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2666 final (?) thoughts

Posted in Big Books, bolanobolano.com, Books about writers, Communists, David Foster Wallace, Death, Dreams, Drinking, Dystopia, Foreign Books, History, Infinite Zombies, Natasha Wimmer, Nazis, Roberto Bolaño, Sex, Translation, Violence, War, Yuck! on May 6, 2010| 6 Comments »

I’ve waited to post this, my wrap up of ideas abut 2666, until I saw what others had to say about it.  Which is kind of a cop out but also kind of understandable.  This book is a giant mess of information, and I’m not entirely sure how to process it all.  So I’ve been looking for help.  And I’ve gotten some, but it’s all kinds of contradictory.  Most people seemed to hate the book.  A few people enjoyed it somewhat, and one or two people really felt moved by it.

I think I fall squarely in that middle camp.  As anyone who has been reading here knows, I became obsessed with Bolaño’s books, and read all of his short fiction (saving Savage Detectives for a read in a few weeks).  And yet I’m not exactly sure WHY I felt compelled to read these stories.  (I’m very glad I did…there will be more on Bolaño himself in a day or two).

I’ve decided to look back over what I wrote to get a sense of what I thought of the book (I knew these posts would come in handy). (more…)

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Roberto Bolaño–2666 [Week 15] The Part About Archimboldi (4 of 4) (2004)

Posted in Big Books, bolanobolano.com, Books about writers, Death, Fürst Pücker, Foreign Books, Fugazi, Infinite Zombies, Language, Natasha Wimmer, Nazis, Punks, Roberto Bolaño, Smarty Pants, Translation, Travel on May 3, 2010| Leave a Comment »

SOUNDTRACK: FUGAZI-Steady Diet of Nothing (1991).

Jangly noisy guitars open the track (and then a lengthy silence after a minute or so).  And this loud/soft dynamic is pretty dramatic on this disc.

There’s a slot of really cool sounds (within the framework of loud noisy alterna-punk).  “Reclamation” opens with some harsh guitar harmonics over a kind of spoken verse, but it bursts into a great chorus.  “Nice New Outfit” is quite catchy (even if lyrically it’s very dark).  But by the middle of the disc, it feels like some of the songs aren’t quite as interesting.

Of course, the instrumental “Steady Diet” is noisy and wonderful.  And “Runaway Return” has a catchy noisiness to it.  But the band comes back to a high point with “Polish” and the thoughtful “Justice Letter” (written about favored  Supreme Court Justice William Brennan who retired in 1990).

This record is a cool departure from the first disc.  To me it’s not quite as immeiate as Repeater, and yet it still has some really powerful songs.  I find that no matter how many times I listen to it there’s a few tracks that never grab me, but overall, this is another great release from Fugazi.

[READ: Week of April 26, 2010]  2666 [pg 831-893]

Wow.

The book is over and I am blown away.  I don’t know if it was the set up, or my utterly lowered expectations or the complete lack of connections previous to this, but I had assumed that this story would end (well, actually exactly as it did, with him going to Mexico) but the 30 pages before the end blew me away.  I can’t get over how nicely he tied so much together and in such an unexpected way.  I could not tear myself away from the end.  Wow.

I’m still not sure how I feel about the whole book.  I’ll do a final thoughts post after I digest, but the ending of the book was immensely satisfying. (more…)

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Paul Debraski–On Reading Bolaño’s Poetry (2010)

Posted in bolanobolano.com, Infinite Zombies, Paul Debraski, Poetry, Roberto Bolaño on April 30, 2010| Leave a Comment »

Bolaño’s poems had a pretty powerful effect on me.  Not the content so much, but just how powerful and not precious they could be.  This is not to say that Bolaño is the only one who writes like this at all–I had just locked poetry out of my life for so long, that this was a nice wake up call.

And so, I have written this poem as a thank you.

(more…)

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Roberto Bolaño–Romantic Dogs (2006) [translated 2008]

Posted in Ben Folds, bolanobolano.com, Consumerism, Death, Demons, Dreams, History, Infinite Zombies, Language, Laura Healy, Military, Poetry, Poets, Pornography, Roberto Bolaño, The Office, Translation, Violence on April 29, 2010| Leave a Comment »

SOUNDTRACK: BEN FOLDS-University A Capella (2009).

The story goes that Ben Folds heard some a capella bands and decided to give them some airtime.  So he had them record a bunch of his songs.

