The Moonstone (1868) by Wilkie Collins is a 19th-century British epistolary novel, generally considered the first detective novel in the English language. The story was originally serialized in Charles Dickens’ magazine All the Year Round. The Moonstone and The Woman in White are considered Wilkie Collins’ best novels. Besides creating many of the ground rules of the detective novel, The Moonstone also reflected Collins’ enlightened social attitudes in his treatment of the Indians and the servants in the novel.
From a reviewer:
I’m still trying to decide if I liked The Moonstone better or The Woman in White… but it’s a silly question, really. Both books are fun reads, if you can say that about Victorian novels the size of these two books. You can see how they were real cliffhanger reads at the time, and why Collins was so successful. They are full of mystery and adventure and – I think – are not meant to be taken too seriously.
When, in 1960, Anthony Burgess sat down to write “A Clockwork Orange,” we may be pretty sure that he had a handful of certainties about what lay ahead of him. He knew the novel would be set in the near future (and that it would take the standard science-fictional route, developing, and fiercely exaggerating, current tendencies). He knew his vicious antihero, Alex, would narrate, and that he would do so in an argot or idiolect the world had never heard before (he eventually settled on a blend of Russian, Romany and rhyming slang). He knew it would have something to do with Good and Bad, and Free Will. And he knew, crucially, that Alex would harbor a highly implausible passion: an ecstatic love of classical music.
We see the wayward brilliance of that last decision when we reacquaint
ourselves, after half a century, with Burgess’ leering, sneering,
sniggering, sniveling young sociopath (a type unimprovably caught by
Malcolm McDowell in Stanley Kubrick’s uneven but justly celebrated
film). “It wasn’t me, brother, sir” Alex whines at his social worker,
who has hurried to the local jailhouse: “Speak up for me, sir, for I’m
not so bad.” But Alex is so bad; and he knows it. The opening chapters
of “A Clockwork Orange” still deliver the shock of the new: a red streak
of gleeful evil.
.... It is a book that can still be read with steady pleasure, continuous amusement and — at times — incredulous admiration.
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