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The Lesser Bohemians Howard Hughes 9780571327850 Books

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The Lesser Bohemians Howard Hughes 9780571327850 Books

This is the best book I've read in years! When I began the read on Kindle, I was 10 pages in and I know this was going to be magical. She writes as an actor thinks. She writes in subtext like a poet of the soul. Reading her is as if you were reading James Joyce for the first time only without the density. My second thought as I read this work was that it was like reading Ginsberg's Howl for the first time or Diana Di Prima's Nightmares ("Get your cut throat off my knife"). Is she a "difficult read" as some reviews have indicated? I don't think so unless you can only think in literal lines. This book was so good I went on line and bought two signed firsts of it....that's how good it is.


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The Lesser Bohemians Howard Hughes 9780571327850 Books Reviews

He never. He really did. No teacher Never, nor anyone else. Bang
out blatant about going permissive. Noting, I note another face
laughing just like me. Trying not. To be mature. To keep the
rict from boiling over. Of an age she also seems so I Hello when
I'd not usually. Then she, sloe-eyed with slowest smiles, says
Cuppa? In the Canteen? And so wriggle in. Slip in. Remember people
are blind to under your skin or. Under my skin now.

Irish girl on her first day at drama school in London. The teacher tells them to remember to use condoms. She, a virgin still, is both shocked and validated in her desire for new life, new experiences and, starting here, new friends. The sex part will come soon enough (together with an enormous amount of drinking, smoking, and stoning). She meets in a bar an older man, 38, twice her age, an actor too, somewhat well-known, although she does not recognize him. The novel is about that first year of hers in London, not so much about drama school (which disappointed me a little), but a lot about that relationship.

As I noted in my review of McBride's first novel, A GIRL IS A HALF-FORMED THING, the secret to her writing is hearing it aloud. Listening to a YouTube video of her reading a short excerpt unlocked the rest for me. Or more or less. It still sounded strange, though there were moments where the pain and violence of that book that could not have been written any other way. Here, the language is most appropriate for the sex. I have seldom seen so much bedroom writing in a novel outside of Henry Miller, but it did not offend me. In the earlier stages at least, she seemed very real in her discoveries of shame, pain, and soon enough eagerness. What did upset me was the amount of dissolution in between. I began to wonder how the protagonist ever had time to learn anything at that drama school, with so much of it spent on getting drunk, or stoned, or recovering from same. But alas I too recognize the craziness of that first year away from home as a fledgling adult, and McBride's fractured syntax, running the gamut from total chaos to sheer poetry,* is as good a way to capture it as any. Much as I would rather forget.

Readers of A GIRL will recall that it is not until quite late in that book that the story kicks into high gear. So it is here. Both the protagonist and her actor lover (both unnamed for now), bring baggage to their relationship; being older, he carries more than her. As the novel nears its end, however, much of this back-story gets revealed, first in hints, then more completely. The characters acquire names. The jagged sentences begin to smooth out, without ever completely losing Eimear McBride's characteristic lilt; apart from that, it might almost be a different author. Whereas A GIRL used much the same language throughout, only later showing the reason for it, THE LESSER BOHEMIANS tells its story partly through the transformation of language. Is it too easy a device? Does it make for too sentimental an ending? Perhaps—if you see this as her story, which is how it starts. But having read a couple of reviews which see it more as his evolution, I am changing my tune on this one, raising my original three stars to four. There is some painful truth in here, but you do need the patience to winkle it out.

======

*I had a curious experience while reading. As it happens, I am currently writing a long poem, a parody pastoral in loose iambic pentameters, which has given me the habit of testing lines in my head for scansion. And there were times when, mentally reading McBride aloud, I heard her prose slipping into the familiar verse patterns, or variants of them. Which confirmed for me that much of what she is writing is poetry. But my tendency to regularize also made me less able to grasp the special quality of her poetry-prose, with its unpredictability of rhythm, its run-ons, sudden stops, and occasional surprise of concealed rhymes.
I did not finish it.
I was reading for a class, but opted for the other books when I got into it and got tired of having to decipher the vernacular of a gals stream of consciousness. [4 other books in 3 weeks to read. No patience? No, just no interest in her life.]
And essentially all prose poetry. You fall into its rhythm after a bit, and let the story and the words – sometimes inaccessible, as the thoughts of a real human would be – wash over you.
Amazing red!
Occasionally it happens that I hear an author interview on the radio or in a newspaper and am intrigues enough to order the book in response. This book is one case where the instant order provided instant reading gratification. Einear McBride describes a growing--and graphic -- sexual awareness and exploration of a young 18 year old acting student with an established actor twice her age. McBride creates her own grammar without much punctuation which is part of the initial mystery for thte reader. As the older man begins to confess a sordid childhood and turbulent life, the story and the prose style become clearer. As the veil pf the past is lifted in the narrative, so does the language become more accessible. The book is hardly prurient while at the same time being almost entirely devoted to sex. Thus the author brings us into this torrid relationship while at the same time having the focus on the spiritual growth of the two central characters admitting they are falling in love. It's a winner.
This is the best book I've read in years! When I began the read on , I was 10 pages in and I know this was going to be magical. She writes as an actor thinks. She writes in subtext like a poet of the soul. Reading her is as if you were reading James Joyce for the first time only without the density. My second thought as I read this work was that it was like reading Ginsberg's Howl for the first time or Diana Di Prima's Nightmares ("Get your cut throat off my knife"). Is she a "difficult read" as some reviews have indicated? I don't think so unless you can only think in literal lines. This book was so good I went on line and bought two signed firsts of it....that's how good it is.