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ironymaideni am sick with something (i suppose it's the same crap ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
weezlgrrrl has. ugh.) and stumbled home early thursday to crawl in bed, where i finally polished off Perdido Street Station and then fell into a fitful sleep. it's not like that book lets you sleep well. why i've never heard anyone else refer to it as a horror novel is beyond me. i enjoyed it, and will be ready to look into The Scar and Iron Council soon. i finished it with a vague sense of dissatisfaction, though. everything happened as it should, couldn't have been restructured, yet i felt that all the events of the book were completely pointless and preventable...now that we've gone to all the trouble over that proverbial horse, we'll just shut the barn door and forget it all happened. i suppose that i believe in a sort of Golden Mean of storytelling, and the book didn't resolve into a harmonious proportion. this is not the same as a happy ending. i know a good story is all about the journey but i continue to work on how to articulate it properly.
i was particularly disturbed at my response since earlier i had been thinking about how i had little appreciation for the work of Grant Leier and
Thomas Kinkade. i think of that stuff as something that makes a nice notecard, not nice to buy for a thousand bucks and put on my wall. (i do want to start purchasing more original art. it's important to buy the work and support the artists as much as i can.) do i just think perky themes are less valid? i'm saying no for now, since i note that the artists referenced above seem to create works perfectly designed to fit into some decorator scheme, and are about as indistinguishable to me as the houses in the development where C's units live - he can see the individual touches, but i only see five houses in a row built from the same plan painted in neutral colors and i have to look for the familiar cars parked out front to go to the right one.
this is in my living room. while i appreciate the style and the detail, what i've always liked about it better than any other image i've seen in pre-Raphelite art is that it captures a moment and a feeling. (the pictures are often pretty, but they rarely spark my imagination about what might have happened just before or just after.) there's a story being told in that one image, and it is bittersweet.
well, there it is. nothing is satisfying without a little contrast, but if i have to, i like the dark.
weezlgrrrl has. ugh.) and stumbled home early thursday to crawl in bed, where i finally polished off Perdido Street Station and then fell into a fitful sleep. it's not like that book lets you sleep well. why i've never heard anyone else refer to it as a horror novel is beyond me. i enjoyed it, and will be ready to look into The Scar and Iron Council soon. i finished it with a vague sense of dissatisfaction, though. everything happened as it should, couldn't have been restructured, yet i felt that all the events of the book were completely pointless and preventable...now that we've gone to all the trouble over that proverbial horse, we'll just shut the barn door and forget it all happened. i suppose that i believe in a sort of Golden Mean of storytelling, and the book didn't resolve into a harmonious proportion. this is not the same as a happy ending. i know a good story is all about the journey but i continue to work on how to articulate it properly.i was particularly disturbed at my response since earlier i had been thinking about how i had little appreciation for the work of Grant Leier and
Thomas Kinkade. i think of that stuff as something that makes a nice notecard, not nice to buy for a thousand bucks and put on my wall. (i do want to start purchasing more original art. it's important to buy the work and support the artists as much as i can.) do i just think perky themes are less valid? i'm saying no for now, since i note that the artists referenced above seem to create works perfectly designed to fit into some decorator scheme, and are about as indistinguishable to me as the houses in the development where C's units live - he can see the individual touches, but i only see five houses in a row built from the same plan painted in neutral colors and i have to look for the familiar cars parked out front to go to the right one.
this is in my living room. while i appreciate the style and the detail, what i've always liked about it better than any other image i've seen in pre-Raphelite art is that it captures a moment and a feeling. (the pictures are often pretty, but they rarely spark my imagination about what might have happened just before or just after.) there's a story being told in that one image, and it is bittersweet.
well, there it is. nothing is satisfying without a little contrast, but if i have to, i like the dark.
no subject
Date: 2005-10-09 05:14 am (UTC)you're misinterpreting my dissatisfaction. to avoid spoiling the novel, i'll instead spoil a fine Thai dark comedy called 6ixtynin9 - our heroine finds a box of money on her doorstep. she decides to keep it, and then its owners show up. she accidentally kills them. and then she keeps killing people to survive and hide her trail. after a lot of horrible shit happens, SHE THROWS THE MONEY AWAY. so the whole thing would not have happened if she didn't pick up the money, but rather than finally running off with it after all the trouble, she throws it away. it makes sense, but at the same time she's just made the carnage rather pointless. any clearer?
no subject
Date: 2005-10-09 01:30 pm (UTC)ah, ich verstehe.
yeah, i can't argue with that. i'm not sure that it bothers me as much, but that is an aspect of the story.