I have been surprised at how much I enjoy some kinds of a capella music.  Ed Helms’ stuff on The Office is certain fun, but on a more serious level, it’s amazing what these singers can do with their voices in terms of diversity, range and even sounds.

But at the same time, it’s the lead vocalist on most a capella tracks that sell the song.  And, on this disc there are a lot of lead singers I don’t like. Part of it is because I don’t like R&B vocal stylings, which I find too over the top at times.  Although I do admit that there;s one or two on here that work very well.

Overall, I enjoy this disc.  It’s fun to hear different interpretations of songs that I know and like.  Although I think realistically its the songs that Ben himself sings that I enjoy the most.

[READ: April 25, 2010] Romantic Dogs

This is the final Bolaño book that I’m going to read before finishing 2666 (Savage Detectives you’re next).  And it happens to be a collection of Bolaño’s poetry.

I have a complicated relationship with poetry.  I have written (and had published) a few poems.  I dated a woman who was (and I suppose still is?) an excellent poet (hi, Paula).   When I worked for a literary magazine, I learned how to judge poetry.  And yet, I don’t really read it.  And I think the reason for that is that, in my head, poetry deserves more attention than I’m usually willing to give it.  I feel like a poem should be pored over, read and re-read and, if good enough, memorized.

I have memorized about two poems in my life.  And since I often don’t feel like devoting a ton of time to poems,  I just don’t really read them.  And that’s a shame for me, because while poetry does demand a closer look, it’s not a precious item that should be put on a pedestal and looked at only when company comes over.

And Bolaño is as good a poet as anyone to demonstrate that. (more…)

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Roberto Bolaño–Distant Star (1996) [translated 2004]

Posted in Artists, bolanobolano.com, Books about writers, Chris Andrews, Communists, Infinite Zombies, Nazis, Poetry, Poets, Political Humor, Pornography, Prison, Roberto Bolaño, Short Books, The Dead Milkmen, Translation, Violence, Yuck! on April 28, 2010| 2 Comments »

SOUNDTRACK: THE DEAD MILKMEN-Chaos Rules: Live at the Trocadero (1994).

It wouldn’t be a complete look at the Dead Milkmen without mentioning their one live release.

Chaos Rules is a surprisingly good live set (taken from two separate concerts).  They had to leave all of the songs from their Hollywood Records discs off this collection, so this comes across more as a classic concert rather than a comprehensive one.

The band sounds great and the songs sound pretty close to the originals.  Not that the originals were hard but it wasn’t always obvious whether the Milkmen were doing what they were doing on purpose.  This set suggests that they were.

As any good live band, they play around with their songs, being surprisingly angry about local politics and changing the (by then twenty year old) “Bitchin Camaro” intro to reflect that.

The only reason it would have been nice if they had been allowed to include some of the Hollywood Records songs (they do sneak one in under a different name) would be to see if they played them any differently.  Since the early tracks are pretty chaotic, I wonder what would happen to the latter, more mellow songs.  Did they stand up under the weight of the nonsense or did they become more ramshackle as well?

I guess I’ll never know.  This is not essential by any means, but it is an interesting artifact for the curious and is totally enjoyable for DM fans.

[READ: April 23, 2010] Distant Star

Because Bolaño never does anything typical, this novella is a spin-off of sorts to Nazi Literature in America.  The introduction states that “in the final chapter of my novel Nazi Literature in America I recounted, in less than twenty pages and perhaps too schematically, the story of Lieutenant Ramirez Hoffman…which I heard from Arturo B.  He was not satisfied with my version…So we took that final chapter and shut ourselves up for a month a half in my house in Blanes, … where we composed the present novel.  My role was limited to preparing refreshments, consulting a few books and discussing the rest of numerous paragraphs with Artuto…”

Okay, there is so much wonderful deception in just this introduction to this book it totally cracks me up.  (Arturo B has long been a stand in for Bolaño himself). In the original, the narrator is named Bolaño (he is the narrator in jail who eventually helps the detective locate the poet).

For yes, the story is the life of a poet who is also a murderer.  And, the story is pretty much the same as the 20 or so pages of Nazi Literature.  It is now an extended meditation on this particular poet.  All of the events that were present in the short version are here, they are all just fleshed out with Bolaño’s wonderful details and full biographies of other characters.

