfortunately, much of the back story regarding Todd's (Johnny Depp) family is washed over, making his desire for bloody revenge hard to understand. Despite this problem, the acting prowess of Depp and Helena Bonham Carter is fully on display. Depp comes across as a morbid David Bowie from the Labyrinth, while Carter's portrayal of Mrs. Lovett can be likened to a demonic form of Mrs. Havisham.
As usual, Burton retains his specific sense of style with a deliciously evil flourish. The gloomy greys of London are the perfect canvas for Burton to quite literally rain blood down upon.
Sweeney Todd: The Demon Barber of Fleet Street conforms to the directors exacting standards. Coupled with an outstanding performance by Johnny Depp, this film successfully confirms Burtons' status as a contemporary genius.
-The English Student
Subscribe to:
Posts (Atom)
