What do you think?
Rate this book
We Are Now Beginning Our Descent
At the dawn of the twenty-first century Adam Kellas finds himself hurled on a journey between continents and cultures. In his quest from the war-torn mountains of Afghanistan to the elegant dinner tables of north London and then the marshlands of the American South, only the memory of the beautiful, elusive Astrid offers the possibility of hope.
With all the explosive drama of The People's Act of Love, this is a spellbinding tale of folly and the pursuit of love from one of today's most talented and visionary writers.
John Meek has won the Ondaatje Prize, the Satire Award, the Macmillan Silver Pen and been longlisted for the Booker Prize. We Are Now Beginning Our Descent won the 2008 Prince Maurice Prize.
With all the explosive drama of The People's Act of Love, this is a spellbinding tale of folly and the pursuit of love from one of today's most talented and visionary writers.
John Meek has won the Ondaatje Prize, the Satire Award, the Macmillan Silver Pen and been longlisted for the Booker Prize. We Are Now Beginning Our Descent won the 2008 Prince Maurice Prize.
302 pages, Paperback
First published January 1, 2006
22 people are currently reading
259 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 46 reviews
August 12, 2019
Heloooo everyone!
Btw It tooks me a month to finish this book. Like I said, I'm a slow reader for physical book and this book quite boring. Most of people at goodreads doesn't like this book so yeahhh I'm not the only one 😂
🌟🌟🌟
Btw It tooks me a month to finish this book. Like I said, I'm a slow reader for physical book and this book quite boring. Most of people at goodreads doesn't like this book so yeahhh I'm not the only one 😂
🌟🌟🌟
August 10, 2009
"'The thing is- what I'm saying is- there's two kinds of writers, bards and priests. It hasn't changed since it began. The bard is the one who talks. He talks so well that everyone thinks he must be a beautiful writer, and sometimes he is. But the words come out of his mouth with this great love of speech and skill. He entertains. He tells stories. He knows jokes. He draws a crowd in a bar, he exaggerates, he lies so beautifully that even people who know they're being lied to love it. He laughs at himself. He can cry as well, and talk about love all night. He turns the dead into heroes and the living into villains and clowns. He remembers the people he meets and makes history out of things that have only just happened. You know what I mean? You know that bard, don't you- you were there! You saw the same things! But to you, it was just daily moments, and to him, he can make a story out of it. He loves small crowds. He loves attention. He's an agent of instant glory for anyone he likes. He charms the ones he desires and when he leaves, the whole room misses him. When he's alone, he feels miserable, and thinks everyone hates him, and wonders if he's shallow. He's weak. He drinks.'...
'The priest on the other hand, isn't there to tell stories, and he's no good at jokes. He's trying to sell you ideas. The way the priest sees it, truth is more important than happiness, the past and future is more important than the present, and big ideas are more important than you or me or next Monday. People take the priest seriously, but find it hard to concentrate on what he's saying. He's rude and awkward in company and can only cope with intense, long drawn-out, painful personal relationships. He's more comfortable addressing a million people than ten but doesn't often get the chance.'...
'The sad thing is, most priests are longing to be bards, and most bards really want to be treated as priests.'" (p 81-82)
'The priest on the other hand, isn't there to tell stories, and he's no good at jokes. He's trying to sell you ideas. The way the priest sees it, truth is more important than happiness, the past and future is more important than the present, and big ideas are more important than you or me or next Monday. People take the priest seriously, but find it hard to concentrate on what he's saying. He's rude and awkward in company and can only cope with intense, long drawn-out, painful personal relationships. He's more comfortable addressing a million people than ten but doesn't often get the chance.'...
'The sad thing is, most priests are longing to be bards, and most bards really want to be treated as priests.'" (p 81-82)
June 4, 2019
DNF. Meek's wonderful writing skills are wasted here on a non-story. There is a limit to how much beautifully-crafted sentences and characters can cover for there being no narrative and no drama whatsoever. I would love to read more of Meek's writing, but am putting this one aside.
