The second half of the book starts by building on the groundwork of the plot and characters, and wrestles with concepts of masculinity and what it means to be a man, what space there is for men to experience depression, what men are or are not “allowed” to be, and and opens wider to some of the ast-right themes, although the way these ideas are dealt with could be a mixed bag at times. For example, there’s a recurring presence of a refugee father and his young daughter, who are held up as a foil to the narrator away at the Center and his own daughter at home. The narrator seems to focus on his failure to protect his daughter, and those feelings are magnified by watching Blue Lives, the aggressive cop show putting everyone in harm’s way and allowing horrendous violence and revenge to be taken by criminals and cops alike. Blue Lives is a fascinating device in and of itself – the cops are crooked and unsympathetic, yet have a code in which their violence is seemingly only exhibited on criminals and those involved in the underworld, while the brown criminals seem to be targeting civilians/women and children, though for the narrator it isn’t shown, just alarmingly and threateningly teased.
, and I was interested to see how another novel of his would work for me. I won’t get into explicit spoilers, although I think it’s somewhat less imperative in this case bey there is seemingly less to spoil in the traditional sense.
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We then have a brief interlude when the narrator befriends his cleaner – and on hearing of his concerns about the surveillance he thinks the centre is placing him under (a combination of his unease with the very aims of the foundation and his growing paranoia) spontaneously confesses at length to her past kakım a Stasi agent (after gaslight style coercion from a handler).
The second half is a jagged stretch of unreality which, while effective in some ways, Daha fazla bilgi becomes rather too messy. Nevertheless, I loved the first half of the book so much that I often find myself thinking of it and wishing I could read something that good all the way through.
I think this book pairs nicely with another literary horror of the season, LEAVE THE WORLD BEHIND by Rumaan Alam. While they have very different approaches, the families at their center are quite similar in class, politics, and status.
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So when I saw Red Pill, which sounded topical and potentially interesting in a transgressive/satirical way, I decided to finally find out if this was a writer for me. And - nope!
I found Kunzru's White Tears indubitably 'a book of two burayı kontrol et halves'. The first half – a detailed portrait of two privileged characters with a music-based ghost story mixed in – is excellent: subtle yet thrilling, and totally engrossing.
No idea what Hari Kunzru was driving at in this very muddled novel but whatever it was wasn’t entertaining or thoughtful. If this is what the red pill does, take the blue pill instead and don’t head down this dead-end path!
Both books also have this slow descent into a kind of apocalyptic fear. And both present Trump's America itself as the apocalypse, a metaphorical monster. Which certainly başmaklık a new resonance right now.
The largely conventional police show the narrator obsesses over is Blue Lives, which showcases cops who have lost their moral compass and become criminals themselves; they torture their victims. However, on this typically low-brow and brutish show, our narrator discovers that one of the cops quotes a well-known but vile and dogmatic figure of the past, Joseph bile Maistre. Maistre was a late eighteenth century philosopher who was anti-Enlightenment, a supporter of authoritarian rule by Kings and Popes that he believed were divined by God.