The big, weird thing though is that almost all of the names have been changed (to protect the guilty?).  So even though the poet of this book has the same exact  life story as Lieutenant Ramirez Hoffman, he never has that name in Distant Star (and he goes through several pseudonyms).  There are twins in the short version who now get new names.  Even the poetry teachers have different names.  However, the detective who hunts him down at the end has the same name.  Weird.

The book works as a critical assessment of the Allende administration (which is why the real Bolaño was imprisoned).  But on to the story. (more…)

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Roberto Bolaño–Monsieur Pain (1999) [translated 2010]

Posted in bolanobolano.com, Chris Andrews, Communists, Death, Foreign Books, Gangsters, Meta, Roberto Bolaño, The Dead Milkmen on April 27, 2010| Leave a Comment »

SOUNDTRACK: THE DEAD MILKMEN-Stoney’s Extra Stout (Pig) (1995).

Of course, I can’t forget the Milkmen’s final release!  But, in fact, I had forgotten about it, so much so that when I played it again, I was totally surprised to realize that I knew and liked a number of these songs quite a bit.

This disc was their return to Restless records, and it almost feels like their detour to Hollywood never happened.  Back is the dominace of Rodney Anonymous’ songs andthe more chaortic, frenetic guitar work of thier earlier discs.

It opens with “Peter Bazooka” a dark meandering song that features the one consistent thread on this disc: most of Rodney’s verses are spoken rather than sung.  Which is fine, except the songs somehow feel more noveltyish when they’re delivered this way.  So even if a song like the second track “Train I Ride” is just as silly as any DM song, because it’s sung it feels more like a proper song than a novelty.  “The Girl with the Strong Arm” is even more frenetic than “Joe Bazooka” and it’s another rant (although with a more singable chorus).

But a song like “Helicopter Interiors” sounds like classic DM: simple clever guitar line, raucous guitar, and it’s under 2 minutes long.  And, while the back half of the disc is less exciting than the front, the rocking “Chaos Theory” is good fun: “Study hard and you’ll have a future, oh yeah when the hell was that ever true?”

But Joe Jack Talcum’s songs are not absent from the disc.  He appears first on “I’m Flying Away” a slow, reggae tinged track that feels too anemic to have ever been a hit.  “The Man Who Rides the Bus” is a rocking, more catchy track although again it’s missing anything even resembling a hit.

A couple songs do overstay their welcome: “Blues Song,” a parody of the blues (yawn) is over 4 minutes long (yes, the solo section is pretty funny).  Although even a lesser song like “When I Get to Heaven” is enjoyable enough (the return of odd vocal effects is also welcome).  The only real failure is the horn-fueled pseudo funk of “Crystalline.”  At this point I’m not sure if it’s wise for the DM to bust so far out of their comfort zone.

Joe Jack sings the final three songs.  “Khrissy” is a trebly love song, “Like to be Alone” is a piano ballad that doesn’t really go anywhere, but the final song “Big Deal” is a another negative song package as a humorous uplift anthem.  It concludes the DM’s output on a high note.

I’m not sure if the band should have done more after this.  And of course, there is much sadness that bassist Dave Blood killed himself a few years ago.  But I understand they still tour and they keep their website active.  DM are a wonderful staple from my college days, and I thank them.

[READ: April 16, 2010] Monsieur Pain

It is not lost on me that while I was reading a book called Monsieur Pain, I was stricken with an abscess in my cheek.  It swelled as if there was a softball in my mouth and it hurt like a mother.  And, since this happened while I was on vacation, I had the delight of going to a Virginia Urgent Care center carrying this book around with me (and the medical services were excellent, thank you all).

Of course, the Pain in the title is not a man who inflicts pain or anything, it’s just his name.  I was wondering if, since he is French, if the Pain is to be translated as “bread.”  That is never addressed.

This story exemplifies the fascinating twists and turns that Bolaño puts in his books (this one was one of his first).  In the introductory note to the book, he states that he wrote this story in 1982 and then submitted it to two different fiction contests under different titles.  He won both contests.  (Ha!).  The other fascnating thing about this story is that most of the people are real.  And while yes, that is a conceit he uses in a lot of his stories, in this one the real people are the main people: César Vallejo was a real poet (and did have the hiccups) his wife was real, Pierre Pain was indeed a mesmerist, and of course Madame Curie is real, too.

