The book is too self-consciously into its own structure to the detriment of the narrative. In short, it was written for graduate seminars rather than for readers.
Yes. The book inspired me, no longer, to trust the Booker prize as an arbiter of literary merit. For the first time, the prize seems unjustified.
This is the kind of book that people will lie about having read for decades.
This is my second listening. The reader does an amazing job with the voices and this complex story unfolds like an origami box.
Both the writing and the narration perfectly evoke the feeling of a mining town flush with gold, mystery and drama. The circuitous route by which the characters and their back stories are introduced and tied together keeps the interest level high. As more and more details are revealed and your first impressions are challenged and turned on end you will find yourself wanting to reach the end just so that you can re-read this tale again and catch any clues that you missed on your first go-round.
This book has found a permanent home on my bookshelf as I know that I will be re-reading it over and over. I highly recommend it to fans of Historical Fiction, Mystery, and Drama as it has plenty of all three.
Listening to The Luminaries is like being dropped in the midst of New Zealand’s Otago Gold Rush, blindfolded and totally without reference, and then being spun round in circles by a stranger and let loose to feel around the landscapes and stand near their inhabitants, prospectors and bankers and Chinese diggers and tattooed Māori streaming around you, the women left to pleasure and care for these teeming throngs of men nearly knocking you over as they rush this way and that, and just as you feel overwhelming lost amidst these endless characters, totally without equilibrium in this many-plotted story centered in a town where everyone wants to make it rich, Eleanor Catton comes and takes you by the shoulder and steadies you for just a moment, and you breathe in the smells of dirty men and sea water as ships wreck upon the beach and scavengers look upon the ships and you sigh and know that despite there being too much information here, maybe just too much life here, for one book to ever express, you must keep reading.
Anyone coming off of a Goldfinch buzz and wondering what their next ambitious, too-long book will be should look no further than The Luminaries. Both books are written with the crisp observations that make them so much more than plot recounted. These are stories of life, magnified. Stories of how life could be if we all drunk in details of each other’s quirks and charms, every insecurity and affect, every ugly part and every beautiful one, and then maximized them into sentence-formed still lives spilling over into paragraphs so illustrative of this human condition we’re stuck in they act like paintings on pages changing ordinary days into phenomenas, ordinary interactions into humorous, tragic, wonderful things worth documenting. This is how these books get to be close to 1,000 pages long–life magnified is a very big thing, indeed.
The Luminaries, as I’ve mentioned, is the story of New Zealand’s Otago Gold Rush, and the story of a plethora of characters drawn together by an unfortunate set of circumstances. Men in all sorts of businesses centered around profiting off of gold or the men who find it feel uneasily bamboozled, they all sense a caper of some sort, and yet trying to pin down who has down wrong when is like trying to sift the gold dust apart from the dirt. The plot is complicated, and meant to be, as that’s the fun and beauty of the thing. Also, this is a book that uses the word “whore” quite a bit. Prepare yourself for that.
Catton includes all sorts of bells and whistles, but she really didn’t need to, as her writing stands on its own. There are astrological signs and charts of each character’s place on the zodiac, and there are chapter lengths that get progressively shorter by half until it seems almost hard to keep up with all the pieces that are being put together. Unfortunately much of this is lost in the audiobook, as it could have included a .pdf with the illustrations from the book for reference. What the audiobook version gained was narrator Mark Meadows deftly juggling the varied accents required amidst the cultural mish-mash of gold rush New Zealand. I appreciate getting lost in layers of meaning as much as the next book nerd, however, and I’ll be picking up a hard copy of the book to read again for further understanding of the whole astrological subtext.
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I went into this book for the historical fiction and came out of it thinking, that of the thousands of books I've read, this was truly written in the most original way.
The authour, by tying the character sections into the state of the moon, writing shorter sections as the moon waned, kept things moving along. At the end, a flashback explains all.
Destined to join that long and distinguished line of celebrated, and unread, novels?
Eleanor Catton is a fine writer, but seemingly steeped in the school of the nineteenth century masters. Her language and skills of prose are evident, but over the heads of the average reader today (I count myself included).
The 'astrology' theme, and the waning/waxing phases of the moon, in which the plot is structured is clearly beyond my ability - and inclination - to comprehend.
(At least so far). The book itself is epic, haunting and beautiful, filled with fascinating characters. The audio narration is surprisingly good considering the range of dialects, accents and ethnicities portrayed. Happily the narrator never loses focus from the suspenseful, convoluted and complex plot. I have read the novel twice now, and the audio is a worthy addition. Fast, fresh and funny. A memorable wallow in the "old west" of New Zealand.
While this is definitely a book that falls into the ponderous genre, it still had just enough pace to keep me interested. It created a world that was full of detail and it seemed very real. Yet it is is not perfectly formed. When the last chapter finished I had to look at the paper version to see if something had gone wrong. While some may call the ending different, it has all the hallmarks of a student rushing a paper where they have run out of time. I was left dissatisfied.
To finish on a positive note, the reader of this book was excellent, getting the many accents spot on.
7 hours in I still really didn't know who the characters were, and more importantly just didn't care. The non linear structure didn't bother me as much as the fact that there was no real protagonist. No one was really likable or all that interesting. I thought the story was needlessly complex and unjustifiably, self consciously obscure. If you're going to make something "hard to figure out" there has to be a payoff somewhere, and after 7 hours I still hadn't found one. So I just gave up. There are far better books around , despite the excellent writing.
Not all that much story, way too many words. I love detail and long, long books by accomplished writers: Steinbeck, Dickens, Hardy, Stephenson - but this seemed mostly just filler. 29 Hours should have more information.
He did what he could; he did make the blustery, arrogant characters very unpleasant
Not so much deleting a scene as removing the verbal bloat within them
I am sorry to be so negative, Ms.Catton's editors have failed her. There were many opportunities for beautifully drawn characters and backgrounds in the book.