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Scott Lougheed has read 0 of 8 books.
On the planet Winter, there is no gender. The Gethenians can become male or female during each mating cycle, and …
On a bitter-cold day, in the December of his junior year at Harvard, Sam Masur exits a subway car and …
Gadsby's unique stand-up special Nanette was a viral success that left audiences captivated by her blistering honesty and her ability …
In 2025, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future. …
Richard Mayhew is an ordinary young man with an ordinary life and a good heart. …
A fun read. Somehow both lighthearted and dark, easy but deep, sophisticated but straightforward. I think perhaps I’d rate this 4.5 stars if possible but hey, it’s market day and I’m feeling generous.
With no water, no air, and no native life, the planet Gora is unremarkable. The only thing it has going …
In Istanbul, in the late 1590s, the Sultan secretly commissions a great book: a celebration of hik life and his …
The year is 1984 and the city is Tokyo.
A young woman named Aomame follows …
I have adored Murakami’s work immensely in the past but 1Q84 was a bit of a meandering slog. A bit clumsy, repetitive, and perhaps needlessly drawn out. I’m beginning to believe that Murakami is at his best when his writing is short.
This is a classic conundrum I sometimes find myself in. Is my distaste by design? Were the aspects of the book I dislike deliberately put there to antagonize me, or perhaps to immerse me in the feelings and experience of the characters? Or was it just an oddly self-indulgent piece of writing with no regard for its reader? I love the often-surreal and slightly mystical stream of consciousness narrative Murakami tends toward. However, to the extent that was present here, it was overwrought and overshadowed by so many problems that begin to take hold in the second book.
The portrayal of women, for example, is profoundly unflattering and …
I have adored Murakami’s work immensely in the past but 1Q84 was a bit of a meandering slog. A bit clumsy, repetitive, and perhaps needlessly drawn out. I’m beginning to believe that Murakami is at his best when his writing is short.
This is a classic conundrum I sometimes find myself in. Is my distaste by design? Were the aspects of the book I dislike deliberately put there to antagonize me, or perhaps to immerse me in the feelings and experience of the characters? Or was it just an oddly self-indulgent piece of writing with no regard for its reader? I love the often-surreal and slightly mystical stream of consciousness narrative Murakami tends toward. However, to the extent that was present here, it was overwrought and overshadowed by so many problems that begin to take hold in the second book.
The portrayal of women, for example, is profoundly unflattering and borderline misogynistic. Is that a projection of Murakami’s genuine perspective or is Murakami merely the meta-author of a story written by Tengo and thus should we read it as the manifestation of Tengo’s sexualizing, misogynistic gaze? WHO KNOWS!
I’m normally up to be confronted and antagonized by an artist and their work, but I want the takeaway and the experience to pay off. Unfortunately this did not hit that mark.
A transporting novel that follows a year of seismic romantic, political, and familial shifts for a teacher and her students …
Centuries after the last humans left Earth, the Exodus Fleet is a living relic, a place many are from but …