The story itself was fascinating and sometimes difficult.  (I had to re-read the scene in the movie theater a few times to get the total picture).   It is written from the point of view of Monseuir Pain.  He is contacted by Madame Reynaud (a woman he is sort of in love with, especially now that she is widow) who urgently requests that he go to see someone “profesionally.”  The someone turns out to be the husband of her friend Mrs.Vallejo (who turns out to be the poet César Vallejo–although plotwise that is not important).  She says he is dying from the hiccups. (more…)

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Roberto Bolaño–2666 [Week 14] The Part About Archimboldi (3 of 4) (2004)

Posted in Big Books, bolanobolano.com, Books about writers, Communists, Death, Foreign Books, Infinite Zombies, Military, Natasha Wimmer, Nazis, Phish, Racism, Roberto Bolaño, Sex, Suicide, Translation, Violence, Work on April 26, 2010| Leave a Comment »

SOUNDTRACK: PHISH-Joy (2009).

This is basically Phish’s reunion disc (after a 5 year hiatus).  It opens with one of their poppiest songs, “Backwards Down the Number Line” a song that picks up where their least disc left off: with a feeling of driving down a country lane with nowhere to go, windows opens, just happy to be alive.  The second track, “Stealing Time from the Faulty Plan” is a delightful rocker with a supremely catchy chorus “got a blank space where my mind should be….”

The third track, “Joy” starts as a simple piano ballad, but quickly morphs into one of the prettiest songs I’ve heard in ages, an outrageously happy upbeat tender song: “We want you to be happy, cause this is your song, too.”

“Sugar Shack” is a delightfully funky song, recognizable at once as one of Mike’s songs.  It’s a simple, pleasant enough track, but somehow Mike’s voice sounds weaker than usual.

“Ocelot” is a silly track (and one of my favorites) while “Kill Devil Falls” is a bluesy number that will easily be a lengthy jam live.  It’s my least favorite track on the disc, but it is followed by a more upbeat future-jam called “Light” which features delightful multi part harmonies.

The highlights of the disc are the final two songs: the 13 minute “Time Turns Elastic” and the five-minute “Twenty Years Later.”  “Elastic” is a wonderful non-jam, a thoughtfully constructed epic with many parts (although not an elaborate prog rock track or anything).  It’s catchy and moving with sweeping grandeur and easy to sing parts.  And it melds wonderfully into the delicate multipart gorgeous final track.

This is a really strong, mature disc from Phish. There’s not a lot of silliness or nonsense, just some great uplifting gentle rock songs.  It’s quite wonderful.

[READ: Week of April 19, 2010]  2666 [pg 766-830]

This penultimate section of 2666 (the end is nigh!) settles down into an almost pasotral recollection of Archimboldi (the man formerly known as Reiter) as a writer (yes the pronunciation of his name is not lost on me, although I assume it doesn’t have the same connotation in German).  And while it is not all happiness, there is more joy in these 60 some pages than in most of the rest of the book combined.

But before we get there, we have one final moment with a war criminal.

(more…)

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Roberto Bolaño–“Prefiguration of Lalo Curo” (New Yorker, April 19, 2010)

Posted in bolanobolano.com, Chris Andrews, Foreign Books, Funny (ha ha), Funny (strange), Gangsters, Infinite Zombies, New Yorker, Pornography, Roberto Bolaño, Sex, Short Story, The Space Negros, Translation on April 22, 2010| 7 Comments »

SOUNDTRACK:  THE SPACE NEGROS Do Generic Ethnic Muzak Versions of All Your Favorite Punk/Psychedelic Songs from the Sixties (1987).

I stumbled upon this CD again when I was looking for a Sparklehorse disc (alphabetical you see).  I originally discovered this album when I was a DJ in college and the absurdity of the title instantly grabbed me.

And never has a title so accurately described the music within (except for “the space negros” part which is just weird).  Anyhow, the disc is indeed a collection of generic ethnic muzak recordings.  But it predates that late 90’s “ironic” muzaky recordings of hipster songs.

Nevertheless, it is muzaky background versions of songs from the sixties (and a few originals).  The difference comes in the instrumentation: zithers, harpsichords, clarinets, autoharp, etc.  In other words, this isn’t a guy making cheesy Casio recordings of classic songs.  This is a collection of musicians reinterpreting songs for fun (and presumably to get high to?).

