Critiques et Commentaires

well, now: this is some kind of 'how would S. King write a Lovecraftian story', even with the obligated sex scene, which surprises you. it's not a bad book, i just don't really like this style. I get everything told, what appears vaguely at the edges of the field of view. and, to start a discussion about the 'true' genre of cosmic horror, it is not in the spirit, but uses expertly the staff and leitmotifs to write something about grieve and loss.

despite what i just said, it's fine and the old-man-narrator of the audiobook converts it into quite an enjoyable experience.

starts off in the pacing and tone of a novel of king, doesn't it? i hope, i can stand it

vielleicht nicht ganz so gut wie der erste band: die geschichte bekommt ein paar unnötige wendungen und zufälligkeiten verpasst. aber immer noch mit witzigen details in den totalen und mit einem schlussplädoyer für demkratische selbstverwaltung (nicht übertrieben)

Wenn man sich manche der reimpaare auf der zunge zergehen lässt, wünscht man sich, Käpt'n Blaubär würde es vorlesen. von Schack war mecklenburger

first volume out of three of a collection of tales from the Šāhnāme, in a german translation. i really enjoyed the adventures in verses, maybe sometimes a bit too much of a fairy tale by telling of character and emotion only in the broadest terms. on the other side, i'm not trained in the richness of this classic. as an ongoing story of a kingdom between light and darkness, endangered from without and within it is quite capturing and adds a loose but intriguing bond to the separate tales.

first third in. and i'm really enjoying her tight style of telling. in fact sometimes it is quite a relief, if the writer just supports your imagination enough to hang on but avoids all the details of interior and garment.

on the first stage this is a satire of the public life and especially the livings of the 'content creators' in the year 1928 in Paris e.g. all over the world. written in a fast elliptical language of the great city with the tools and wording of the expressionism.

on the back stage Mehring dissolves all the grotesques in the lawful tides of capitalism. and because of his kind of (media) analysis he ends with a modern twist: you can't differentiate in the capitalist state between a revolution (or at least a riot) and the next Hollywood production.

so if you are interested in a seemingly outdated books which surprises you ...

first: how cool is this, people like your 'status' to start reading Good Omens! second: already after the first dialogue it seems impossible, not to hear Tennant and Sheen talking to each other (but that's fine)

just started. it's odd, but my reaction to the beginning is that of joy and contentment, similar to the first read of ruff's fool on the hill.

one more of these novels and i have to see this 'Manchester' by myself

it is still a funny series, something between satire and mystery novel. as it happens in series, this time you learn quite a lot of background of two of the main characters... and there is still more to learn and of course a cliffhanger in the end

i really enjoyed the read. i think, the book is in almost every aspect able to walk a middleroad between epic theatre and a "real" novel und it's story. the world building is just a sidestep away from the real events and the world in the mid 19th century. i did not read it as a fantasy novel with a smart magic system, but rather a historic novel in a setting auch style of magic realism. all the characters are clearly models of a specific world view and situation, but at least in my experience of the book, they are also able to induce sentiment. if you would ask me, it is the same effect, Eco and Brecht would likely achieve.