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Old 02-15-2015, 10:28 AM   #16
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I've read about 30%. The landscape just became Toronto. I didn't initially vote for this book because of its poetic style. However, I am quite liking it. The writing is very lyrical and haunting. I like the random poetic fragments and the overlay of memories. It really pulls on all five senses with the vivid and sometimes contradictory descriptions (like burning ice) which I think provokes a more intense emotional response. Blindness feels tangible. I borrowed the audiobook from my library and yesterday listened to some of the passages while following along with the written-word which had a powerful impact.

I think this book pairs very nicely with last month's selection. They have similar themes of time past-present-future, war, destruction, finding hope and light from the depths of darkness and despair, use of elements like air and water, power of landscapes (places lived and visited), etc. I think since my thoughts are still lingering on that poem in the back of my brain that it put me in a more open, receptive mindset for this book.
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Old 02-20-2015, 08:22 PM   #17
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I didn't mention that I did finish this.

At first, when the second voice chimed in I was a bit disappointed. It was a bit like starting again. Although I was drawn in to Ben's story as I continued reading, it was only to a point. Instead of reaching towards some kind of culmination that merged the two voices in an epiphany of sorts, (which was what I was expecting), I instead found myself less and less interested in Ben and a bit out of sorts with everything.

My thoughts on the prose was that its poetic nature both elevated the story and hampered it. Of course, whether the story itself was of primary importance is disputable. If we see Michaels as a poet more than a novelist, the plot becomes a means to a end rather than the end itself.

Fortunately (or unfortunately) such works tend to challenge the reader to participate and work harder - to find additional meaning in links that are sometimes more obscure. I don't think Fugitive Pieces was a cryptic riddle, but given the reading environments I had throughout, I probably profited less than I should have.

I did take something away from the experience. I did feel an amazing love represented by Jakob's relationship with Michaela. I did like the exploration of memory - especially dark memories - by many different people. I don't know if the author was trying to say something specific about the Nazi extermination of Jews in World War II, or that she just thought it was an excellent backdrop to explore the nature of memory and how it shapes you - and, more importantly, how it shapes different people differently.

I really enjoyed how love was introduced as almost an antidote for Jakob. Through the years, his benefactor had attempted to help him, and did. However, for the most part Jakob was still burying his past. His love for Michaela finally allowed him to start opening the doors that he had closed. It's not specifically stated how far he'd come, but if we assume that the first two thirds of the book were compiled from the notes Ben found, he hadn't done too badly. At least the memories had come out of his dreams and into conscious thought.

Ben was a different, but also interesting, exploration of memory; hereditary memory. Even though this was the aspect of the story that fell down for me, the idea was a really interesting juxtaposition to the first-hand memories explored earlier. Ben made me start thinking about the descendants of people who have experienced extreme trauma, not just in Nazi Germany. I started thinking about how experiences can impact people for generations.

I know there were other aspects to this book - music for example. However, I don't think I joined the dots on any of this. It's strange as music is really important to me; I even write it on occasion. But my appreciation of it is more abstract and I didn't really get the references.

Anyway, very glad I read the book even if it didn't quite hit the sweet spot for me.
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Old 02-20-2015, 11:34 PM   #18
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I'm in the middle of another book at the moment, but I've put Fugitive Pieces next on the list. That's a nice cover, sun surfer.
Thanks! I like the cover with the back of the child's head too but I wanted to find a lesser-known one to post here.
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Old 02-20-2015, 11:59 PM   #19
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I didn't mention that I did finish this.

At first, when the second voice chimed in I was a bit disappointed. It was a bit like starting again. Although I was drawn in to Ben's story as I continued reading, it was only to a point. Instead of reaching towards some kind of culmination that merged the two voices in an epiphany of sorts, (which was what I was expecting), I instead found myself less and less interested in Ben and a bit out of sorts with everything.

My thoughts on the prose was that its poetic nature both elevated the story and hampered it. Of course, whether the story itself was of primary importance is disputable. If we see Michaels as a poet more than a novelist, the plot becomes a means to a end rather than the end itself.


Ben was a different, but also interesting, exploration of memory; hereditary memory. Even though this was the aspect of the story that fell down for me, the idea was a really interesting juxtaposition to the first-hand memories explored earlier. Ben made me start thinking about the descendants of people who have experienced extreme trauma, not just in Nazi Germany. I started thinking about how experiences can impact people for generations.