The most noteworthy songs for me are “Silas Stingy/Boris the Spider” medley and The Stooges’ “We Will Fall.”  In fact, I didn’t recognize any of the other songs on the disc (the 13th Floor Elevators and The Electric Prunes are the only bands that I recognize aside from The Who and The Stooges).

So, this is clearly a labor of love.  Whether or not you will love it depends on your tolerance for trippy muzaky renditions of songs that sound like they’re from an Indian restaurant/hash shop circa 1964 (that exists on the moon?).  The CD reissue includes thirty more minutes of tunes which are all just listed as More Generic Muzak (no covers here).   It’s strange that these more nebulous bonus tracks really tend to show off how good the rest of the disc is.  Sure in part that’s because the other tracks are actual songs, but it also shows how well the weird musical approach to these songs works when it is focused with a good starting point.

The Space Negros (headed by Erik Lindgren) made several discs, but it’s hard to find a lot of information about them online.  Even their own website is surprisingly devoid of information (although you can buy the disc!)

[READ: April 19, 2010] “Prefiguration of Lalo Curo”

Even when I try to stop reading Bolaño, the stories keep arriving in my mailbox.  This story (to be released in his forthcoming story collection The Return) looks at the history of Lalo Curo.  For those of us reading 2666, Lalo Curo figures prominently in The Part About the Crimes.  And in 2666 his history is given.  So this short story is a bit confusing within the canon of Bolaño.  2666

In this one, Lalo’s mother, rather than being raped and impregnated as a young girl (as had all of her mother’s mothers) was a porn star.  Lalo was born Olegario Cura (surname Cura (The Priest) because his father was a priest).  And, as with all my favorite Bolaño stories, there’s all kinds of fun questions regarding narrator and intended reader.  Lalo’s mother “Connie Sánchez was her name, and if you weren’t so young and innocent it would ring a bell” along with her sister and friend were all stars in a series of porn movies.  The man behind the movies was a German [another thing that recurs in Bolaño] named Helmut Bittrich.  Helmut treated them well, and the whole production company felt like a (weird, certainly) family.  In fact, Connie made films even when she was pregnant with Lalo (lacto-porn!).

Connie had tried legitimate theater (even Broadway!), but eventually, her career went towards porn.  The bulk of the story is given over to (graphic) descriptions of all of her films.  But the most interesting section is about Bittrich’s understanding of “the sadness of the phallus.”  After all those graphic scenes we get this remarkably poetic moment:

he’s naked from the waist down, his penis hangs flaccid and dripping. Behind the actor, a landscape unfolds: mountains, ravines, rivers, forests, towering clouds, a city, perhaps a volcano, a desert.

Pajarito Gómez is the male actor described above.  He is the primary male in all of the porn films.  He wasn’t well endowed, but he had a special kind of presence on screen.  As the story ends, Lalo goes in search of Gómez and finds him easily. They share a moment, watching movies and reconstructing the past.

It’s an interesting story, one that fully fits within the Bolaño landscape.  Bolaño is pretty obsessed with porn, and this story is obviously no exception.  It may not be the best introduction to Bolaño’s work, and yet in many ways, it’s pretty much Bolaño in a nutshell.

For ease of searching I include: Bolano, Sanchez, Gomez

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Roberto Bolaño–2666 [Week 13] The Part About Archimboldi (2 of 4) (2004)

Posted in Adventure, Big Books, bolanobolano.com, Books about writers, Communists, Culture Shock, Death, Fears, Foreign Books, Giuseppe Arcimboldo, Gustav Courbet, History, Humiliation, Infinite Zombies, Military, Natasha Wimmer, Nazis, Newspapers, Paul Simon, Roberto Bolaño, Romance, Sci-fi, Sex, Ska, Suicide, Translation, Travel, Vampire Weekend, Violence, Wikipedia, Yuck! on April 19, 2010| 2 Comments »

SOUNDTRACK: VAMPIRE WEEKEND-Contra (2010).

I absolutely loved Vampire Weekend’s debut album (and still do).  It was my favorite record of last summer and always makes me think of summer fun and hijinx.  Critics trotted out the “world/ethno/Paul Simon” vibe when discussing the album.  But I really didn’t hear it.  I mean, yes  I suppose it was there but the album felt more like a punky ska album of fun.

