A moment of illumination

I thought I loved this series, but then again, it’s been a while since I picked it back up. So when I did, I found my whole experience could be summed in the following paragraph:

I saw him.

And he saw me.

He stood at the end of the aisle in his true form, shining as bright as a diamond. He didn’t look any different than the rest of the Luxen, but every ounce of my being knew it was him. The very cells that made me who I was snapped alive and cried out for him. He still was the most beautiful thing I’d ever seen. Tall and shining like a thousand suns, edges shimmering a faint red. (29)

He’s beautiful. I get it. He’s also your one true love, perfect for its general audience, meaning any teenager learning how to cope with their feelings. He’s a heroic, overly-protective male protagonist who will do anything for his girlfriend, and even though she’s not weak, this does fit the standard fairy tale with him saving her most of the time. This book continues along the lines of its previous rang, each character obsessed with the beauty of the other. Both barely out of high school. Both thinking only of sex, which surprisingly this book has a lot of. Not with an excess of details but with a copious number of appearances, more than I expected for a YA book. At least it does present the discussion of safe sex. Multiple times, the protagonists have pointed out the necessity of condoms. SPOILER. Don’t want to end up like Beth, do we?

That’s not to say I didn’t enjoy the book, I did. But, I found it so less rounded than I have other books. The only other compliment I found, besides each other’s hotness, was the following paragraph here:

“You’ve got a big heart, Kitten.” His lips cruised over mine as he spoke. “That’s what I love about you most. Well, that and I am a really big fan of your sweet body, but your heart? Yeah, that completes the package of you, wraps it up with a nice little bow. It makes you perfect to me.” (281)

Well I’m glad she has a heart. At least now I’m no longer standing in a puddle; my feet are getting wet. But remember back at the beginning where she tried to save that little girl, getting herself captured and nearly killed? She hardly spends a moment mourning her passing, having a quick recollection that ‘the Luxen were probably too fast for her.’ I still don’t feel like she has a lot of compassion. More than she has morals. And is willing to go to any lengths to keep her husband happy. (Btw, they’re married.)

No. What I really enjoyed about this book, and what made this one stand out from all its siblings, was the following statement.

“We’re connected-all of us. From the moment they came, we’ve been inside one another’s heads. I’m not sure how it works. It’s never been like this before. Maybe it’s because there are so many of us here, but when I’m in my true form, there’s no hiding from it. It’s not too bad…now. There are things they don’t know, that we’ve been able to keep from them, but I’m not sure how much longer that’s going to work.” (75)

I thought this was the most interesting part of the series and this book. Jennifer Armentrout has not only created a unique species, one created from energy and light, but a species opposite of ours, having no individuality once their species has congregated on Earth. With so many present, they behave as a hive, sharing each other’s thoughts and feelings, not having any of their own. Which in itself is interesting. It would mean our instant destruction since they could coordinate attacks perfectly, and we would be too slow, humanity taking too long for consensus. I also thought it was cool that this weakness (or strength) could be combated by having a human-lover, since being attracted to our individuality meant they earned some of their own. I really appreciated this facet. It also would’ve been nice to explore this theme a little more, since the concept of individuality opens up the theme of choice, but alas, this book is for teenagers. But at least it discusses the topic of safe sex.

Armentrout, Jennifer L. Opposition. Fort Collins, CO: Entangled Publishing, 2014. Print.

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Avoiding Nitty Gritty Details

There’s one book I want to talk about called Dark Matter, and right off the bat, I’m going to go ahead and point out the obvious. Yes. I agree with the general reviews on GoodReads. This book is a fast-paced science fiction thriller, and although it’s a science fiction, it doesn’t go into nitty gritty details and leaves out most of the fancy vernacular, making it accessible for most general audiences. That being said, it wasn’t my favorite book. I found it very dramatic, overly suspenseful, but although it didn’t appeal to me, I still liked it and read it in one go. But there’s one thing I want to focus on: the brilliantly constructed multi-universe theory.

This scientific theory says there’s basically an unlimited number of possible universes. Find more information here. And Dark Matter takes this idea and runs with it. SPOILER. When we meet the character Jason, he’s stuck on the idea that his life is ordinary. He’s not questioning on whether he made the right decision, because he loves his wife and son, but he’s wondering what it would’ve been like if he had followed his research. What if he had followed his dreams and become the celebrated genius that his friend had earned instead?

What if?