August 11, 2009
This book is a good concept but it was too much in the main character's head. I live in my own head enough. I don't need to live in his.
September 7, 2020
I was surprised how many people rated this book low, I flew through it. Not only is it full of laugh out lout moments (intelligently constructed, gotta love the British humour), but it was beautifully written and had an interesting theme.
We follow Adam Kellas, a journalist/writer, who loses face, money and a lucrative book deal in only a few days. His descent begins the night before he boards a flight to New York from London, to visit a former journalist colleague from his days in Afghanistan, Astrid Walsh. By the time he spends his desired night with Astrid, Adam has reached rock bottom. As the layers of his constructed persona peel off and burn, he's finally able to see the problem which has plagued all his relationships, especially the romantic ones: he (and probably we, the readers as well) don't see the person in front of us for what they really are, instead we construct an image about them. We fall in love with that image, build friendships based on that image, usually an oversimplification, but are uncomfortable looking for the person underneath. As Adam tells Astrid the morning after he realizes the love of his life is an alcoholic:
"I came looking for you, and unfortunately, I found you."
The same thing happens with national identity as well. The American on the Greyhound buss is more than happy to criticize aspects of his country, but when he reads the parody of his country in Kellas' now rejected novel he gets angry, defensive. Anger is the way most characters respond to anybody challenging the image they have of themselves in this novel. Kellas is prone to tantrums, but the people around him escalate the tension in a heartbeat. This discrepancy between what we think we are and how others see us, what we think others are and how they see themselves, is expanded to works of fiction as well. As Kellas' friend says: "Kids are like books: once you've finished making them, they're not yours anymore."
Is there a solution to our blindness? Meek's characters seem to realize their errors from the beginning of the novel, e.g. when Kellas tells Astrid about what he finds most difficult when reporting from Afghanistan: "The traveler never comes back. He becomes another man, who belongs a little to the place he travels to. He belongs more to that place every day he stays there. And that's the very part, the belonging, that I never find out how to pass to the people at home". His big revelation comes after he sees Astrid in the throws of her addiction: "(...) Kellas who understood that both Astrid and himself were to be perceived not as the beasts and beauties, or this and that moment, but as the long, twisting shapes they carved in time as they flowed through it" (this flow through time, the river topography of life, is mentioned again at the end of the novel).
I did feel that the book try to address other themes as well and didn't complete doing it, so I guess it could have been tighter in that aspect. But it kept my interest well, and I rarely get to finish a book so fast. So the 4.5 stars gets rounded up to a 5.
Here's one more sentence I loved from the book:
"The reporters and photographers in Jabal were bored (...) because the war was everywhere and nowhere, like God; they were telling their editors that they be lived in it but they seldom heard it, let alone saw it"
We follow Adam Kellas, a journalist/writer, who loses face, money and a lucrative book deal in only a few days. His descent begins the night before he boards a flight to New York from London, to visit a former journalist colleague from his days in Afghanistan, Astrid Walsh. By the time he spends his desired night with Astrid, Adam has reached rock bottom. As the layers of his constructed persona peel off and burn, he's finally able to see the problem which has plagued all his relationships, especially the romantic ones: he (and probably we, the readers as well) don't see the person in front of us for what they really are, instead we construct an image about them. We fall in love with that image, build friendships based on that image, usually an oversimplification, but are uncomfortable looking for the person underneath. As Adam tells Astrid the morning after he realizes the love of his life is an alcoholic:
"I came looking for you, and unfortunately, I found you."
The same thing happens with national identity as well. The American on the Greyhound buss is more than happy to criticize aspects of his country, but when he reads the parody of his country in Kellas' now rejected novel he gets angry, defensive. Anger is the way most characters respond to anybody challenging the image they have of themselves in this novel. Kellas is prone to tantrums, but the people around him escalate the tension in a heartbeat. This discrepancy between what we think we are and how others see us, what we think others are and how they see themselves, is expanded to works of fiction as well. As Kellas' friend says: "Kids are like books: once you've finished making them, they're not yours anymore."
