Review of Gillian Flynn's Gone Girl- Banality of evil makes it commonplace

The novel scores as a very contemporary  depiction of the dynamics of  relationships in modern world. Gone Girl may have a very sick relationship as it's centerpiece but Ms Flynn manages to strike a universal note with these demented characters. Finding echo of everyday turmoils and conflicts in such a diseased milieu is hugely disconcerting. This novel may put off quite a few readers as Gillian Flynn makes us inhabit these twisted minds in a dizzying tandem of  chapters made intimate by first person voice. The reader may feel alarmed by easy identification with many aspects of thinking of the sociopaths. For example, Amy's grouse with the concept of 'cool girl' May find many nodding in agreement when she writes""Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl."  or when Nick waxes eloquent about his lack of control over what image he is projecting    "People love talking, and I have never been a huge talker. I carry on an inner monologue, but the words often don't reach my lips.” Banality of evil makes is easy to find startling resemblance in most mundane of the moments.

Gillian Flynn demonstrates  a dexterous hand at psychological profiling and characters remain at the desired degree of likability-under full command of the author. She can make the reader fall in love with character in one chapter and create intense hatred in the next. Furthermore, she can go nuanced and successfully conveys the machination deployed by the character to be likable or despicable. She also benefits from the useful gift of keeping many plot balls in the air while keeping the reader clued in with the basic tension of the story. All this with tight accessible prose and painterly depiction. She creates word pictures that conveys with dazzling clarity the basic point of the author about a very complex feeling. 

First Appearance of Superman-- Action Comics #1. Page Two of "Superman" June 1938

In June 1938, Jerry Siegel and Joe Shuster, Introduced a superhero with clean cut sense of right and wrong backed by astonishing powers in "Superman," published in Action Comics #1. Page two of "Superman," published in Action Comics #1 conveys to us the urgency with phrases like ‘seconds count’ ‘I haven’t the time to attend to’ and ‘matter of life and death’ (Siegel and Shuster, 1938 unnumbered page). His impatience for protocol is amply illustrated by forced entry and treatment to the lady and the door opener, presumably a valet. Though we know that this is first appearance of ‘Superman’, there is no mention of the name ‘Superman’. Here, he is just a ‘tireless figure’ who has some strength (he breaks doors and lifts the valet effortlessly), flying is indicated but not confirmed in the opening panel.

The panel arrangement is simple 3,3 and 2. Amounting to quick cuts, first six panels set the pace for the final two panels which can be seen as the climax or pinnacle of the build-up. Direct action crusader is not the one to stand on ceremonies and action orientation is very clear as he is convinced of the rightness of his actions. Though the page is not a full scene from the point of view of the plot as it leaves us intrigued by the presence of gagged but well dressed woman and clearly the ‘tireless figure’ has just started on his quest. The narrative is aimed at establishing the contours of the plot and more so of a character. The hero is new character as we have been told and we are being goaded to form a certain image of the hero. To me, it can be summerized as someone strong, clear headed about his values and in a hurry to finish his task using the powers that are at his disposal. In this sense the page is telling a full poem or a point. It is fulfilling a complete task of introducing us to a superhero and introducing a story.

We start caring for the fortunes of the people introduced in the panels- The ‘tireless figure’, the gagged woman, the person whose life/death is to be discussed with the governor and also the valet who has been lifted by the hero.  In this caring lies the seeds of the story on an immediate level and future of a franchise on a long term basis. We are hooked and story can build up on this solid start that is full of intrigue, well paced action and a glimpse of extraordinary powers that the hero enjoys (he breaks the door and runs on stairs with single handed lifting of a man).  Use of shadow in the last two panel is another interesting feature. Shadow increases drama and presence of something supernatural is conveyed with suitable menace. Shadow has been used with great impact in comics.

With a character such as Superman, it is difficult to fully discard the baggage of the readers own experience with the superhero. Those who are still engaged with the superhero in 2013 will note the relative lack of sophistication and a direct approach to establish the story. Of late we may find an attempt to convey inner conflict of the superheroes including Superman who is supposed to be least conflicted among superheroes. However, as we can see, the second page of the Action Comics #1 (this may well be the first effective page) the intention was to leave enough space to build a rich back story. Surely,  the story was built over a period of two third of a century and the myth making is still on. For a reader presented with the page two of Action Comics #1, a big part of the joy will be to witness the beginning (in my case this was so as I have not read Action Comics #1). More so we immediately, somewhat condescendingly, admire the pace and quality of comic in 1938. We can’t help thinking about the ground that has been covered since then. We see that later Superman would not have been restrained by time as he can reach the Governor in the blink. We like his lifting of man and breaking of door but we know that this a man capable of moving planes, building and even planets. We are liking it as a tourists likes an ancient ruin or in an unknowingly condescending way in which we admire simple beauty of products by exotic tribes.

The page is an important milestone in the life of an art form. It creates solid ‘beginnings’- mind the plural. An eventful start of a story and a character. This mode of starting a story involving parachute landing in the middle of action, provides good ground for a back story to develop and that is what that must have happened in Action Comics #1 and that has surely happened in the saga of Superman. We are bound to see the page as a key building block of hugely successful franchise and a beloved character. It is a story that is part of our growing up process and we are still engaged with it. Triangulation of art, medium and the reader is complete when we get to see this page in 2013 with our ‘trained’ eye and inability to unlearn.

*****

Review of Nine Stories By J D Salinger

Read Nine stories by J D Salinger. My first Salinger. In fact of late I have been feeling an urgent need to address a serious gap in my reading.  I find that I have not read anything in last 17 years ( a span that is coterminous with my job). As it is, I was never a voracious reader after I graduated from comics. Still I manage to cover some distance in popular book landscape. Agatha Christie, P G Wodehouse, best sellers trash along with some sprinkling of Maugham, Russian authors was the limit of my literary reading during the university days. Pace was slow but steady. However all that come to a halt seventeen years ago when I got into the job. Not  much to report for these 17 years but this needs to change. So baby steps in the form of short stories. 

Back to Salinger, In the already short list American literature is absent in its entirety. Twain, Harper lee, Roth and many other have been holding attraction but may be not enough to break through my lethargy. Salinger is a random choice to attack that field. 

Nine stories is a realized work, no doubt about it. Voice is established and craft is blemish free.  Stories are short (they are meant to be by definition) but never insufficient. Reading him is like watching a movie. He uses dialogues for description. Description line are comparatively few but they support the word picture created by the dialogues with uncanny accuracy. If he is conveying indifference (Bananafish) or emptiness of a day before going to war front (Esme) he is  good use of my time. However I am yet to understand the genius tag that is almost reflexively attached to the author.

weaving that in dialogues and supporting sparse but effective description line. There is good story plot in each one of them and that has been executed with sophistication and with a regard for intelligence of the reader. I liked reading Nine stories and found it a good book. However, it failed to explain the Salinger phenomenon to me.

I think there are three reasons.

First is the long stay in dark continent of  non reading. I may have lost the appreciation of good literature. Anything classic or classical is an acquired taste. ‘Intelligence of taste’ is liable to get blunted with non use.

Secondly, I suppose I have read very little to be appreciate his true genius. I think I should quickly graduate to Cather in the Rye.

And, finally, narrative of 1948 may have become a bit dated now. I found the ethos of the stories fairly undamaged by the time. However, what might have been breathtakingly new tropes of prose writing then may have become familiar now. 

So onward to Cather in the Rye