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Jean Renoir is a very famous artist in his own right, having made numerous films and become one of the most acclaimed directors in French cinema history. Here he has taken great pains to paint a fine portrait of his renowned father, this time with a pen. He has succeeded admirably.
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While Dorothy and Albert have given us lists, lists, and more lists to follow and yet others to create lists of our own, throughout their little treasure of a book is a taste of the loving, compassionate sensibility without which any attempt to survive is bound to be futile.
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Ringed Castle spins two riveting tales, Lymond's attempted remaking of Ivan the Terrible's Russia and Philippa's rise into the upper reaches of the English Royal Court. Vivid supporting characters abound: explorer Diccon Chancellor, chess afficiando Tsar Ivan, astrologer John Dee, and Margaret Lennox, Elizabethan femme fatale. The evocation of the Kremlin is gorgeously detailed, as are Lymond & company's adventures in Russia's unforgiving winter and the heartstopping voyage back to England -- Dunnett's uncanny ability to recreate the exotic past with such force you feel yourself there is in full flower. The book's first two thirds are excellent.
But as in the previous volume, Ringed Castle starts to feel like work down the backstretch. Dunnett's authorial sleight of hand in hiding much of Lymond's viewpoint until the final pages begins to frustrate in its familiarity, this ruse particulary trying given the ongoing story regarding his mysterious parentage.
One hopes for less of this in the final volume...
Dorothy Dunnett obviously feels a great love for Philpipa because she gives her the best lines and gave her a marvelous sense of humor. She is a wonderful character, both funny and wise. But her greatest attribute is her strong moral character, her desire to do the right thing. In the prior novel, her desire to save Lymond's son caused to her to risk everything--not everyone would become a member of a harem in an effort to save a life. In Ringed Castle, her desire to reconcile Lymond with his family causes her to place herself at great risk.
With regard to Ringed Castle, I didn't find it as consistently compelling as Pawn in Frankincense, but it is still a wonderful book, particularly the haunting and tragic voyage back to England and the last 100 pages at the English court.
I have a tinge of sadness in the realization that I have only one more installment to see how it all ends, to see if Philippa can ultimately tame Lymond.
Luckily, this series is so strong on many levels I can look forward to many productive and enjoyable re-readings.
In the last two parts, Bryant retreads familiar literary ground. Mei-Li's Depression-era experiences are very much like Steinbeck's novels (both "In Dubious Battle" and "The Grapes of Wrath"), yet, like other proletarian fiction of the time (such as Alexander Saxton's "The Great Midland"), it is more representative of the non-white ethnic mix of American labor. Mei-Li ends her life in an asylum for the mentally ill, in a section that exposes the injustices of these institutions while simultaneously displaying the humanity that can flourish within their walls. Mei-Li's various episodes and adventures, while seemingly unconnected, conspire to trigger the novel's one big plot twist--and I can't say anything else without ruining the surprise
As J. J. Wilson notes in her afterword, the novel is "admirably well-researched," and the result is a fascinating historical panorama. The narrative is always absorbing and occasionally suspenseful, yet the story is rarely emotional or sentimental; Mei-Li relates the death of a lover with the same matter-of-fact tone she uses to describe one of her fraudulent seances. Often this works in the book's favor, but at times the meticulous research and academic tone nearly overwhelm the drama. Even Wilson admits that Bryant "chose a difficult path in putting her Psyche in charge of her own narrative. . . . Mei-Li reports events with little comment."
In spite of this weakness, Mei-Li's story is faithfully and believably depicted, and there is much wisdom and beauty to be culled from Bryant's epic novel.
The setting: great
The characters: interesting
The plot: good
The descriptions: excellent.
I left the story a little sad for people that read and quoted scripture yet knew nothing of forgiveness, repentance or unity.
Tension and excitement are found on every page, as Letty and Mike fall in love, then lose each other due to Letty's father. When Letty - fifteen, pregnant, and terrified - seeks out her grandparents that she doesn't even know, in hopes they will take her in until Mike finds her, you can feel the fear with every word Ms. Garlock writes. Throughout the story, you feel all the growing pains of Letty as she becomes a woman and mother.
Mike Dolan comes home from working in the logging camp to hearing that Letty has become ill and died at her grandparent's farm. Mike begins a reckless life when joining the war, and when he finally gets out... decides to visit Letty's gravesite, hoping he'll be able to move on. Only instead of a gravesite for his dear Letty, he finds out she is alive... and with another last name... could she actually be alive?? ... and is she married???
In addition, the story includes murder and threats from Letty's family after many years... these items will keep you turning the pages!
This is a touching story, and if the romance doesn't draw you in... the relationship of Mike Dolan with his son, Patrick, will. Great story... and as always with Ms. Garlock, great selection of characters!!!
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The Elaine Stritch readings of seven of these stories are also tremendously entertaining and worthy of separate purchase. The delight of sitting in a darkened room, listening to a master actress reading Mrs. Parker, sipping from a tumbler of whiskey, must be experienced to be believed.
To these I can now add Dorothy Parker--whom I discovered only last month after enjoying the above social-critics for decades. A sharp-tongued journalist, Parker wrote in New York City in the 1920's through the 1950's. She's a key addition to the "fruit salad" of these writers--call her a lime, perhaps--small, tart, acid but somehow quenching our thirst for the truth however tangy?
Parker precisely pinpoints interpersonal shipwrecks. Marriage is--what happens. Often it's like this:
In "New York to Detroit," on the telephone, a man mechanically shoves a desperate woman out of his life. The bad connection aids his "misunderstandings" of her frantic pleas.
In "Here We Are," a just-married couple travel by train to their New York City honeymoon hotel. But we see already the stress-fractures of immature overreactions, and how out of them starts to ooze the lava of hatred which will surely melt down (or burn out) the marriage soon.
In "Too Bad," women are perplexed, even astonished, that the Weldons separated. Such an ideal couple! Except Parker eavesdrops us into the couple's typical evening at home. Its genteel vacancy, polite non-communication, and quiet distancing tell the tale.
Is Parker too crude a caricaturist? Heavy on the satire, too bitter personally? True, her women seem simplified: helplessly-hysterical, nice-nice faceless patseys or creampuffs, captives of bland routines--and of men. Her men similarly seem generic males-of-the-species, "blunt bluff hearty and...meaningless," conventionally-whiskered and all, chauvinistically-insensitive if not cruel. Okay... But if it's overdone, why do I feel I have known and seen these people, or traces of them, often, and not in New York of the 1920's-1950's either?
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Also Harriet fought in the army, became a nurse in an Negro hospital and trained other women to be nurses and founded the African Methodist Episcopal Zion Church. She was a very tall black women that could not read or write. But she did so much for the slaves and to help free them.
As we get to know Renoir we get to know his contemporaries, too. Jean Renoir writes about Monet, Cezanne, Manet, Sisley and many other great artists. We learn many "little known" facts, such as Monet's penchant for lace and his "artful" way with the ladies.
Paris really comes alive in this book. Many of the places Renoir writes about still exist and can be visited today. This book makes any art lover's trip to Paris more meaningful whether he's a Renoir fan or not.
When reading this book, one must remember that this is not a "run of the mill" biography. This is a son writing about the father he adored. The portrait we are given is very intimate, detailed and loving. It's obvious that Jean Renoir adored his father, just as Auguste Renoir adored his family.
Ultimately, this book is a beautiful tribute from a loving son to a father who was one of history's consummate artists. If you have any interest at all in art, this is one book you simply must not pass up. The last page alone will break your heart.