On this, their follow up, it’s as if they took all those critics to heart and decided to make the album that everyone was describing. This disc emphasizes all of the ethnic music sounds,  and downplays the guitars and more rock elements.  I was a little disappointed by this on the first listen or two.  However, subsequent listens showed me that the songwriting was still there and it was just as strong.

There’s still lots of rocking elements, it’s just that they are hidden under the other divergent influences.  But for the most part, the album is still bouncey and full of fun summer tunes.  There are three songs that slow down the pace, “Taxi Cab” and “Diplomat’s Son” (at 6 minutes, it’s a little long).  And the final song “I Think Ur a Contra” is a bit too divorced of beats (it works as an end to the disc, but I’d never listen to it on purpose).

The rest of the disc however, is very enjoyable, and I find that the 7 other songs work just as well as anything off the debut. “Horchata” is a delightfully fun world music treat (I hear Paul Simon, yes, although come on, Graceland came out 24 years ago!).  “White Sky” has delightfully catchy falsetto screams.  “Holiday” is practically classic ska and “Cousins” has a delightfully tricky guitar riff.

This feels like a band who has matured and experimented and yet not lost track of who they are.  I’m really looking forward to their next release.

[READ: Week of April 12, 2010]  2666 [pg 702-765]

Last week I concluded that

It almost seems as though Bolaño is saying that even Nazi Germany is better than Santa Teresa.

Oh how wrong I was.  Despite the fact that I found the bulk of this section enjoyable and fascinating (twisted and dark certainly, but fascinating nonetheless), the ending killed me.  The opening’s entire writers among writers, within writers, with communist party members and secret diaries was completely captivating.  And then it is all shattered by the reality of WWII. (more…)

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Roberto Bolaño–Antwerp (2002) [translated 2010]

Posted in bolanobolano.com, Books about writers, cuppa joe, Death, Foreign Books, Huh?, Infinite Zombies, Natasha Wimmer, Oddities, Poetry, Poets, Punks, Roberto Bolaño, Sex, Short Books, The Dead Milkmen, Translation, Unreliable narrator, Violence on April 15, 2010| 1 Comment »

SOUNDTRACK: THE DEAD MILKMEN-Not Richard But Dick (1993).

After the mature Milkmen of Soul Rotation, they followed up with this mini disc (at 28 minutes it’s probably an EP (even the title suggests that maybe it’s an EP) but it’s not considered one).

This album is a bit more twisted that Soul Rotation, although it still offers some of this newer more mature music.

The two most twisted songs are the largely spoken-word “I Dream of Jesus.”  It’s a rant in which the singer (who now goes by the name Arr. Trad.) talks about his mother keeping Jesus in a bottle, and the ramifications that that can have.  (It also features a sung chorus of “Jesus Loves Me”).  “Let’s Get the Baby High” has vocals that are processed so who knows who is singing.  But the title is pretty much spot on for the content of the song.

And you can pretty guess who is singing “The Infant of Prague Customized My Van.”

Butterfly Fairweather once again sings the bulk of the songs.  And most of them are fast rockers. The first song, “Leggo My Ego” could have been a hit (with the cool keboard opening) and “Little Volcano” probably should have been a  hit, it’s very catchy.

He’s also on vocals for some of those mellow songs (that remind me so much of Dromedary Records’ Cuppa Joe.  In fact, “Not Crazy” could have been done by Cuppa Joe.

The final song is a wonderfully hilarious Lou Reed impersonation with simple guitar chords, and a tin whistle!  It’s a very mellow spoken word piece about “The Woman Who was Also a Mongoose”.

Not Richard But Dick is no longer in print (Hollywood Records really gave DM the shaft).  I’m not sure if it’s worth tracking down at this point, but there’s some interesting and fun stuff on this disc.

[READ: April 7, 2010] Antwerp

Continuing with Roberto Bolaño’s fascinating melange of styles, Antwerp (technically the first “novel” he wrote (circa 1980 although he didn’t have it published until 2002) is a series of numbered sections.  I’ve heard it described as a prose poem, and, given his (at the time) recent switch from poetry to prose, that makes sense.

I had read an excerpt from this some time ago, and I found it difficult to read as excerpts.  Unsurprisingly, I also found the entire thing a challenge as well.  And that’s because, wow, there is so much crammed into these 79 pages, and there are so many different points of view and so many unclear events (written in great detail, but trying to piece those events together…phew) that even after reading it twice, I’m still not entirely sure what’s going on. (more…)

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