Is there a solution to our blindness? Meek's characters seem to realize their errors from the beginning of the novel, e.g. when Kellas tells Astrid about what he finds most difficult when reporting from Afghanistan: "The traveler never comes back. He becomes another man, who belongs a little to the place he travels to. He belongs more to that place every day he stays there. And that's the very part, the belonging, that I never find out how to pass to the people at home". His big revelation comes after he sees Astrid in the throws of her addiction: "(...) Kellas who understood that both Astrid and himself were to be perceived not as the beasts and beauties, or this and that moment, but as the long, twisting shapes they carved in time as they flowed through it" (this flow through time, the river topography of life, is mentioned again at the end of the novel).
I did feel that the book try to address other themes as well and didn't complete doing it, so I guess it could have been tighter in that aspect. But it kept my interest well, and I rarely get to finish a book so fast. So the 4.5 stars gets rounded up to a 5.
Here's one more sentence I loved from the book:
"The reporters and photographers in Jabal were bored (...) because the war was everywhere and nowhere, like God; they were telling their editors that they be lived in it but they seldom heard it, let alone saw it"
July 11, 2008
When I finished reading this novel, I couldn't help think back to the uproar over Bill Maher's comments that got him fired right after 9/11. He said Americans are cowards because we dropped bombs from 10,000 feet and consequently did not have to deal with the human toll those bombs left behind.
James Meek provides a gloomy picture of two war correspondents and how their lives came together and separated after the invasion in Afghanistan in 2001. Through the eyes of Adam Kallas, the reader is able to see the depths of suffering from multiple angles, the indifference to war from those who never set foot on the battlefield, and the cultural divides that continue to lead to more conflict and less resolution.
While Meek tends to overwrite in spots, his overall message is that if we would be more open about our feelings conflicts (both political and personal) could be resolved. It is only when we hide our true attitudes that anger, deceit and damage occur.
Hence the irony of the American cover to Meek's book, that of a dinner table in the desert. Because we Americans tend to eat many of our meals in front of a screen or in a car, there is so little time for converstaion between those we love and care about.
Therefore we know so little about not just our little corner of the world but the world overall. And because of that, apathy takes over and human connections are lost. That is the true tragedy of the way wars are fought in the 21st century.
James Meek provides a gloomy picture of two war correspondents and how their lives came together and separated after the invasion in Afghanistan in 2001. Through the eyes of Adam Kallas, the reader is able to see the depths of suffering from multiple angles, the indifference to war from those who never set foot on the battlefield, and the cultural divides that continue to lead to more conflict and less resolution.
While Meek tends to overwrite in spots, his overall message is that if we would be more open about our feelings conflicts (both political and personal) could be resolved. It is only when we hide our true attitudes that anger, deceit and damage occur.
Hence the irony of the American cover to Meek's book, that of a dinner table in the desert. Because we Americans tend to eat many of our meals in front of a screen or in a car, there is so little time for converstaion between those we love and care about.
Therefore we know so little about not just our little corner of the world but the world overall. And because of that, apathy takes over and human connections are lost. That is the true tragedy of the way wars are fought in the 21st century.
February 29, 2020
A book made up of fragments and scenes from the life-story of the unsympathetic and damaged central character, who meets and falls in love with another damaged character in the middle of a war zone; after several twists and turns in their relationship they end up along a road which we know will be doomed. Doesn't sound like a good scenario for a novel, but James Meek is a very clever writer, and there are some spectacular passages in this book, along with forensic insights into the nature of people's relationships and their hopeless hopes, the relationships between countries, the effects of war on people's souls, as well as some devastating satire on the "airport war novel". It isn't an easy read (his writing is never easy). The final paragraph is unforgettable.
