sJ Kazama Kazama itibaren Newman, ND 58012, Birleşik Devletler
Sherrilyn sesini biraz değiştirdi. Sundown'ın okuduğu Okuma İntikamı, hikayesini, sesini, kovboy argo ile anlatması için onu kanalize etti. Hala Sherrilyn Kenyon'un bildiği mizah ve aksiyona sahipti. Daha çok bir Kentsel Fantezi gibi okundu. Gerçekten önceki gibi seks sahnelerine çok fazla odaklanmadı. Benden önce kitabı okuyan koca bile seks sahnelerinin eksikliğinden bahsetti (ki bu mutluydu. Daha az yağmak zorunda kaldı. Hikayeden uzaklaştı mı? Kesinlikle NOT.) Kitaplar var, arsa, Bir seks sahneniz olsun ya da olmasın önemli değil mi? Bu kitaplardan biri .. Hikaye, arsa, başa çıkmak için her şey seks sahnelerinin olmaması için yapılmış. Kendim, Kızılderili irfanının ve inancın tanıtımı yeni bir yön getirdi .. Bazı yeni ama unutulmaz karakterlerle tanıştık .. Geçmişteki kitaplardan da karakterler vardı .. Zarek! Talon! Sashah (adam şeytanla danstan onun mizahını özledim)
I loved that this anthology had the Russian and English side-by-side. I'm not sure how representative of modern Russian poetry the sample is, but I enjoyed the nostalgic, contemplative poems. This poem by Anya Logvinova (trans. Larissa Shmailo) gives a good description of "the best poems" and most of the poems in the collection, I think: The best poems, I swear to God aren't about unfaithful husbands, unfaithful wives. They remind you of a list of things for the road, essential, beautiful, permitted. Usually they're about autumn, about white ovens about how homes are built, how butter is churned. They are rarely about the fact that everything could be lovely; they are more often about what we shouldn't mention. Самые лучшие стихотворения, ей-богу, они не про измены мужьям, не про измены женам, они напоминают списки вещей в дорогу, необходимых, красивых и разрешенных. Обычно они про осень, про белые печи, про то, как строят дома, как взбивают масло. Они так редко о том, как все могло быть прекрасно, они скорее о том, что не должно быть и речи.
The writing is intelligent, the pace like a good, healthy jog. I have two minds about this book. Was it deep tasty chocolate, or plastic fruit? I could not put it down--it IS somewhat like good TV and is obviously written with cinema in mind. I also did care about the characters very much because Patchett has a knack for writing about people's psychological bearing and emotional state. And there are lovely descriptions with imagery that made me float through the story with ease. The plot line has already been laid out well enough in the editorial reviews. Although highly coincidental, I would not have minded that at all--that can make for good storytelling--which it does. But there is another aspect to her writing--the pandering. It peals loudly. The 11-yr old girl, Kenya, has thoughts and actions like a 30-yr old. Even if she were a veritable genius, the sophistication of psychological insight would not be possible. I frequently groaned when Kenya was around. I felt that the characters were essentially tools for Patchett's larger purpose--to tell this story and to weave some nice imagery along the way. But, I felt that when she was depicting the African American characters, she made them either cardboard or fatuously heroic (the tiny flaws only adding to their heroism)and was concerned about being politically correct. Her white characters suffered from the same whimpy characterizations, except for the old priest Sullivan. However, I felt he was also a tool, a vehicle for the story. Despite these ghastly flaws, I still loved the story. The pace, the snow imagery, and the fact that even with all this confection there was a beautiful story involved--I ran right through it in two sittings. Guilty as charged.
She writes good books just different then what I usually read