This book follows this idea, this theme you could say, and questions what if the multiverse theory was true? And, that is what Blake Crouch does well. We get to see a number of different universes that divert at different points on the timeline of creation, including what if humans hadn’t existed? What if the world had collapsed becoming unlivable to all of mankind? What if mankind had succeeded, creating the most technology-forward world yet? This is a brilliant exploration of originality, where Crouch shows that he has mastered the art of dreaming, where his dreams have led to the creation of a thousand worlds, even if they only exist inside his own head.

If you find yourself not a fan of science-fiction and want to give it a shot, here’s where to start. Pick up a copy of Dark Matter, and color yourself intrigued.

Courch, Blake. Dark Matter. New York, NY: Crown, 2016.

Greens are good for you

I have never been a fan of bitter greens, but then again, I have pretty sensitive taste buds. Even so, that hasn’t stopped me from enjoying the book Bitter Greens by Kate Forsyth. I just finished this one up a few days ago, and I have to say, while the story didn’t hit home at the end, there are two reasons for why I still strongly enjoyed this book: the inception story-telling and the character similarities between Selena Leonelli, Margherita, and Charlotte-Rose.

This story starts with Charlotte-Rose arriving at a covenant, depressed and wishing she was back at the Versailles palace with the king, unsure of how she had gotten herself kicked out of court to the nunnery. She struggles giving up her pleasures from the palace, like her dresses and quills, and progressively loses the strength of her personality to the constant onslaught of obedience and subservience. It isn’t until she finds Soeur Seraphina, untils she’s rejuvinated with the story of Margherita.

Margherita, a young seven-year old girl with hair like fire, is at first excited when a strange lady comes up and hands her a beautiful golden necklace, but it isn’t until she goes home to her mother that the true story is revealed.

Now two stories deep and going into a third, Margherita’s mother, Pascalina, tells of how she was orphaned and helped by a beautiful witch, one who had a beautiful garden, the first one Pascalina had seen since arriving into the Italian city. SPOILER. This is the same witch, who gives Pascalina a spell to make a beautiful, homely man fall in love with her; who steals her daughter Margherita from her family; who then forces Margherita into a tower, in order to keep herself young; and who is saved by Margherita due to the girl’s own serenity and forgiveness.

Overall, this book goes three layers deep. And although it certainly adds additional parallel stories,  it never once feels contrived. SPOILER. I think it helps that the main character telling the story, Soeur Seraphina, turns out to be the one and the same Selena Leonelli, the witch who had cursed Margherita and been saved by her as well. I also think it helps that she ends up being such a brilliant mirror for Charlotte-Rose as well.SPOILERS.

 Charlotte-Rose- the woman  Margherita – the girl  Selena – the witch
  •  Proud Huguenot, worshiped an illegal religion
  • Independent woman
  • Mother ‘stolen’ and sent to a nunnery, where she died
  • Locked away against her will by her guardian Marquis de Maulevrier at the age of twelve
  • Escaped being beaten through imagination
  • Embarrassed/shamed by first lover
  • Seduced second lover with black magic
  • Lost third lover to his father’s honor
  • The garden at the convent like her mother’s garden
  • Successfully born due to parsley, so parsley birthmark
  • Stolen away from her mother at 7-years old by the witch, then donated to a nunnery
  • Loves to sing
  • Locked away in a tower at the age of twelve
  • Cuts her wrists for the witch, donating blood for longevity
  • Attracted her rescuer through singing
  • Rescued by Lucio de Medici, nephew of the Grand Duke
  • Baptised Maria the Whore’s Brat
  • Renamed Selena Leonelli by the witch Sibillia, whom she served
  • Learned magic and played courtesan to cast vengence and to be independent from men
  • Worshipped the illegal religion of witchery
  • Rejected by Tiziano
  • Used red-headed girls to keep her longevity, but wanted the girls to love her
  • Became a nun at the convent to be good

Notice how the characters have so many things in common. Both Charlotte and Selena are independent women, both unwilling to be so reliant on men. Both have experienced men’s rejection a number of times, but while Selena used magic to earn her freedom and Margherita used her singing, Charlotte used her power of words.

And while I’m thinking about it, this book also has a lot of symbolism regarding time. When I define all the characters, I see the grandmother, the woman, and the girl. Each at a different stage in their life. While Margherita’s innocence saved her, something commonly associated with young children and girls, it was Charlotte’s and Selena’s corruption that doomed them. It wasn’t until Selena had grown older that her wisdom could be shared, in order to save others from their own corruption, the same corruption that had unwittingly stolen Charlotte-Rose to the nunnery in the first place.