May 1, 2017
Autors ļoti juceklīgi lēkā starp notikumiem. Spēlējas ar laiku tā, ka nākamais teikums bez brīdinājuma var būt jau par kādu citu notikumu kādā citā laikā un vietā. Var redzēt, ka vēlas savirknēt kādu iespaidīgu izteicienu - un sapinas meistarībā. Bieži pārlasīju teikumu vairākas reizes un tik un tā nesapratu. Šo rakstnieku "piefiksēšu" vien tādēļ, lai netīšām "neiegrābtos" kādā citā viņa rakstītā grāmatā. Reti vērtēju tik slikti, bet šis bija nebaudāmi - ar pūlēm piespiedos izlasīt, cerēdama, ka kaut kas mainīsies uz labo pusi.
February 17, 2020
Adam Kellas is a war correspondent sent to Afghanistan to cover the fall of the Taliban but he finds the elusiveness of modern warfare frustrating, even for a front-line journalist, and writes a blockbuster novel to make money and outdo his lifelong friend and poet Pat. Just when he achieves the success he craves we witness the dramatic fall of Kellas when external influences and personal pride create a crisis completely beyond his control. This is a wonderful book that works on so many levels as a thriller, a love story and a modern parable about greed and envy.
August 27, 2018
4,5/5
September 12, 2019
Some good writing here and there but I struggled to stay interested in this.
May 17, 2023
It took a while for me to get into this book. It is well written, but the character of Adam is hard to comprehend. That is part of the point though. Interesting tale.
July 27, 2023
Απαιτητικό και δύσκολο ανάγνωσμα σε γενικές γραμμές. Η ιστορία έχει πρωταγωνιστή τον Άνταμ, ένα άτομο με δυσκολίες να προσαρμοστεί και να δεσμευτεί σε καταστάσεις που δεν τις πιστεύει αλλά τις εκτελεί, γνωρίζοντας ότι ηθικά βρίσκεται σε μια μετέωρη κατάσταση..Όταν θέλει να ξεφύγει από αυτήν την εσωτερική πάλη, συμμετέχει σε δημοσιογραφικές αποστολές σε εμπόλεμες περιοχές (χρονικά βρισκόμαστε στο πόλεμο του Αφγανιστάν). Κατά την ανάγνωση αισθάνθηκα ότι υπήρξαν σημεία που δεν μπορούσα να τα παρακολουθήσω, ίσως ο ρυθμός του βιβλίου ήταν πιο γρήγορος και έτσι δεν υπήρχε ο χρόνος αλλά και η διάθεση ενδεχομένως για να τα μελετήσω περισσότερο. Νομίζω ότι θα επιχειρούσα να το διαβάσω και 2η φορά.
Read
January 3, 2009Political, Mental and Emotional Insulation, August 11, 2008
"The theme of the West's (and journalism's) distanced overflight of the rest of the world is an arresting one, richly written and cleverly developed. But like a Strasbourg goose force-fed for its liver, the organic growth and movement a novel requires are forced into distortion and bloat. What the characters stand for is interesting, but often they hardly stand at all. They are stood; they are moved about.' Richard Eder
'We Are Now Beginning Our Descent", when most of us hear these words, we are relieved, we are reaching our destination. However, these words written by James Meek have a totally different connotation. In the context of this novel, America, full of its own power is losing altitude and coming to face the power and anger of the third world. James Meek has the ability in his precise and so thoughtfully written prose, to put us in our place with many reminders of where we have been and how silly and frightening the lies and power of the United States have become. It seems most every other country has faced these idols. Now, James Meek tells us we must face ours.
Adam Kellas is an English journalist who portrays the guilt of the West in his behaviors. He has his entire life, done whatever he wanted, when he wanted, with no thought of anyone else. Relationships come and go, friendships are sometimes built of straw, and his career is as aimless as his thoughts. He is offered a job in Afghanistan to report on the war. At first, he says no, but then realizes he does not want to be thought of as a coward. His last relationship has ended, he is at loose ends. He hops a plane and in a matter of hours is in Afghanistan, joining other journalists. All of them intelligent and talented, but many without any goal but to be the first reporting the War. It is in this context that Adam meets Astrid Walsh. Astrid an American, thin but attractive. She carries a gun, which is unusual for a journalist. Guns portray taking a side, but Astrid says she needs to protect her self from unwanted advances from the many men who surround her. Soon they fall into a liaison. A memorable event occurs and Astrid up and leaves. Adam cannot find her, and in his misery he gives up his assignment in Afghanistan to go home and write a novel that will make him rich. In this sense Adam reaches his pinnacle and his downfall.
