I’ve completely lost track of my numbers but I think I’m somewhere in the 30s or 40s. My latest 3:
The Overstory - Richard Powers
Sunfall - Jim Al-Khalili
The Turn of the Screw - Henry James
The Overstory I loved this in places. The first half I really enjoyed, with the chapters moving between the unrelated characters, but all connected by trees, in some magical, often mysterious ways. The second half suffered from being much too long and repetitive, and while it was interesting to see how the lives of the characters came together there was far too much unnecessary waffle (I’m sure Patricia gave the same speech 3 times
)
I ended up skipping a lot at the end, which felt a shame as I loved so much about the first half and the writer’s style.
Sunfall was a book I loved but probably shouldn’t have! Jim Al-Khalili is a physicist (and a bit famous on tv), and Sunfall is his first attempt at fiction. It’s set a little way in the future, when the Earth’s magnetic field has gone haywire, leaving it vulnerable to the sun’s radiation. Scientists are predicting the magnetic field will flip, but the reality is not quite what they expected. The science fiction (and science fact) parts are as brilliant as you’d expect, albeit slightly on the bonkers side of the bonkers-to-plausible scale. Some of the writing and characterisation is pretty clunky though, which I usually really really hate. For some reason though, I loved this to bits, through all the clunkiness, cheesiness, mad science and unfortunately irradiated bystanders.
The Turn of the Screw I thought this would be a good Halloween pick - a nineteenth century, Gothic inspired twist on a ghost story. A young governess is sent to a country house to take care of the adorable-seeming, beautifully behaved niece and nephew of her employer. The governess soon finds that the house is also home to the former governess, and a former valet who, despite being dead, have refused to move on. By far the most terrifying thing about this story though, is the 19th century grammar which, although its beauty is not without merit, eschews the common full stop for a more exciting range of punctuation - have a dash! A comma! A semicolon! - in constructions that may well be intended to twist one’s brain alongside the twists and turns of the story itself (for was what the poor governess saw a fact or a fiction?) in a manner akin to being flung down a semantic waterfall, for - and admittedly my brain has been weakened by the simplicity of modern texts (although surely not alone in this!) - one did tend to find that one would end a sentence without having the slightest blethering feck of a clue what happened at the beginning of it.