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Review of The Heart Goes Last

October 1, 2018

Atwood, book, literature, review, science fiction

The Heart Goes Last, by Margaret Atwood, is a quasi-science-fiction story set in the modern United States. Technically, it could be in the near future, but there is nothing to suggest it isn’t set in the present time.

The setup is (post-)apocalyptic alright, but in an individual way. Jobs disappear, social cohesion collapses, people live in the streets. However, the focus is on Stan and Charmaine, who are unwilling to live in their car anymore, and so sign up for Positron. It is a place promising security, safety, bliss; ad infinitum. That is the catch, however. Just like Hotel California, you can check ~~out~~ in any time you want, but you can never leave.

Let me start by saying this: I like Margaret Atwood’s style.Check the Critical Reception section in the article about The Other Side of Dreams to get a hintI like the way she introduces a deeply introspective narrative style, giving her characters life. As a result, I really had high hopes about The Heart Goes Last. Disappointingly, my expectations were shattered.

I have read countless books, both as a casual reader and from the perspective of literary criticism. Honestly, I never remember a narrative disintegrating so completely. Let’s see the details.

Nominally, *The Heart Goes Last* is about freedom versus security. But, sadly, things fall apart pretty rapidly

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Why Rewriting a Novel Is a Bad Idea

September 29, 2018

Fiction Writing Tips, Writing

creativity, editing, fiction, literature, rewriting, writing

Inspiration for this post came after I read about someone almost bragging about having just finished the 26th rewrite of their novel. Editing your book is an essential key to success. Tweaking things here and there or changing your mind and rewriting, say, the ending, can be useful. But there is no benefit in rewriting a novel. I am rarely so absolute in my declarations when it comes to literature, but I’m doing it now.

Rewriting a novel is about as useful as trying to please your audience, and twice as pointless. If a novel needs rewriting as opposed to editing then you are much better off scrapping the whole thing and writing a new story. Let’s see why.

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Religion in Dracula: Christian, Pagan, and Jewish Narratives

September 19, 2018

Criticism

academia, criticism, Dracula, Gothic, literature, religion

Note: the following article on religion in Dracula is a modified excerpt (pp. 115-117) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the relevant page on the main site.

You can also find an article about religion in Charles Dickens’s A Christmas Carol and Mary Shelley’s Frankenstein

Religion in Dracula is a matter of oppositions. Bram Stoker’s Dracula presents the narrative as a whole and the Count in particular as an opposition to Christianity. Jacques Coulardeau argues that “Dracula [is] the heir of an older tradition than Christianity, that is to say paganism … Older religions are centered on a cult to nature: the night and the day, as well as the earth, the sun, and the moon” (2007, 130).

At the same time, Norma Rowen adds that the inverted Christian imagery in Dracula essentially renders the Count an antichrist, with Renfield’s phrase “the blood is the life” a parody of the Eucharist (1997, 241).

Furthermore, by calling Mina his “bountiful wine-press” (D 306), Dracula introduces a metaphor often argued to carry religious connotations. The reason is due to the fact that wine is part of the Eucharist (Kreitzer 1999, 125), but also because of the allusion to Genesis, with Mina’s vampiric baptism becoming a parody of the creation of Eve (Loughlin 2004, 204).

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