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1944, Italy. As bombs fall around them, two strangers meet in the ruined wine cellar of a Tuscan villa and share an extraordinary evening.
Ulysses Temper is a young British soldier, Evelyn Skinner a 64-year-old art historian living life on her own terms. She has come to salvage paintings from the wreckage of war and relive memories of her youth when her heart was stolen by an Italian maid in a particular room with a view. Ulysses’ chance encounter with Evelyn will transform his life – and all those who love him back home in London – forever.
Uplifting, sweeping and full of unforgettable characters, Still Life is a novel about beauty, love, family and friendship.
The man was a dreamer, he said. Had a loser’s luck and a winning smile and was never happy unless he had a churn in his guts that denoted money riding on an outcome. A feeling he often equated to love.
We like beauty, don’t we? Something good on the eye cheers us. Does something to us on a cellular level, makes us feel alive and enriched. Beautiful art opens our eyes to the beauty of the world, Ulysses. It repositions our sight and judgement. Captures forever that which is fleeting.
She’s gone up in the world. Typist. Sixty words a minute and that’s just her gob.
You’re a good mum, Peg. No I’m not but it’s good of you to say. Your mum was a good mum, Temps. That’s what a good mum is. Mine was competition.
Her beauty had been her currency. Always had been. No one talked about when the bank ran dry as it inevitably would.
We shall be at war one day with your European brothers, as you call them, Mr Collins. It’s inevitable, said Mr Lugg. They’re not like us. But they want what we have. And do we not want what they have, Mr Lugg? Michelangelo? Dante? Beauty? Wine on a sun-drenched terrace? Villas nestled in the hills going for a song? Mr Lugg ignored Mr Collins and reached for a plate of stinking goat’s cheese. Yes, but will you fight? said the reverend, bringing the conversation back to British imperialism. It’s a simple question. For what cause? said Mr Collins. Cause is irrelevant. Cause is not irrelevant. To teach another nation a lesson, then, said the reverend. A nation is not a person. And so I will not.
You can’t ask people to give up personal, tangible comforts for some ethereal ideal. That’s why communism failed. That’s why all those primitive, hippie, “back to the land” communes failed. Selfless suffering feels good for short crusades, but as a way of life, it’s unsustainable.
It’s great to live free of the other sheep until you hear the wolves howl.
Siri, what can I eat here?” I don’t know what made me feel worse, that I suddenly didn’t have the world’s knowledge in my pocket or that up until that moment, I’d always assumed I was entitled to it.
Injury turns you from a giver to a taker. Taking up our resources, our time to care for you. That’s why most weapons of war are designed to injure instead of kill. Wounded are more of a drain than the dead.
Like a tree in the forest, America doesn’t hear foreign suffering.”
They all want to live “in harmony with nature” before some of them realize, too late, that nature is anything but harmonious.
Rating...3.5⭐
I like to think I'm enjoying my 'middle youth' rather than my 'middle age'. I'm married and Mum to two sons and a black rescue cat called Hector.
I enjoy going to gigs and discovering new music. I also love reading women's fiction but I do have a bit of a penchant for crime and psychological thrillers! If I'm not on social media, reading or listening to music then you will probably find me on a football pitch cheering on my youngest son and his team.
You can buy The Trial...Here
Our authorities as far as I know, and I only know the lowest grades, don’t go out looking for guilt among the public; it’s the guilt that draws them out, like it says in the law, and they have to send us police officers out. That’s the law. Where d’you think there’d be any mistake there?” “I don’t know this law,” said K. “So much the worse for you, then,” said the policeman. “It’s probably exists only in your heads,” said K.,
he admits he doesn’t know the law and at the same time insists he’s innocent.”
an organisation that employs policemen who can be bribed, oafish supervisors and judges of whom nothing better can be said than that they are not as arrogant as some others. This organisation even maintains a high-level judiciary along with its train of countless servants, scribes, policemen and all the other assistance that it needs, perhaps even executioners and torturers—I’m not afraid of using those words. And what, gentlemen, is the purpose of this enormous organisation. Its purpose is to arrest innocent people and wage pointless prosecutions against them
In fact, defence is not really allowed under the law, it’s only tolerated,
He thought of the flies that tear their legs off struggling to get free of the flypaper.
His most famous pieces of writing include his short story Die Verwandlung (The Metamorphosis) and his two novels, Der Prozess (The Trial) and the unfinished novel Das Schloß (The Castle). Kafka's work expresses the essential absurdity of modern society, especially the impersonal nature of bureaucracy and capitalism. The individual in Kafka's texts is alone and at odds with the society around him, which seems to operate in a secretive manner that the individual cannot understand. Kafka's world is one in which God is dead and the individual is "on trial," as the name of his most famous novel suggests. It is a world devoid of meaning or purpose other than to clear one's name of the nebulous sense of guilt that pervades the atmosphere. The adjective "Kafkaesque" has come into common use to denote mundane yet absurd and surreal circumstances of the kind commonly found in Kafka's work.
Kafka's work represents an extreme example of the modern concern with the individual's place in society. As modernity displaced people from traditional society's fixed meanings and family networks, Kafka exposes the emptiness and even perniciousness of a world in which meaning is not only absent, but malevolent toward the individual. Lacking a transcendent source of value, society is not a hospitable place and meaning is menacing.
Roaring down the desert highway, Raoul Duke and his attorney Dr. Gonzo are seeking out the dark side of the American Dream. Armed with a drug arsenal of stupendous proportions, they confront casino operators, police officers and assorted Middle Americans, in surreal, chemically enhanced encounters.