I know there were other aspects to this book - music for example. However, I don't think I joined the dots on any of this. It's strange as music is really important to me; I even write it on occasion. But my appreciation of it is more abstract and I didn't really get the references.

Anyway, very glad I read the book even if it didn't quite hit the sweet spot for me.
Great post, caleb! I'm curious if you thought the voice of Ben was distinct enough. I've read criticism that it was too similar to Jakob. Looking forward to reading more of the book this weekend, and I should be getting into the Ben chapters.

I played in bands and orchestras through university. During some of the passages, I felt an emotional reaction that was more similar to how I feel when I'm playing an expressive piece than sitting and listening to one. Sounds weird but I guess that means it really connected with me. It was kind of an odd sensation and an interesting thought that popped into my head.
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Old 02-22-2015, 12:11 AM   #20
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Maybe too similar, but if I think about the title and the music theme then it makes a little more sense to me. I read it as being given variations on a similar theme. I very much appreciated the music. The mindful thoughts of interpretation. Then again I am as happy reading a book as sitting at the piano and slow-practicing something for hours.

I found the writing beautiful in places and frustrating at times. I can probably attribute that to a rhythm that I was enjoying being lost.
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Old 02-22-2015, 12:18 AM   #21
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I'm curious if you thought the voice of Ben was distinct enough. I've read criticism that it was too similar to Jakob. Looking forward to reading more of the book this weekend, and I should be getting into the Ben chapters.
I think that's probably a fair criticism. I wasn't aware of it bothering me, especially as I thought the book more a collection of poems on a theme than a novel. I thought I was hearing Anne Michaels' voice as a poet rather than Jakob's or Ben's as characters.

From the point of view of a novel, it's possible that it was Jakob adopting Ben's voice rather than the inverse. It entirely depends on the level of detail found in Jakob's notebooks. But you'll come across that yourself.

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I played in bands and orchestras through university. During some of the passages, I felt an emotional reaction that was more similar to how I feel when I'm playing an expressive piece than sitting and listening to one. Sounds weird but I guess that means it really connected with me. It was kind of an odd sensation and an interesting thought that popped into my head.
Yeah - that wasn't so bad. I was thinking more of the references to Brahms, Schubert etc... I didn't get the references to the works.

I just went to YouTube and listed to some of the Piano Quartet in C Minor Op 60 I Allegro ma non troppo which I think was mentioned in the book(??) Never heard it before. It was nice - but I'm not really sure how I attach a significance to the reference within the story.
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Old 02-22-2015, 12:08 PM   #22
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I find the thoughts about Ben interesting. This was the third time through for me of this book and I've loved it more each time. I distinctly remember feeling a little worn out by the time Ben showed. I felt emotionally spent by that point and didn't really appreciate the character much. I feel completely differently about him now and really enjoyed the last part of the book.

What caught me off guard was how angry I was with Ben regarding the whole relationship with Petra. I don't see Ben as a later version of Jakob and this relationship is one of the reasons why. Jakob would never have gotten caught up in that situation.

Someone mentioned how they viewed the novel as a series of poems. Hmmm. I remember last month struggling through the poetry and again determining how I need plot and characters to keep me interested. This book represents the perfect bridge for me. I really do not like poetry, but I love poetic writing that keeps me focused on a story with real people.

About half-way through the book Michaels writes that "History is amoral: events occurred. But memory is moral; what we consciously remember is what our conscience remembers." This book caused me many times to stop reading, close my eyes, ponder memories that play a big part in my story and attempt to re-remember, trying to separate the moral from the amoral. It's hard.
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Old 02-22-2015, 02:52 PM   #23
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I thought this was an interesting quote by the author that I found on the University of Toronto website.

Quote:
Ms. Michaels, who has also composed musical scores for the theater, has said "when you put a tremendous amount of love into your work, as in any relationship, you can't know--you can only hope—that what you're offering will in some way be received. You shape your love to artistic demands, to the rigors of your genre. But still, it's a labor of love, and it's the nature of love that you must give it freely."
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Old 02-22-2015, 04:37 PM   #24
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Lovely quote Bookworm_Girl - thanks for sharing it. I'm not surprised that Anne Michaels is also a musician: the memories of Bella talking about music and interpretation had to be written by someone who knew the music intimately.

