Do What You Have to Do - Sarah McLachlan

Dark of the Moon

Author: Tracy Barrett
Pages: 309
ARC Acquired from: Harcourt Children's Books via NetGalley

Brief Summary:
Ariadne is Krete's She-Who-Will-Be-Goddess, trained to become the Goddess' representative on earth when her mother passes on. While this is a great honor, it is terrifying and lonely. She cannot interact with the people like another girl; her childhood friends now avoid her. Theseus, on the other hand, never had childhood friends; he had bullies. Everyone mocked him for her mother's crazy claims that he is the son of a God. Well, turns out she was wrong. Still, he is the son of a king. Unfortunately, said king is going to sacrifice Theseus to the Minotaur in Krete.

Review:
Greek myths ftw! I have always loved Greek mythology, so you're going to have to let me squee like a fangirl about the awesome job Tracy Barrett has done playing with an old familiar story. While she kept some of the basics about the myth, she changed other things, but she did so with flair and authenticity. She draws on the way that history alters truth and creates a really interesting variation on the original tale.

This myth was never my favorite (hello, where are the horses?), so I think I may actually like this variation better. At any rate, I love the postmodern re-evaluation of who was good and who was bad. Like Elpheba in Wicked, you get to see a different view of the Minotaur and an explanation for why he did some of the things he did. He totally reminds me of Lennie in Of Mice and Men.

Although I did not really grow close to any of the characters, the story held me fascinated, because I could not wait to find out what Barrett would do with the myth. Theseus, though I sympathized with him as a youth, lost my support when he took up with completely obnoxious Prokris. Ariadne was too far into her belief system for me to really want her to get things her way, which would involve blood sacrifice and all sorts of unpleasantness.

Anyone who finds Greek mythology should definitely try this awesome revisionist view of the story of the Minotaur! This song, which is totally not supposed to be about this but whatever, is about Ariadne's relationship with her brother, as well as the story of his origins.

"What ravages of spirit
Conjured this temptuous rage
Created you a monster
Broken by the rules of love
And fate has lead you through it
You do what you have to do"

Toccata and Fugue in D Minor - Johann Sebastian Bach

The Book of Laughter and Forgetting

Author: Milan Kundera
Pages: 288
Publisher: Penguin

This is not a book that really lends itself to summarization, so I'm not going to even try (Yoda would be disappointed otherwise, and you don't want to disappoint Yoda). The best explanation of the book comes from within its own pages:

"This entire book is a novel in the form of variations. The individual parts follow each other like individual stretches of a journey leading toward a theme, a thought, a single situation, the sense of which fades into the distance.
It is a novel about Tamina, and whenever Tamina is absent, it is a novel for Tamina. She is its main character and main audience, and all the other stories are variations on her story and come together in her life as a mirror.
It is a novel about laughter and forgetting, about forgetting and Prague, about Prague and angels." (165-6)

This really does convey what The Book of Laughter and Forgetting is like. The book is composed of a series of vignettes, some obviously related to one another and others, so far as I can tell, coming out of left field. The composition of the novel is similar to the one other Kundera book I have read, The Unbearable Lightness of Being. Both are told in brief snippets and focus as much (actually more) as philosophy as on characters.

The difference lies in the fact that The Unbearable Lightness of Being had a clearly defined cast, setting and plot. The Book of Laughter and Forgetting does not have any such clear cut framework. In fact, his description that the parts follow one another towards a theme, only to have sense fade into the distance, perfectly captures my experience reading this novel. Any time I started getting really interested in a particular character, journey, philosophical idea, etc, or even just started to think I knew what he was getting at, the story would inevitably leap to something else entirely, leaving me more confused and irritated than before.

He also does some weird postmodern, breaking the fourth wall stuff that really was not working for me. I have never been a huge fan of novelists including themselves as a character in their works (name and all), and this was one of those times where it did not work for me. Another thing that bothered me was the weird metaphor where death was like childhood, which also involved children raping an adult woman. That was weird and creepy, and didn't really quite work as a metaphor. And, sadly, it's not the only rape scene in the book.

Sometimes, I could tell that Kundera was getting close to something interesting here, but I don't feel like he made it. There is definitely a reason why The Unbearable Lightness of Being is the more well-known work. I would recommend reading that one first.