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Would you consider the audio edition of A Dance to the Music of Time: Fourth Movement to be better than the print version?
I have not read the print version.
Who was your favorite character and why?
I felt huge sympathy for a character called Charles Stringham, who turned up fairly frequently in the books but who was by no means a major character. Nevertheless I kept wishing that reports of his death had turned out somehow to have been a mistake because I felt so sorry for the waste of his life. Powell would not get involvement like that from his readers without some very skilful and crafty writing. I still don't know why Stringham was so important to me.
What about Simon Vance’s performance did you like?
His range of voices was astonishingly good. I recognised the voices of people who had appeared in previous books even before they had been named.
Was this a book you wanted to listen to all in one sitting?
That would not have been possible in this case.
Any additional comments?
If I were Powell, perhaps I would be able to write well enough to describe how fantastically good this cycle of books is—but I am not. What I can say is that it is an astonishing work of literature. The writing is simple and clear, it is by turns humorous and tragic, just like life. I enjoyed every sentence; when I had to stop I was irritated by the interruptions; I was sorry when it ended and I feel that reading it was my time best spent.Simon Vance, who narrated the entire twelve books, gave voice to a whole world of men and women, all with their own vocal affectations, habits and accents, all distinct and recognisable. He is obviously a truly talented artist but that sort of reading needed far more than just talent, it required the sort of application that most people would have trouble holding for a few hours, let alone the weeks or even months that recording this massive work would have involved.The irony is that both writer and actor put so much work into the Music of Time books and they are so skilled at their jobs that the whole thing appears completely effortless.
2 of 2 people found this review helpful
On finishing Part 1, I was only just convinced to invest in the the whole series. The whole is unlike anything else that I have read and I learnt to love it. Sadly it is an incomplete life story of a very likeable character who plays a relatively minor part in the action. Nicholas is an observer rather than a prime player.
The narrator's voice suits perfectly the main role and does a great job on the over 300 other characters.
The books are consistently very funny and not infrequently sad. I can imagine listen to them again.
1 of 1 people found this review helpful
BOOK TEN ('Books Do Furnish A Room'):
"Imagination must, of course, select and arrange reality, but it must be for imaginative ends: all too often the role of imagination in this sequence is to funny-up events and people whose only significance . . . is that Powell has experienced them."
- Philip Larkins, in a review of 'Books Do Furnish a Room'
'Books Do Furnish a Room' starts with a discussion of Robert Burton's The Anatomy of Melancholy* and this book (and themes of melancholy and love) reappear frequently throughout the novel.
The central plot thrust of book 10, or the first book of the final season/October (if you will) centers on X. Trapnel a novelist loosely based on Julian McLaren-Ross a writer described by his biographer as "mediocre caretaker of his own immense talent". This novel is the first of the post WWII novels. It takes place in the years immediately after WWII when England is dealing with the social and economic turmoil of the Post war years. Powell describes these changes by describing how the sea and tides will roll certain things back, lose certain things, and propel new things onto shore. I'm obviously paraphrasing because it is late and I haven't the energy right now to find the damn quote. Anyway, it was an interesting brick in this series, not my favorite, but rewarding for some of its dialogue and plot twists.
* An amazingly rich work that I'm almost done with myself (I've got two hundred pages left in the last of the three partitions. I've spent about 3 years worth of Sundays intermittently reading while sitting through church. I'm not sure of my wife is thrilled with me reading Burton in Church, but Burton's explorations of Melancholy seem to almost need an altar or some sacred space to read it near
BOOK ELEVEN ('Temporary Kings'):
"Reading Novels needs almost as much talent as writing them."
- Anthony Powell, Temporary Kings
Temporary Kings opens at an international literary conference in Venice. The literary pot is beginning to boil. Who knew the literary world was such a Casino Royale of intrigue. I really think Powell set this novel's beginning in Venice to make the reader think of the Romantic era, but also of the Doges of Venice and all those dukes and kings that seemed to rise and fall during the period between Rome and the Romantics. Hell, I'm probably way off, but that's my wall and I'm going to lean against it.
More than almost any book, except the series itself (Dance to the Music of Time), Temporary Kings seems dominated and driven by a work of art. Art and music, like food and sex, are scattered in all of Powell's novels, but in this one, a painting of Candaules and Gyges by Tiepolo. In the myth Candaules, the Lydian (Sardis) king has a fatal enthusiasm to show his queen’s naked body to his lieutenant Gyges (without her knowledge or permission). She discovers her husband's peeping sin and invites Gyges to kill him and take his place on the throne. Powell practically beats the reader over the head with this idea. The myth itself is fairly melodramatic (characters in the book discuss the myth as a perfect Opera story), but also seems to parallel some of the activity of some major characters.
BOOK TWELVE ('Hearing Secret Harmonies'):
Hearing Secret Harmonies is the end, the final, the cap of this huge series. Powell reminds me of one of those extreme runners. Those masochists who seem to enjoy running 50, 100, or more miles. The amazing things about writing 12 novels that are together nearly 3000 pages and written over 24 years (1951 - 1971), is how uniform these books are. I'm not saying uniform in a boring way. I'm just saying there isn't a real weak link in them. They are beautifully constructed. I think of big canvasses like the ceiling in the Sistine Chapel. Certainly, with such a big canvas the risk of a disappointing section or segment isn't linear. A big book, with more pieces and pages, comes with an exponentially growing level or risk. Powell just didn't have a shitty two years anywhere in that 24 years.
12 of 16 people found this review helpful
Originally encountered this book at a Barnes and Noble looking for a present to give to a friend who loves English lit from the post WWI era. I gave her the first volume as a non committed way of letting her know that if she liked it, she could make a comment of any kind and I would buy the rest for her. She never made a comment. This had the curious effect of heightening my interest.
To make a long story short, I listened to the whole thing on audiobook while traveling on my car. It split my life in two. On the one hand, real life, on the other, Nick's life. Although not as "deep" as say, Henry James, the cumulative impact is substantial. One truly gets a feel for a country in transition from a limited and somewhat detached person's point of view. More than that, I feel like I understand a little better how an englishman of a certain class and era thought.
Not a great thought, or earth shattering revelation, but of such small details a life is made, which I think is the point of the author's summation at the end of the book.
1 of 1 people found this review helpful