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The goal of this journal is to write more about what I'm reading and you know actually signing up for Cannonball Read for 2024...and posting more than one review. Wow 2023 was brutal :/
Plotwise, the story follows fourteen-year-old Mona, who resides in a city and works in a bakery operated by her aunt and uncle. But, being a fantasy novel, there's much more to Mona's life than meets the eye—she's a wizard, albeit with a unique specialization: her magic works on bread. In this world, wizards possess distinct powers, and Mona's abilities are particularly suited to baking, she uses her powers to do such things as making gingerbread men dance. However, the narrative takes a darker turn when Mona discovers a dead body in the bakery, setting off a chain of events that propel the story forward.
( Onward! )
Jaws
Peter Benchley
Stop me if you’ve heard this one before - there is this village on Long Island, and it's summer 1974, and there's this shark and it's killing people. Which is a problem. It’s a problem because a) dead people and b) this coastal village’s livelihood is based on tourism, namely summer tourism and now the tourists could end up as shark food. So, there is a kind of willful ignorance and pretending everything is fine on behalf of village officials because they need that summer people's money. They need them to come and not be worried about ending up shark food. Then there are more shark attacks, and it gets to the point where something has to be done about the shark. So, the local sheriff ends up teaming up with a visiting Marine Biologist and a salty sea Captain whose feelings towards the shark are very Captain Ahab-like. And they go shark hunting.
( And so it goes )Jaws, I’ve never before read the book that started the whole thing. I was worried that because I know the movie so well, I wouldn’t be able to appreciate the book on its own. Oddly, I haven’t read this before. Typically, my first stop when I board the hyper-fixation train is to read the source material if it exists. And yet… So I decided that here in February 2024, the 50th anniversary of the book's publication, I would give it a whirl.
I will not list all the differences between the book and movie; they share the same DNA but the characters are not the same. The plot hits some of the same points but the book has subplots that got tossed for the movie version. For better or for worse. (I think for better…)
I found Jaws to be a mean novel. Our 'heroes' are not especially heroic, and I’m not saying that I’m rooting for the shark, but - the characters are unlikeable. Sure, this is not a shining moment for any of them. It is a high-stress situation where tourists are getting snacked on by a shark, but the characters come off as jerks. That made me want to rush a bit through the book just so I could say, 'Okay, done with these people.' Even the characters that just sort of drift through the narrative are often irritating distractions. As a reader, I found myself eager to get back to the shark.
Minor spoiler, but the why of the shark's behaviour is speculated on; we don’t get a clear answer. At one point in the novel, Hooper (the shark specialist brought in to try and help) discusses how something in the environment could have changed, causing a ripple effect. He gives examples of fish in unusual areas. Keeping in mind that this was written in the 1970s, I still found it very relevant. It serves as a reminder that meddling with nature can lead to chaos for humanity. It also reflects what was happening in Amity; we get a few asides of how the townspeople are coping now that their summer revenue is drying up. The shark has caused a change in their environment, and everyone is being impacted.
The shark has a huge impact on the events of the novel, but there is a lot more going on than just a vicious great white. It felt like maybe a bit too much, honestly. There's class conflict between summer people vs. the winter (all year round) people, a whole subplot with the mafia, marital drama, and through this sea of chaos swims the shark. It was a lot! I like books that have a lot of plot, but I felt like I was encountering subplots from all sides when I had originally come for the man vs. shark story.
The version of the book I read had two articles written by Peter Benchley. In these articles, he discussed what we thought we knew about great whites in 1974 compared to what we knew in 2020. He then added what we knew in 2005. It is made very clear that the actions of the shark in the novel are very fictionalized. Fictional license exists for a reason, and I did find the actions of the fictional shark the most interesting parts of the book and could have done without a lot of the drama the human characters engaged in.
The story that Stoker tells, via letters, diary entries, telegrams, and even a few newspaper articles, is about what happens when the undead Count Dracula travels to London and how his activities (mainly bloodsucking and general bad vibes vampire business) interact with the protagonists of the novel.