Thanks too to ccowie: very interesting observation about memory and morality.
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Old 02-22-2015, 08:58 PM   #25
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I remember the memory quote and it struck me as just so right. Having read s bit about memory and how the pathways in our brains change and the stories them self change. That is the morality in it. It is our conscious choices in how we remember that gives a picture of our moral landscape. More importantly to me, we often remember how we want to be viewed. Our moral compass.

I very much viewed the book as a series of glimpses as opposed to a straight through story with a set plot path.
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Old 02-23-2015, 01:50 PM   #26
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I was also struck by the truth of this quote: "History is amoral: events occurred. But memory is moral; what we consciously remember is what our conscience remembers." I loved the language of Fugitive Pieces and the meditations upon history and memory. Like Caleb, I did not connect to the passages about music in the way that I would have wished or expected. That surprises me because I love music. I once thought I even had a passion for it, but that was because I had not yet discovered my passion for geology and the processes of nature.

I loved the passages about the memory of nature.

Quote:
We think of weather as transient, changeable, and above all, ephemeral; but everywhere nature remembers. Trees, for example , carry the memory of rainfall. In their rings we read ancient weather—storms, sunlight, and temperatures, the growing seasons of centuries. A forest shares a history, which each tree remembers even after it has been felled. (p.211)
I was lucky enough to read this camping in Death Valley where I have felt boundless awe for the memories contained in the canyon walls, and the history of dry and wet years you can read in the washes. Northwest of here in the Bristlecone pine forest in the White Mountains there is a tree that is many hundreds years old. When it was young, lightning burned out one side and the center of the trunk. Now the tree is tall and healthy despite the gaping hole through its heart. It carries the memory and the scar of the lightning which struck it hundreds of years ago, but somehow endured and thrived. I have always found lessons and stories in nature's memories.

So did Athos and he passed on that awareness to Jakob. Here are three of the best paragraphs:

Quote:
It’s no metaphor to feel the influence of the dead in the world, just as it’s no metaphor to hear the radiocarbon chronometer, the Geiger counter amplifying the faint breathing of rock, fifty thousand years old. (Like the faint thump from behind the womb wall.) It is no metaphor to witness the astonishing fidelity of minerals magnetized, even after hundreds of millions of years, pointing to the magnetic pole, minerals that have never forgotten magma whose cooling off has left them forever desirous. We long for place; but place itself longs. Human memory is encoded in air currents and river sediment. Eskers of ash wait to be scooped up, lives reconstituted.

How many centuries before the spirit forgets the body? How long will we feel our phantom skin buckling over rockface, our pulse in magnetic lines of force? How many years pass before the difference between murder and death erodes?

Grief requires time. If a chip of stone radiates its self, its breath, so long, how stubborn might be the soul. If sound waves carry on to infinity, where are their screams now? I imagine them somewhere in the galaxy, moving forever towards the psalms.
Geology gives you perspective and therefore equanimity, even serenity, when faced with the tragedies and challenges of daily life. But it cannot be much help in dealing with the cataclysmic events of the Holocaust of Fugitive Pieces, of all the other Holocausts of destroyed peoples, of the drowning of Biskupin, of all the hearts shot out of people and trees. As the first sentence of the book states: Time is a blind guide.
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Old 02-23-2015, 04:18 PM   #27
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Great post Belle and isn't that tree an amazing sight. Thanks for posting the photograph, as well as your thoughts.
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Old 02-24-2015, 02:12 PM   #28
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From what I understand, the prose is heavily poetic which may be a plus or minus depending on your perspective. I know, for me, there needs to be a balance between poetry and narrative. So I'm interested to see if Anne Michaels finds that balance.
Yes, I agree. So far there is no doubt about the poetic beauty of the language. I'm not so certain that she succeeds in creating a strong narrative technique. I think that those who enjoy a stream of consciousness method will certainly appreciate her approach.
But these are only early impressions.

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Old 02-25-2015, 08:44 AM   #29
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I think that those who enjoy a stream of consciousness method will certainly appreciate her approach.
I wouldn't call her style stream of consciousness, but I'm not sure if that's what you're saying or just that people who like stream of consciousness writing would also like this. It's not linear, but there are a few dominant themes that she continuously works with.
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Old 02-27-2015, 05:10 PM   #30
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people who like stream of consciousness writing would also like this. It's not linear.
Yes, that's what I meant. In fact, I should simply have said that those who prefer a free non-linear introspective style would enjoy it.

I haven't read enough to really properly judge it. The poetic quality of the prose is so very haunting but it slows my reading (as it should). It is certainly a superior literary work but it may take me some time to complete it.
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