Overall, by the end of this book, you won’t be overwhelmed by a strong ending, and you won’t be compelled to read it in one-sitting, but I’d like to argue it is just as good as all of Forsyth’s other books. It’s definitely worth the read.

PS. Another reason I like this book, and Forsyth’s books in general is that it’s a historical fiction piece that tells the story of how the real Mademoiselle Charlotte-Rose de la Force created the story of Rapunzel, how she might’ve heard/retold it from the first version Petrosinella, ‘Little Parsley.’

Forsyth, Kate. Bitter Greens. New York, NY: Thomas Dunne Books, 2012. Print.

5 Levels of Editing

So I’ve finished another book, and now I’m stuck with my neck craning back, aching, a wall looming before me, and I just can’t bring myself to figure out: What is the key to editing? Being a perfectionist, there seems to be so much looming before me, but I feel like if I break it down, then it doesn’t seem that bad anymore. So tad-dah! Here’s the 5 levels of editing:

5levelsofediting

1. Plot’s ARC

This is the broadest, most general pass I do while editing. Here I’m looking across my entire story, examining it for an arc, explained earlier here. I want to make sure it has all the general pieces of a story, specifically a climax, and I want to make sure it smoothly increases and decreases in tension. Bobby shouldn’t be dying before readers know he’s fallen down the stairs, or that he’s fallen down the stairs because he has a loose peg leg, which his brother unwittingly loosened for him after a fight over their favorite game.

2. Chapter Editing

At this point, I’m no longer looking at the entire book but each chapter, and there’s a few things I’m checking for:

  • Looking for a purpose/conflict so that the story moves itself ahead
    • If the chapter is missing one or the other, I need to change it so it has both
  • Checking for realistic dialogue
  • Editing transitions between chapters so that you don’t lose focus/tension

3. Paragraph Editing

Here are stylistic changes, which means adding more character reflection or imagery. My goal is that every chapter comes alive and that can’t happen unless you’re connected to the characters (through internal reflection) or until you can see the story (which means more detailed imagery, using as many senses as possible). Currently, I’m not here, but later I’m going to find my ideal paragraph and use that as a standard to measure up against the rest of my writing.

4. Line Editing

Here focus is narrowed until you’re looking at individual lines. Your always asking yourself, is there a better way to say this? Is it awkward? A good test at this point is to start reading your whole story aloud. Read it to a partner or friend. What can sound good in your head can sound really awkward aloud, and usually your mouth is already fixing the sentence for you. Try it.

5. Word Editing (aka proof-reading)

This is more like copy-editing as this point with CUPS, ensuring you have good spelling. Changing your word choice when you think of a better word. Etc. At this point, you should be feeling happy with the story, and if not, you need to go back and rethink at what point are you not happy? Maybe there’s something you need to fix.

Question

While I was watching my kids test today—may their grades rest in peace—I got distracted, thinking about how my kids are good at asking questions. And it’s sad sometimes to think that this is overlooked as a skill, a valuable one at that. Unless you’re asking questions, you’re not really learning, which is why I always push my kids so hard to ask when they’re confused. If they don’t ask, they’ll always be wondering what if…And until you try it, you’ll never know, which got me to thinking…

You’re not a student until you start asking questions. Until then, you’re only an observer.

Of course, now I’m stuck on the idea of wanting to slap that quote on a poster and hang it up in my classroom. And of course I want to put my name on it, because who wouldn’t be proud? It takes me so long to come up with anything, and I feel like lately it’s so rare, that I’m extremely proud of myself. I want everyone to see I can say smart stuff too, especially when the words seem to just congeal and spill out of my mouth in math. But I guess I can’t put my name on the poster…that would sound too conceited. So why can’t my excuse be because I’m a writer. And, isn’t that what writers do? Obsess over words?

Seeing is believing

Here it is one-thirty AM, where I should be in bed, but I can’t go to sleep just yet because I finished this book, and it’s been so long since I’ve read (and read one this good) that I have to talk about it. Even if it means sacrificing my sleep.

All the Ugly and Wonderful Things by Bryn Greenwood.