This story is told in flashbacks and in present tense, but is told in such a manner that we are able to appreciate the story within. James Meek has the talent to hold our attention when all seems to fall apart. The observations that James Meek makes held me spellbound. His development of the characters was superb. We all have our selves that we present to the public, and then we have our selves that are true, the troubles and inner secrets we all share. Kudos to James Meek.
Highly Recommended. prisrob 08-11-08
"The theme of the West's (and journalism's) distanced overflight of the rest of the world is an arresting one, richly written and cleverly developed. But like a Strasbourg goose force-fed for its liver, the organic growth and movement a novel requires are forced into distortion and bloat. What the characters stand for is interesting, but often they hardly stand at all. They are stood; they are moved about.' Richard Eder
'We Are Now Beginning Our Descent", when most of us hear these words, we are relieved, we are reaching our destination. However, these words written by James Meek have a totally different connotation. In the context of this novel, America, full of its own power is losing altitude and coming to face the power and anger of the third world. James Meek has the ability in his precise and so thoughtfully written prose, to put us in our place with many reminders of where we have been and how silly and frightening the lies and power of the United States have become. It seems most every other country has faced these idols. Now, James Meek tells us we must face ours.
Adam Kellas is an English journalist who portrays the guilt of the West in his behaviors. He has his entire life, done whatever he wanted, when he wanted, with no thought of anyone else. Relationships come and go, friendships are sometimes built of straw, and his career is as aimless as his thoughts. He is offered a job in Afghanistan to report on the war. At first, he says no, but then realizes he does not want to be thought of as a coward. His last relationship has ended, he is at loose ends. He hops a plane and in a matter of hours is in Afghanistan, joining other journalists. All of them intelligent and talented, but many without any goal but to be the first reporting the War. It is in this context that Adam meets Astrid Walsh. Astrid an American, thin but attractive. She carries a gun, which is unusual for a journalist. Guns portray taking a side, but Astrid says she needs to protect her self from unwanted advances from the many men who surround her. Soon they fall into a liaison. A memorable event occurs and Astrid up and leaves. Adam cannot find her, and in his misery he gives up his assignment in Afghanistan to go home and write a novel that will make him rich. In this sense Adam reaches his pinnacle and his downfall.
This story is told in flashbacks and in present tense, but is told in such a manner that we are able to appreciate the story within. James Meek has the talent to hold our attention when all seems to fall apart. The observations that James Meek makes held me spellbound. His development of the characters was superb. We all have our selves that we present to the public, and then we have our selves that are true, the troubles and inner secrets we all share. Kudos to James Meek.
Highly Recommended. prisrob 08-11-08
March 29, 2008
Anyone expecting a great follow up to James Meek's brilliant The People's Act of Love is in for a disappointment. Like his previous novel, this one revolves around war - this time, though, he tells the story of a journalist stationed in Afghanistan, Adam Kellas, who falls in love with hard-to-peg Astrid, another journalist. The novel then traces Adam's search for Astrid in America as his personal and professional life falls apart.
Meek's experience as a Guardian journalist during America's latest invasions seems to have been a large source of inspiration. Like his previous novel, Meek is very good at showing the surreal nature of life under war, and the horrors that can be visited upon someone without any notice, changing their lives forever. What he has failed to do here is create believable characters that can carry the reader through the story. What we get instead is dialogue that either explains plot or sounds artificial and stilted, meant to prove Meek's own views on war, America, or the publishing world, rather than any internal character life. At times, plot is revealed too ackwardly. An example is when Adam makes a discovery about Astrid, towards the end of the novel. Instead of Meek trusting the reader to understand what can easily be shown (and was there before) he feels the need to have his character explain the obvious. It kills what was meant to be meaningful and pivotal to the story.