Hilarious, hallucinogenic and subversive, Hunter S. Thompson’s semi-autobiographical novel is a cult classic and a masterpiece of gonzo journalism.
This book is mad. I don’t think there’s another word that can accurately describe it. Imagine some strange man has cornered you in the pub and is regaling some insane drug-fuelled story of his past. That’s essentially what this book is. You’re trapped, subject to this utterly insane tale, and yet, you find yourself needing to know what happens next.
The writing is very fast-paced, which I found to be a welcome change compared to reading most other books. Each sentence is a brand new thought, almost as if we’re watching our main protagonist’s thoughts working, and spiralling, in real time. This writing style perfectly conveys the paranoia and chaos of the heavily intoxicated mind (I imagine) The obstacles Raoul Duke and his attorney face are objectively minor setbacks, and yet they are made urgent and catastrophic through their hallucinatory lenses, which is very entertaining to read. The fast writing and jargon can prove a little overwhelming at times, but it also immerses you completely into the twisted mind of a heavy drug user.
There is little of an actual story to speak of here. Our protagonists are sent to Las Vegas to cover a famous motorcycle race with a convertible full of drugs and alcohol. That’s it. But their exaggerated reactions to otherwise mundane events is what makes this book so special. They will ALWAYS assume the worst case scenario playing out ahead of them, which forces them to act in a way to try and avoid it, thereby just making things worse for themselves. Likewise there isn’t much to the characters either, other than they love getting incredibly high, hate all the downsides that come with it, and are extremely paranoid about everything. Our main protagonist, Raoul Duke, seems to repeat the question “Why not?” throughout this story, which I think also accurately sums him up as a person. Despite the many hallucinatory terrors they face, all these people want to do is chase pleasure, and they’ll stop at nothing to get it. Neither of the protagonists are very respectable or even likeable, and yet, because of this, they are. They clearly care for each other as friends, and also hate each other’s guts as enemies, providing yet another entertaining element to this book.
There are moments, however, when our protagonist stops regaling the events of this story to explain his interpretation of the context of the time and place. Whilst this may work for some people, I thought it brought the story to a grinding halt whenever it occurred.
Overall, despite there being little to the story and characters, I found Fear and Loathing in Las Vegas to be both extremely entertaining and (ironically) very addictive. Once i thought I was going to stop reading, I couldn’t. This book sinks its hooks into you and before you know it, you’re in for this crazy ride too.
“We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.”
“Hallucinations are bad enough. But after a while you learn to cope with things like seeing your dead grandmother crawling up your leg with a knife in her teeth. Most acid fanciers can handle this sort of thing.”
“Journalism is not a profession or a trade. It is a cheap catch-all for fuckoffs and misfits - a false doorway to the backside of life, a filthy piss-ridden little hole nailed off by the building inspector, but just deep enough for a wino to curl up from the sidewalk and masturbate like a chimp in a zoo-cage.”
Thompson, who had a number of run-ins with the law as a young man, joined the U.S. Air Force in 1956. He served as a sports editor for a base newspaper and continued his journalsim career after being discharged in 1957. In the following years he also wrote two autobiographical novels, but both were initially rejected by publishing houses; The Rum Diary eventually saw publication in 1998 (film 2011). In 1965 Thompson infiltrated the Hells Angels motorcycle gang, an experience he recounted in Hells Angels (1967). The book led to writing assignments for Esquire, Harpers, Rolling Stone, and other magazines. In addition to his irreverent political and cultural critiscm, Thompson also began to attract attention for his larger-than-life persona, which was highlighted by drug- and alcohol-fueled adventures and a distaste for authority.
In 1970 Thompson introduced his subjective style of reporting with the article “The Kentucky Derby Is Decadent and Depraved,” in which he was a central part of the story. A 1971 assignment for Sports Illustrated to cover a motorcycle race in Nevada resulted in perhaps his best-known work Fear and Loathing in Las Vegas, which became a contemporary classic and established the genre of gonzo journalism. First serialized in Rolling Stone in 1971, it documents the drug-addled road trip taken by Thompson (as his alter ego Raoul Duke) and his lawyer (Dr. Gonzo) while also discussing the end of the 1960s counterculture. The book featured frenetic artwork by Ralph Steadman, who illustrated many of Thompson’s works. Fear and Loathing in Las Vegas was adapted as a 1998 directed by Terry Gilliam and starring Johnny Depp and Benicio Del Torro.
(From Brittanica.com)
He has been longlisted and shortlisted for numerous prizes and won a Society of Authors Betty Trask Award 2007, a Jerwood Fiction Uncovered Prize 2014, the Wales Book of the Year Fiction Prize 2015 and the BBC National Short Story Award 2017.
His work has been published in more than twenty countries, and short stories have appeared on BBC Radio 4 and in a number of anthologies and publications including Granta Magazine and The New Yorker. He also wrote the screenplay for an episode of the BAFTA-winning crime series Hinterland, and Three Tales, a collection of stories for children.
Cynan Jones was the 2008 Scritture Giovani Hay Festival Fellow, has tutored extensively for Literature Wales, the Arvon Foundation, and other writing bodies, and wrote and presents CBC's online Writing Short Stories course. For a number of years he was the RLF Writing Fellow at Aberystwyth University and in 2019 was elected a Fellow of the Royal Society of Literature.
His latest work, available now from Granta books, is Stillicide, a collection of twelve stories commissioned by BBC Radio 4 that aired over the summer 2019.