where it works:
Fitgerald is a genius. He writes with a truly unique originality. His descriptions, while never carrying one away on a wave of sympathetic emotion, keep the reader returning to learn the end of each story, and then the beginning of a new one. In Absolution, he compares a boy's eyes to a musical quality -- "enormous, staccato eyes, lit with gleaming points of cobalt light." In Dice, Brassknuckles and Guitar, the twilight throws "unbearable shadows," and a man includes "the whole North in the splendor of his obeisance."
Rags Martin-Jones and the Pr-nce of W-les does not deviate from Fitzgerald's typical excellence. The characters stand as individuals rather than stereotypes. The hero is satisfyingly complex and simultaneously startlingly straightforward. The heroine, carelessly childish and plagued with self-imposed ennui, takes no pains to hide the ridiculous aspects of her nature, and yet endears the reader the first time she drops her monocle. The plot at first plods at a pleasant, mulish elegance, then bursts into a sudden, somersaulting twist. It's like a swashbuckling cowboy romance -- only much more refined.
where it doesn't:
Fitzgerald is a genius. His writings will either inspire creativity or else reiterate the lack thereof. Also, Rags, in keeping with the tone of its sister story, The Offshore Pirate, contains a large element of the fantastical, which may annoy the more practical reader, who will question the feasibility of the schemes effectuated.
the mix:
Fitzgerald is a genius. His novel The Great Gatsby is written so vividly as to seem almost a recollection of the reader's, rather than a fictionalized reprise of the flapper era. Reading his short stories is like eating Belgian chocolates with fresh-brewed coffee. Granted, some have the deeper tenor of an espresso, but Rags is a light and pleasant read, like a latte. With whipped cream.
grade: A+
Tuesday, December 2, 2008
Tuesday, November 25, 2008
song: A.N.G.E.L. by natasha bedingfield
where it works:
Natasha Bedingfield has a great voice. I think few people will contest that. She remains strong in both the low and high registers, not wimping out to an airy falsetto when the notes climb skywards. There is a satisfying umph to her vocals--not like Britney's saccharine whine--but she does not reach Pink's brazenness.
This particular song is no exception. The vocals are predictably complex and intriguing. The music alternates between the uneven, halting pulse of the verses and the grander, smoother sweeping of the chorus, creating a nice contrast. The lyrics are rhythmic, and they flow well together. The song begins with a Peter Pan-like comparison: Just like a shadow / I'll be beside you . . . Later on, continuing the motif of dark and light: Just like the moon / I'll step aside / And let your light shine / While I follow behind . . . There is something about astronomical metaphors--done right, it seems they can never get old. There is something poetical in the mere sight of stars on a clear night; heavenly bodies seem to belong in song.
where it doesn't:
What is Natsha Bedingfield? Superwoman? Surrogate mommy? Oh, right. She's an angel. She declares: If I could be your angel / Protect you from the pain / I'll keep you safe from danger / You'll never hurt again . . . It would take an angel to do that. But what sort of guy is it that needs a barrier between him and every little twinge of pain? And what sort of girl is it who would want such a guy?
The lyrics also fluctuate between different personalities. First, she guides her man home, and then she stands behind him, letting him shine. First, she is his bodyguard, and then she says, puppylike, I'm so glad you're mine. The image calls to mind the Greek myth of Aurora and Tithonus. Aurora, a goddess, gains Tithonus eternal life. His youth is not included in the deal, though, and he eventually shrivels to a knobbly kneed grasshoper. In A.N.G.E.L., similarly, one has to wonder if this relationship will really be good for all parties involved.
the mix:
Despite some inconsistencies, the overall message of the song is clear: girls can be strong, and guys will draw on that strength. A positive morale booster, it will appeal to females in general. It has a strong dose of attitude, but does not reach the in-your-face status that tends to turn off the more conservative listeners. Bedingfield's vocals compliment the lyrics well, and the song as a whole is aesthetically pleasing.
grade: A-
Natasha Bedingfield has a great voice. I think few people will contest that. She remains strong in both the low and high registers, not wimping out to an airy falsetto when the notes climb skywards. There is a satisfying umph to her vocals--not like Britney's saccharine whine--but she does not reach Pink's brazenness.
This particular song is no exception. The vocals are predictably complex and intriguing. The music alternates between the uneven, halting pulse of the verses and the grander, smoother sweeping of the chorus, creating a nice contrast. The lyrics are rhythmic, and they flow well together. The song begins with a Peter Pan-like comparison: Just like a shadow / I'll be beside you . . . Later on, continuing the motif of dark and light: Just like the moon / I'll step aside / And let your light shine / While I follow behind . . . There is something about astronomical metaphors--done right, it seems they can never get old. There is something poetical in the mere sight of stars on a clear night; heavenly bodies seem to belong in song.
where it doesn't:
What is Natsha Bedingfield? Superwoman? Surrogate mommy? Oh, right. She's an angel. She declares: If I could be your angel / Protect you from the pain / I'll keep you safe from danger / You'll never hurt again . . . It would take an angel to do that. But what sort of guy is it that needs a barrier between him and every little twinge of pain? And what sort of girl is it who would want such a guy?
The lyrics also fluctuate between different personalities. First, she guides her man home, and then she stands behind him, letting him shine. First, she is his bodyguard, and then she says, puppylike, I'm so glad you're mine. The image calls to mind the Greek myth of Aurora and Tithonus. Aurora, a goddess, gains Tithonus eternal life. His youth is not included in the deal, though, and he eventually shrivels to a knobbly kneed grasshoper. In A.N.G.E.L., similarly, one has to wonder if this relationship will really be good for all parties involved.
the mix:
Despite some inconsistencies, the overall message of the song is clear: girls can be strong, and guys will draw on that strength. A positive morale booster, it will appeal to females in general. It has a strong dose of attitude, but does not reach the in-your-face status that tends to turn off the more conservative listeners. Bedingfield's vocals compliment the lyrics well, and the song as a whole is aesthetically pleasing.
grade: A-
Subscribe to:
Posts (Atom)
