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Review of The Glasgow Coma Scale

June 24, 2024

affect, art, book, literary fiction, literature, metatextuality, plot, restraint, review, social masses

Whenever I go to the library, trying to find something to read, I often end up frustrated. Call me picky if you want. Yet as I’m going through the blurbs (nowadays even they are buried beneath the asinine, useless “INSTANT BESTSELLER!” tags), what I see is more and more authors overly enamored with plot. I decided to write this review of The Glasgow Coma Scale by Neil D.A. Stewart before I’d read ten pages of it.

The reason?

Because it at least didn’t try to reinvent the wheel. The blurb didn’t promise some sort of epic saga spanning three continents and six decades, or some sort of in-between state between fantasy and reality.

As it turned out, it was actually a damn well-written book to boot. Truly, a masterclass on what quality literature should be.

review of Glasgow coma scale. photo of street graffiti. — Much of the book is about *juxtaposition*, the interplay between antithetical qualities. Yet at the same time, the title of the book is not only a reference to the location where the events take place – Glasgow, Scotland – but also the eponymous test assessing brain damage and response to stimuli. In a novel about giving up, this becomes a highly relevant metaphor

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Review of South of the Border, West of the Sun by Haruki Murakami

June 10, 2024

Book Review, Criticism

criticism, Japan, literature, review

I have a love-hate relationship with Haruki Murakami’s fiction. Well, alright, it’s much closer to love than hate, but I’ve been critical of his fiction before. However, South of the Border, West of the Sun must be my favorite Murakami novel – and I’ve read plenty.

Whether we like or not something can boil down to personal preferences. Nonetheless, the reason why I liked South of the Border, West of the Sun so much can be very revealing in terms of writing – and reading – in a self-aware manner.

In a nutshell, I’d say in this novel Murakami succeeded in understanding the critical connection between depth and width more than in any other.

south of the border, west of the sun. image of nighttime Tokyo — There are various small details in the novel that seem insignificant, such as the use (or not) of umbrellas. But just as the protagonist cannot be certain about his observations, the reader can’t ignore the subtle symbolism lurking in these (only apparently minor) details

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Understanding Depth in Fiction

June 3, 2024

Fiction Writing Tips, Writing

creativity, fiction, literature, reality, writing

For most people, depth in fiction sounds like a good thing, right? Just as we conflate vivid descriptions or rich vocabulary with high-quality writing, having a deep narrative must be a great thing, right? Right?

The thing is, there are so many fluid variables in the statement “Depth in fiction is a good thing” that it’s impossible to answer that in any sense-making manner before we truly focus on what it is we’re talking about.

That’s what I’m planning to do in this post.

I’ll first offer some definitions and reflection points on what constitutes depth in fiction and whether it’s always a good thing (sneak preview: it ain’t), and then I’ll list some ways that could add depth to your narrative – if you decide you need it.

depth in fiction. image of woman looking at the sea — This might seem just like a random stock photo to convey the concept of (visual) “depth”, however there is a subtle element crucial to my argument on depth in fiction. Namely, the balance between **depth and width**. If the camera angle was wide (imagine a drone image, high above the person), we wouldn’t quite get the same sense of depth as we do here.

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