Strangely, it's hard to completely dislike the novel. There are some very good scenes - like Adam's meeting with his American book agent, his overblown rage at a posh dinner party in London, and the shelling of a Taliban convoy. Hopefully, Meek's only way is up after this novel.
Meek's experience as a Guardian journalist during America's latest invasions seems to have been a large source of inspiration. Like his previous novel, Meek is very good at showing the surreal nature of life under war, and the horrors that can be visited upon someone without any notice, changing their lives forever. What he has failed to do here is create believable characters that can carry the reader through the story. What we get instead is dialogue that either explains plot or sounds artificial and stilted, meant to prove Meek's own views on war, America, or the publishing world, rather than any internal character life. At times, plot is revealed too ackwardly. An example is when Adam makes a discovery about Astrid, towards the end of the novel. Instead of Meek trusting the reader to understand what can easily be shown (and was there before) he feels the need to have his character explain the obvious. It kills what was meant to be meaningful and pivotal to the story.
Strangely, it's hard to completely dislike the novel. There are some very good scenes - like Adam's meeting with his American book agent, his overblown rage at a posh dinner party in London, and the shelling of a Taliban convoy. Hopefully, Meek's only way is up after this novel.
January 28, 2008
I was eagerly looking forward to this as I'd enjoyed The People's Act of Love, mainly for the gripping originality and strength of its story but this new novel came as a disappointment.
Evidently based on Meek's experiences in Afghanistan, it seems flawless in its detailing of place and atmosphere and there's a terrific dinner party sequence where Kellas, the protagonist breaks down nd lets rip at its smug guests. But the narrative, ultimately a rather unconvincing love story, is a bit thin and it didn't help that his characters were so unsympathetic. I felt the prose was a bit heavy too, consciously striving to be profound - I guess I prefer it when the most serious subjects are handled with a light touch.
I can't decide whether it's a brave book (and I just didn't get it) or a bad one.
Evidently based on Meek's experiences in Afghanistan, it seems flawless in its detailing of place and atmosphere and there's a terrific dinner party sequence where Kellas, the protagonist breaks down nd lets rip at its smug guests. But the narrative, ultimately a rather unconvincing love story, is a bit thin and it didn't help that his characters were so unsympathetic. I felt the prose was a bit heavy too, consciously striving to be profound - I guess I prefer it when the most serious subjects are handled with a light touch.
I can't decide whether it's a brave book (and I just didn't get it) or a bad one.
July 14, 2010
People's Act of Love was a very well writen pastiche of the great 19C Russian novel, and this is also well written, but somewhat unsatisfying. The convoluted story, of a journalist in Afghanistan who falls in love with an American aid worker, is not that important, and not that credible in many ways, but it raises some important 'issues' about how we misimagine people and whole countries, in love and war. Meek can write compelling sentences, like a younger, less irritating Martin Amis, but this does not really work in the traditional sense of what a 'novel' does, as we cannot believe the characters exist as real individuals but are just cyphers for various world views.
February 7, 2012
James Meek can be a fantastic writer- there were moments that I was transported to a philosophical realm- but for the most part his writing is one big run-on sentence and critics may find that quaint and a throwback to writers of the 18th and 19th centuries, but I find it annoying. There was one chapter towards the end that was amazing and would've served well as a stand-alone short story. I think he should have kept that and scrapped the rest of the book. When you have heavy topics like terrorism and adult breakdowns you need to uplift it and temper it with humor and there was no humour. I would not recommend it.
May 28, 2008
I've filed my review with the Austin Chronicle, and have to confess that I did not know about author Meek before picking up this novel. It's a swirling, interesting take on writing and war craft in the Age of Terrorism. Key to the understanding that I came up with is the idea that regardless of the political stakes, Westerners and foreigners to the conflicts of the Middle East are still living their lives, drinking, fighting, filled with jealousy and trying to create art.
So, yes, I liked it.
So, yes, I liked it.