I feel like while reading this book, I should feel dirty. A guy in love with an eight-year old child; and then a thirteen-year old feeling in love with a 24-year old. It seems like something you would read in the arrest section of a newspaper, except this story is everything but that. This story is about the love between two people learning to care for each other, no matter their differences and their history, even considering all their eccentricities. And, the only reason I can believe for why it feels so real is because of the history Greenwood has built up between the characters.

While reading, you may become annoyed at the chapters. So direct and pointed, they quickly get at their purpose, which can make things seem choppy at first. But it also reveals much of the characters’ history, traveling an expanse of years, all the way from Wavy’s age of 8 to 21. And even though it changes character perspective a lot, instead of distracting from the story, This reinforces Wavy and Kellen’s love. Being too close to the characters could easily lend the belief that their love is blind, who may not realize what they’re doing is wrong. But, by focusing on outsiders’ perspectives, letting the reader see how many other people can see and believe in their love, I think it helps the reader that much more believe in their love as well.

I think it also helps to have so much of their history in the story. It may slow things down at first, but it quickly picks points out the depth of their love:

  • How Kellen enrolls Wavy in school, even when her parents neglect
  • How Wavy helps Kellen when he falls off his bike on the road
  • How Kellen has patience for Wavy’s pecularities with food, touching, and talking
  • How Kellen defends her from her father’s abuse
  • How Wavy will cook for Kellen, help him with bills at work, win him money at poker since she is so much better at numbers than him

That and it picks out all the quiet moments of love. Love doesn’t always have to be sex, touch, and tension. Sometimes it’s just the moment of lying quietly together in silence. Just having the presence of each other is enough to make you feel at home.

Greenwood, Bryn. All the Ugly and Wonderful Things. Thomas Dunne Books, 2016. Print.

 

Father Earth’s been missing it

“The path that the Moon naturally follows. Instead of letting it pass again, lost and wandering, bring it home. Father Earth’s been missing it. Bring it straight here and let them have a reunion.” (390)

In the previous book, The Fifth Season, I learned about orogenes—people who can manipulate the kinetic energy around them, usually in relation to dirt and rock. This means that they can fix the energy released during an earthquake, or can manipulate the rock around them. In the sequel, The Obelisk Gate, I learned something new. Besides there being a new kind of beings called Stone Eaters, called such since their skin and hair resemble stone, I find out that Father Earth is alive. And he’s fighting a war.

This book makes me excited because of the layers that Jemisin has again woven into its plot. While still focusing on Essun and her search for her daughter Jija, the book begins to weave the story of a war going on between Father Earth and the residents living on his surface. It tells the story of a two-sided war, those who would like to stabilize the Moon to bring it back into orbit, to end the seasons, and those would like to bring the Moon home and end all humanity. This plot line gets me excited mainly because it is similar to a book I want to write, one that contemplates how the Earth feels about people living on its surface, because surely if it was alive, it wouldn’t be happy with us.

One thing I didn’t like, which was more something I had to get used to was the unusual second-person perspective. I have seen authors use “you” before in order to insert the reader into a specific viewpoint, but this book is written using this POV for Essun’s perspective, and it’s very jarring starting out. Mainly because I think it breaks the norm. Once you get used to reading it, I think it’s very interesting. And it really separates the reader from Jija’s perspective since it flips back and forth, but I still don’t know how I feel about it. I might have to think about it a little more.

Jemisin, N.K. The Obelisk Gate. New York, NY: Orbit, 2016. Print.

Nugget: Metaphors are golden

You know when you spend more than a few pages on a metaphor that you really like it.

Like, I’m wondering at this point if Neal Stephenson was an old miner, or if he had been one of those tourists at some point, where he decided to try gold mining with a little metal pan and a bucket of dirt, only succeeding in getting those tiny flakes of gold dust. (You know what I mean if you’ve tried it.)

But Stephenson loves gold. Almost as much as he likes metaphors, and he’s really good at it. He spends a good portion of this chapter-set in the Newtowne, Massachusetts Bay Colony on October 12, 1713-talking about his gold metaphor. Exactly four pages of it. Which doesn’t seem like a lot, but it gets hilarious when every flashback to a memory begins with

Nugget:

But, here’s how his series of memories starts. Or, at least part of it. 