This isn’t my first encounter with the Count; I read a children’s version as a child and then delved into the actual text during high school. Since then, I’ve consumed numerous other adaptations of this tale. My decision to revisit the story was inspired by reading Reluctant Immortals, which continues the story of Lucy Westenra, one of the Count’s early victims in Stoker’s narrative.
Our main point-of-view characters, whose writings we get to spy upon, are Jonathan Harker, a young English lawyer, Mina his finance, Dr. Seward who oversees a mental institution, and Lucy, Mina’s close friend. Despite being the character mentioned in the title, we don’t get Dracula’s point of view. In fact, upon rereading, I was shocked by the long stretches of the novel where Dracula was off-screen. His machinations could be felt, and we learn about some of his victims, but the Count himself was not physically present for much of it. It’s fair to say that even while being “off-screen” for a lot of the novel, the Count casts a long, dark shadow. I think it’s a testament to Stoker’s writing that he’s able to pull off this trick.
While I do love epistolary novels, there can be a bit of a lack of suspense at times because you know the characters lived long enough to record their impressions, be it in a diary, telegram, letter, or even a phonograph recording in the case of Dr. Seward. However, there is still tension because some of the characters never reveal their inner thoughts, so their fate remains uncertain. There’s always the sense that once a character finishes their writing, they could be in grave danger.
As an aside about the novel’s writing style, I admired the use of letters and telegrams to convey parts of the story. It’s not a major plot point, but I enjoy it when modern epistolary novels include text messages or emails, so the inclusion of telegrams here made me smile.
For a book first published in 1897, I have to say, it holds up! Sure, its age shows from time to time, but the story’s beats remain compelling. It’s a good story! Revisiting it in its original form after consuming so many other versions of the tale was interesting. My biggest quibbles with the book are:
Overall, I’m glad I re-read the book. It’s been ages, and it was nice to get a reminder of what happened in the book versus what has happened in various adaptations of the source material over the years.
Link to this post on the Cannonball Read BlogIt is October 1993, just after midnight, and six-year-old Ben Mazinski is in the kitchen; there is blood and there is a dead body. So, exactly how did we get here? That is the story that Midnight on Beacon Street sets out to tell. It covers what happened in the lead-up to midnight to Amy (the babysitter) and her two charges, Ben and his older sister, Mira. It doesn’t do this linearly, but rather jumps around in time, revisiting moments from multiple points of view.
I may have been closer in age to Mira than to Amy when 1993 rolled around, but when I was Amy’s age, I was an avid babysitter. I know full well the terror—both of what might be lurking outside those dark patio doors in a house that is not yours and the terror of feeling sometimes like a child who is in charge of other children—that babysitting can bring. This book leans on both things—I mean, right off the bat, a dead body, so you know something outside the norm is happening, and Amy, one of our main characters, struggles with anxiety.
The story manages to rack up the tension as it speeds towards midnight. There are some creepy goings-on (Ben thinks there is a ghost, for starters), and it is not clear what is related to the body in the kitchen and what is not. Additionally, you have characters popping in and out of the narrative. As a reader, you know someone’s body is going to end up in the kitchen, but you don’t know which of these characters it might be.
I initially picked up this book because it was described to me as a love letter to 80’s and 90’s horror movies, and it is! Amy is a movie buff, a very big fan of horror movies in fact, and she drops some movie trivia as the book goes along. The narrative also includes some other 90’s kid easter eggs that were fun to spy. It reminded me of the Fear Street books, but in a slightly more elevated way (no shade to Fear Street; those books are a foundation of my love for horror novels). This novel is a throwback in the best way possible but also has a modern sensibility, as it highlights Amy’s struggle with anxiety in a way that no books from my childhood did. I appreciated that, as a woman who has anxiety and also loves horror movies and novels, even if they freak me out a bit and sometimes add to my anxiety.
Cannonball Read Post: cannonballread.com/2024/02/midnight-on-beacon-street-dreadpiratekel/