February 12, 2010
James Meek is one of my new favourites. This felt like Welcome to Sarajevo a little bit. He's very good at inventing voices for his narrators. Consider how very different this is from The People's Act of Love. I really admire the best novelists' ability to do this and still remain fascinating and readable. If musicians made albums like this, they'd probably alienate all of their fanbase from one album to the next (unless, perhaps, they're Teenage Fanclub, who have done this for twenty years), but in a novelist it's considered a supreme virtue.
Read
December 15, 2009Sadly, I had to give up on this also. I tried. Got almost half-way. In fact, I was sure this was going to be my next favorite author, based on the beginning, the premise, and the voice. But I somehow was too anxious for the story to tell itself and was less interested in the main character than I should have been. He became a complete bore when describing his role during an early turning point--the dinner party where he gave injury and was injured. Undoubtedly James Meek deserves more attention than I gave him. I'll dance again, next time.
March 18, 2008
"With the current political climate involving efforts to bring “the American way” to nations such as Afghanistan and Iraq, Meek is perhaps right that culture has begun its downward flight. But We Are Now Beginning Our Descent is not the novel to combat it, being a lesser novel to Meek’s previous effort."
Read my full review here.
Read my full review here.
June 21, 2020
Never an easy read with James Meek, but always a satisfying one. I enjoyed following the (mis-) adventures of Adam Kellas. At times the prose really sang and though other reviews say the plot wasn't clear, I was intrigued by fellas and his pursuit of the things in life that mattered to him. Flawed or not, I'm glad I shared his journey, although I think his and Astrid's relationship is destined for a very rocky road.
Read
February 10, 2014On my second attempt at this one I gave up after 66 pages. The first, several months ago, was about 50 I think. I get that he (Meek) was trying to paint a complicated central character doing a tough job (war correspondent). He is also a bundle of contradictions. What wore me out I think was that he was a little too much like Geoff in Venice (Dyer). That is, going through a lot of motions but not fully invested in anything. So, I sold short.
August 24, 2014
Currently looking for a new author and I haven't found it I don't think with James Meek.
Essentially I found this unreadable - half way through I have given up, patiently waiting for some storyline to emerge or to know who the characters are.
I finally concluded that it's not going to happen. Too alternative and disjointed for me and can only conclude that this is for a limited literary audience.
Essentially I found this unreadable - half way through I have given up, patiently waiting for some storyline to emerge or to know who the characters are.
I finally concluded that it's not going to happen. Too alternative and disjointed for me and can only conclude that this is for a limited literary audience.
August 12, 2016
Didn't have any high expectations going into this book and, indeed, my expectations became a reality. Yes, I really enjoyed the setting which was mostly Afghanistan as I love, love, love books particularly set in such places but that was almost the only reason why I kept being at least a bit interested in the plot. Talking about that, the plot didn't leave me spellbound as well as the main characters who, in my opinion, were weak. Just mentally weak.
June 2, 2008
Not sure why I liked this book as much as I did. The novel had no plot to speak of (quite a departure from Meek's last novel, "The People's Act of Love") and the dialogue was strange and stilted in some spots. But there was also a sly sense of humor at work, and a lot of skill in the way the characters were drawn.
March 18, 2011
I wanted to read "People's act of love" but I picked this one up first. Not such a good choice: I couldn't cotton to any of the characters. Not a deal breaker, but I didn't care about what happened to them, and I couldn't understand why or how they cared about each other. BUT, the language is remarkable so I'll read the "People's Act of Love."
March 30, 2013
Strangely unsatisfying book, where at times my eyes glazed over and I could not take in the words I was trying to read. At other times the words and the ideas were gripping. The description of Kellas, the reporter and the circumstances of his reporting were the gripping parts. Kellas, the man and his relationships with lovers and friends did not engage me at all.
June 10, 2008
Like others here, I was expecting something of the quality of The People's Act of Love and was disappointed. The book is well written; there just isn't much of a story here and what there is just isn't that interesting.
Displaying 1 - 30 of 46 reviews