In years since he has rarely gone back to those old memories. As he does now, in the tavern near Harvard College, he’s startled to find that the muddy whirl has been swept away. The mental pan has been churning for fifty years, sorting the dirt and sand to the periphery and throwing it off. Most of the memories are simply gone. All that remain are a few wee nuggets. It’s not plain to Daniel why these impressions have stayed, while others, which seemed as or more important to him at the time they happened, have gone away. But if the gold-panning similitude is faithful, it means that these memories matter more than the ones that have flown. For gold stays in the pan’s center because of its density; it has more matter (whatever that means) in a given extent than anything else. (47-48)

I know that was a rather long block quote, but I really love it because of the metaphor he aligns with his memory. A person is prone to forget, and it is similar to gold, where only the worthy pieces (the ones with more weight) are left behind, where everything else is thrown away, back into the sand and water.

It makes me wonder how much time he spent on this metaphor. Whether he knew he wanted one here; if he initially wrote this in; or if he went back and changed this after he had come up with the idea of gold.

Either way, he was happy with it, because he used his “Nuggets” to begin each memory in order to literally create a quick history for Daniel for information we might need to understand him. Literally a sentence or two to create a brief image that can help us understand his beginnings.

And before I go, there’s one more metaphor I want to show you that I really liked. Again, also related to memories.

The conversation might not have gone precisely this way. Enoch had the same way with his memories as a ship’s master with his rigging-a compulsion to tighten what was slack, mend what was frayed, caulk what leaked, and stow, or throw overboard, what was to no purpose. So the conversation with Clarke might have wandered into quite a few more blind alleys than he remembered. (33)

So for my last question to you, how do you come up with metaphors like these? Or, what are your favorites?

Happy reading!

Stephenson, Neal. Quicksilver. New York, NY: William Morrow, 2003.

Love, Hate Relationship

Imagine 4 people in a room. Let’s name them: Jim, Neil, Tom, and Flarbb—because I can. Normally, if you’re trying to write a dialogue between these four people, it would either be narrowed between two for a standard back and forth. Like…

Neil and Tom walked to the other side of the room to gaze admiringly at a tall vase that didn’t house any flowers but should, because, what was the purpose of a vase if it didn’t house any flowers?

Meanwhile, Jim complained about Flarbb’s wife. “Betty cooked me dinner, again. Can you believe her?”

“She was just being nice,” said Flarbb. “She loves your company.”

Or, you add two more people by adding names.

“Quit ragging on Flarbb, Jim.” Neil gazed hotly at him. 

Tom had to pull Neil back, worried about his friend and his history of violence. “Come on buddy. Let’s go back and look at that vase.” 

Now, I imagine that’s everyone’s normal dialogue. Dropping names when the reader can pick up it’s only two people going back and forth. But, have you ever dropped everyone’s names? Read this by Neal Stephenson:

“Dr. Waterhouse, you must be warned, has fallen quite under the spell of Herr Leibniz—”

“—him that stole the calculus from Sir Issac—” someone footnotes.

“—yes, and, like Leibniz, is infected with Metaphysickal thinking—”

“—a throwback to the Scholastics, sir—notwithstanding Sir Isaac’s having exploded the old ways through very clear demonstrations—” (17)

What I like about this is that it quickly fills a room with voices without creating the people to go with them, effectively creating a noisy crowd, the kind that has to interrupt itself like fifteen times. I love it. I find it really difficult to juggle multiple characters since it’s hard to carry that many voices on a page without it sounding repetitious with all the names, like Jim told Neil who yelled at Flarbb, etc.

What I don’t love but hate—not really hate, but for the purpose of the title, let’s call it hate—is that none of these voices have faces. And I know you’re thinking isn’t that what you just said you loved, but dang nabbit, I’m not finished. None of these voices have faces, and this isn’t a one-time use thing that he does for the purpose of this ‘crowd.’ Stephenson actually does this a lot with all his characters, even the important ones.

“I defer to you, sir.”

“Thank you, sir.”

“But without seeming to be a Cavilling Jesuit, I should like to know whether Wilkins’s urine is a product of Art or Nature.”

“You saw the jar.”

“Yes.”

“If you take the Rev.’ urine and pour off the fluid and examine what remains under the Microscope, you will see…” (123)

Now, this is just a random example, where Stephenson goes for 6 lines without naming people, and I don’t know what is the magic number for a maximum number of lines without naming anyone, but I have seen him go longer than this.

