[ebooktalk] Re: Appropriate language.
- From: "Elaine Harris \(Rivendell\)" <elaineharris@xxxxxxxxxxx>
- To: <ebooktalk@xxxxxxxxxxxxx>
- Date: Tue, 11 Jun 2013 20:47:16 +1000
Yes, I know what you mean, though whether she would have expressed herself
in that way I don't know.
One of the things I love about the dialogue in the Cadfael books is the way
they speak and most of the characters do speak uncommonly well, though most
do come from the upper echelons of society. I also enjoy Catweazle's turns
of phrase in the Richard Carpenter books. (Not the musician of the same
name, of course.) "Thank you for the raiment" and "Hast thou the power?" to
name but two.
Speaking of language, I am currently struggling with Dickens and "The
Mystery of Edwin drood" and really can't decide where he is going with it.
His usual buoyant cynicism is there but, oh, knowing he was seriously
depressed when writing it doesn't help cheer you along (or me) as you
endeavour to turn the pages.
Take care,
Elaine
From: ebooktalk-bounce@xxxxxxxxxxxxx [mailto:ebooktalk-bounce@xxxxxxxxxxxxx]
On Behalf Of Ian Macrae
Sent: Tuesday, 11 June 2013 8:35 PM
To: ebooktalk@xxxxxxxxxxxxx
Subject: [ebooktalk] Re: Rosamund Lupton.
Hi elaine, for me it doesn't matter whether the language reflects the
reality of such a person. This, as you suggest, is fiction after all. I'm
sure the Saxons and Danes in Bernard cornwell's series set at the time of
Alfred didn't speak in the way, meaning I suppose the idiom that his
characters do. for me it's about whether they are true to the story and to
the overall intention of the author. That phrase from the Bradford family's
cook about knowing the heft of every knife just jarred with me. It's like
the fact that people have spotted that there's a red car in one of the
backgrounds of the great chariot race from the movie of Ben Her.
On 10 Jun 2013, at 23:56, Elaine Harris (Rivendell) wrote:
Ah, yes, I see what you mean.
I don't recall her bring particularly articulate but you could well be
right. In fact, you have raised a most interesting question there. It has
often occurred to me in the past that some characters express themselves
more clearly and/or in better language than might their real life
counterparts; it used to annoy me but no longer does. Not sure why. Perhaps
an acceptance of artistic licence and a fear of inverted snobbier: as in,
who am I to judge how well or badly someone may express themselves. It has
occurred to me often, though, throughout my many years of reading.
Thank you for prompting me to think about it again.
Elaine
From: ebooktalk-bounce@xxxxxxxxxxxxx [mailto:ebooktalk-bounce@xxxxxxxxxxxxx]
On Behalf Of Ian Macrae
Sent: Tuesday, 11 June 2013 6:21 AM
To: ebooktalk@xxxxxxxxxxxxx
Subject: [ebooktalk] Re: Rosamund Lupton.
Hi elanie, I'm sure I'll go back to the book, but the cook in question was
the one who was fired when the big cheese family fled the village.
On 10 Jun 2013, at 19:38, Elaine Harris (Rivendell) wrote:
Ian, I can understand your doubts with Geraldine brooks' Anna but since the
narrator - by the end of the book and the perspective from which she is
telling the story - is no mere seventeenth-century cook. Her education grows
along with the book.
For the record, Geraldine Brooks is Australian, started out as a reporter
and her first book was non-fiction on Moslem women, married to Anthony
(Tony) Horrowitz; not sure if he is English but is well-known for his
children's fiction (which I have not read) and they live in America though I
think spend a fair amount of time in the UK.
I loved the language; to me that was part of the thrill of the book; many of
the words I think you would find only in a mediaeval dictionary.
However, only you can know if a book is for you.
Take care,
Elaine
From: ebooktalk-bounce@xxxxxxxxxxxxx [mailto:ebooktalk-bounce@xxxxxxxxxxxxx]
On Behalf Of Ian Macrae
Sent: Tuesday, 11 June 2013 3:25 AM
To: ebooktalk@xxxxxxxxxxxxx
Subject: [ebooktalk] Re: Rosamund Lupton.
Anyone care to outline what kind of fiction she writes? I must confess to
be still struggling rather with Geraldine Brooks. Part of it is language. I
don't believe any cook in the 17th century would ever have said, :I now the
heft of every knife in this kitchen". It's a bit like those female American
writers of historical fiction who think they create the language of the 15th
century by inserting the word "Do" before every active verb.
On 10 Jun 2013, at 17:54, Shell wrote:
I think you might enjoy Sister David, though you do have to be on top of
things at the end as Steve says. I think it's much more up your street
though.
Shell.
--------------------------------------------------
From: "David Russell" <david.russell8@xxxxxxxxxxxx>
Sent: Monday, June 10, 2013 3:58 PM
To: <ebooktalk@xxxxxxxxxxxxx>
Subject: [ebooktalk] Re: Rosamund Lupton.
> I read "Afterwards" and really struggled with it for many reasons. It
would
> take a good deal of persuasion for me to try reading Lupton again.
>
>
> David
>
> -----Original Message-----
> From: ebooktalk-bounce@xxxxxxxxxxxxx
[mailto:ebooktalk-bounce@xxxxxxxxxxxxx]
> On Behalf Of Clare Gailans
> Sent: 10 June 2013 12:03
> To: ebooktalk@xxxxxxxxxxxxx
> Subject: [ebooktalk] Re: Rosamund Lupton.
>
> Trish, I have Sister and will try it now as you say it is so much better.
I
> thought all the out-of-body business in Afterwrds spoilt what was
otherwise
> a good book. Clare
>
>
>
>
>
Other related posts:
- » [ebooktalk] Re: Appropriate language. - Elaine Harris (Rivendell)