The reason this bothers me is because of the talking head syndrome. I like to see how characters are interacting, what their hands are messing with, how their faciial expressions are changing. I don’t like to read just voices going back and forth – for most of the time. There are exceptions like this one. But for the rest of the time, I get bored or distracted, especially since there are always names I don’t recognize, in which I’m too lazy to go back and figure out who this is and why we’re talking about them.

In summary, I’d say the love/hate thing accurately describes my relationship with this book. I’m on page 224 out of 335, which is only book one of volume one. (There’s three books in this volume.) And at times, it does go faster, but then I hit ruts like the one I’m in right now, in which it just drags and drags, and I don’t know why I’m reading about the things I do, but hopefully it gets better from here.

Oh well…Happy reading!

Stephenson, Neal. Quicksilver. New York, NY: William Morrow, 2003.

Eureka! Talk about theme!

I finally figured it out why I liked this book, and it took me two days and nearly two nights, but before I reveal its secrets, let me give you all the spoilers first!

Starting from the beginning:

“You would have searched a long time for the sort of winding lane or tranquil meadow for which England later became celebrated…In one such area on the edge of a vast bog, in the shadow of some jagged hills, lived an elderly couple, Axl and Beatrice. Perhaps these were not their exact or full names, but for ease, this is how we will refer to them.” (3-4)

Notice how it starts with a wide lens, slowly narrowing focus until the reader is imagining the main characters for this novel: Axl and Beatrice, an elderly couple who had lived with each other for who knows how long as husband and wife.

As from my previous post, we know now that the couple were searching for their son and remember by the end of the novel that he had already died, so there was nothing to visit but his grave. But this is not how the story concludes.

This is the end:

“We’ll talk more on the island, princess,” he says.

“We’ll do that, Axl. And with the mist gone, we’ll have plenty to talk of. Does the boatman still stand in the water?”

“He does, princess. I’ll go now and make my peace with him.”

“Farewell then, Axl.”

“Farewell, my one true love.”

I hear him coming through the water. Does he intend a word for me? He spoke of mending our friendship. Yet when I turn he does not look my way, only to the land and the low sun on the cove. And neither do I search for his eye. He wades on past me, not glancing back. Wait for me on the shore, friend, I say quietly, but he does not hear and he wades on. (317)

I know that’s a lot to paste in here, but I wanted you to see that the end of the novel does not focus on any of the five conflicts I listed earlier, not on the son or the dragon or the boy, Edwin. It focuses on none of them.

The novel instead focuses on the same lens as the beginning – still zooming in on the couple, but not with their being together, but instead them breaking up. This means that by creating this perspective, by emphasizing their togetherness, that this novel is not about any of these previous conflicts but their elderly couple’s relationship.

Here is my argument…

 Conflict Effect on Couple’s Relationship 
 Visiting their son By finding out he died, we learn that the wife was unfaithful to the husband, pushing their son to leave, blaming herself for his death (due to the plague). In turn, it’s revealed that the husband banned her to visit their son’s grave, as some part of vengeance due to her infidelity.
Killing the vicious dragon Through the use of the dragon’s mist, it erased all memories, leaving only shallow relationships between people. This erased all the good and bad memories, and gave the illusion of faithfulness and a lack of problems, which we learn later was untrue with the couple. It’s one’s endurance in the face of these memories that can make a relationship true love.
Losing his identity as King Arthur’s knight Throughout this book, it’s revealed little by little how the husband had committed an atrocity by killing women and children under the order of King Arthur, and while he did not approve of it, he did commit it. By showing how Axl refused to come to terms with this memory, refused to reveal it to his wife, this shows he cannot come to terms with negative memories, cannot handle their weight, which supports Axl’s later decision of refusing to reveal that he banned Beatrice to visit their son’s grave due to petty vengeance. He cannot endure the hardships that come with a real relationship.

Note there is one more argument with how Beatrice is paranoid about the story of the boatman and the island, and if you read the novel, you can see her multiple experiences with this story, how multiple old maids who are always husband-less, which is echoed in the end of her story, but this is for another time. 

As you can see, the fact that this novel uses these multiple conflicts to stage this bigger truth is what makes this novel so strong. I know it can be random; I know it can be slow, but the fact that it takes the time it needs to show the reader that memories are what makes a relationship work. If you can endure the good as well as the bad, if you can communicate, than that’s true love…this novel combats all the fictional fairy tales of princess and prince, and I’ll definitely save this one for my book shelf!!

Ishiguro, Kazuo. The Buried Giant. New York, NY: Vintage International, 2015. Print.