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Book Author: David Mitchell
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What people Say:
B0nnie
This book proves David Mitchell can be any writer he chooses. The six novellas that comprise
Cloud Atlas are forgeries - and they are original. Each adopts the voice of a distinct author. The
whole is greater than the sum of its parts, but all of the parts are superb. It is a sextet, like the one
found within the novel, with piano, clarinet, cello, flute, oboe, and violin - every individual instrument
pleasing, but when played altogether becomes something different and brilliant - the
This book proves David Mitchell can be any writer he chooses. The six novellas that comprise
Cloud Atlas are forgeries - and they are original. Each adopts the voice of a distinct author. The
whole is greater than the sum of its parts, but all of the parts are superb. It is a sextet, like the one
found within the novel, with piano, clarinet, cello, flute, oboe, and violin - every individual instrument
pleasing, but when played altogether becomes something different and brilliant - the
Sextet.
Each novella is broken, torn in two, or interrupted, and later continued after the sixth, which is the
only one completed in one section. Then the previous five stories are concluded in descending
order.
1. THE PACIFIC JOURNAL OF ADAM EWING
Written as a journal. The first story is a delightful combination of Melville, Defoe, and James
Fenimore Cooper. It has the serious tone and charm of 18th and 19th century literature, but goes a
bit too far, just short of mockery. It is not parody, nor disrespectful. Somehow it has a layer of what? invisible mirth?
The acknowledgments notes Michael King’s definitive work on the Moriori,
which provided Mitchell with a factual account of Chatham Islands history. This part of the story is
interesting, and adds historical details essential to the plot in the way
does with whaling information.
Moriori, 1877, survivors of the 1835 Maori invasion
Jenn(ifer)
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Dear David Mitchell,
I’ve been trying to figure out the nicest possible way to tell you what I’m about to tell you. I
sort of feel like I’ve failed you as a reader, but I just couldn’t suspend my critical mind for
long enough to enjoy your book (“how I envied my uncritical…sisters― – I hate it when my
own words come back to bite me in the ass, don’t you?). Don’t take it personally though.
I’m the girl who didn't like The Matrix. I know, right? How could anyone dislike The Matrix? All of
the neatDear David Mitchell,
I’ve been trying to figure out the nicest possible way to tell you what I’m about to tell you. I
sort of feel like I’ve failed you as a reader, but I just couldn’t suspend my critical mind for
long enough to enjoy your book (“how I envied my uncritical…sisters― – I hate it when my
own words come back to bite me in the ass, don’t you?). Don’t take it personally though.
I’m the girl who didn't like The Matrix. I know, right? How could anyone dislike The Matrix? All of
the neat-o keen-o special effects, the super cool concept of the world actually being run by sentient
machines, the homage to Baudrillard (If you haven’t read
, read it. It’ll blow your mind.)(By the way, Baudrillard said the siblings Wachowski completely
misinterpreted his work, but I digress), and the kick-ass soundtrack (okay so it wasn’t really all
that kick ass). Unfortunately at the end of the day, Keanu Reeves can’t act his way out of a
paper bag, and this girl just couldn’t get past that fact.
Â
For the first half of the novel, I kept trying to psych myself up by reminding myself how much I
disliked the first four episodes of season one of The Wire: “This is just another contrived crime
drama!― “Dominic West really needs to work on his American accent." "Not enough Idris
Elba.― Then we meet Omar Little and BAM! It all starts to click. (Don’t you just love
Omar?)(shhhh, no spoilers, I’m only on season three). I kept waiting for that BAM! moment, but
it just never came. Instead I found myself more and more frustrated, finding fault with every gimmick.
E.g., If language has devolved in the future, you really need to commit to your chosen alterations. If
you decide flight will be ‘flite’ then sight should be ‘site,’ etc. Go all the way, I say! Oh
what, you think that would be too annoying? Ur rite. It would b. So y chanj da spelng at al? It just
ends up being distracting. Think of another way to say "THIS IS THE FUTURE!!!" without being so
obvious about it. Similarly, when you wanted the audience to know it was the 70's, you could have
found a more subtle way of doing it than saying "THEY'RE AT A PARTY LISTENING TO DISCO
AND DOING COCAINE!" It's the 70's man, I get it.
It seemed to me like you didn’t have enough faith in the intelligence of your audience to get the
gist without spoon-feeding it to us. If the reader didn’t pick up on the “nested dolls―
analogy all by themselves (or by having Chabon tell them on the back cover) you make sure
Grimaldi spells it out for us: ‘One model of time: an infinite matryoshka doll of painted moments,
each “shell― (the present) encased inside a nest of “shells― (previous presents) I call the
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actual past but which we perceive as the virtual past.― Etc. “Revolutionary or gimmicky?―
I’ll take gimmicky for 1000, Alex (damned if your words don’t keep biting you in the ass, eh
Davey boy?).
If you’ve read the book, than you know that each chapter or story is in some way “read―
by a character in another story (journals, letters, film). A clever idea for sure. The thing about clever
ideas is this, you really need to trust that your reader is as clever as you! We can pick these things
up without you telling us. I mean come on
the look of disgust on my face must have been a sight to see.
Ken-ichi
I admit, the
for the upcoming movie adaptation of this book sent me plunging back into its hexapalindromic
universe to re-solidify my own mental renditions of Frobisher's bicycle, Sonmi's soap packs, and
Lousia's imaginary California, among other things. I emerge even more impressed with Mitchell's
mimetic acrobatics, the book's deft allusive integument ("Is not ascent their sole salvation?" p. 512),
the acrimonious satire
I admit, the
for the upcoming movie adaptation of this book sent me plunging back into its hexapalindromic
universe to re-solidify my own mental renditions of Frobisher's bicycle, Sonmi's soap packs, and
Lousia's imaginary California, among other things. I emerge even more impressed with Mitchell's
mimetic acrobatics, the book's deft allusive integument ("Is not ascent their sole salvation?" p. 512),
the acrimonious satire ("if consumers are satisfied with their lives at any meaningful level [...]
plutocracy is finished" p. 348), and, ultimately, the nakedly deliberate messages about humanity's
will to power and our capacity for empathy re-re-re-re-re-reiterated in the second half. I kept wishing
Lousia or Cavendish or someone one would say "Be excellent to each other. Party on, dudes!" but
not wishing in a snarky cynical judgy kind of way! Because I actually think Bill & Ted's Excellent
Adventure is pretty... excellent (and come to think of it, is
a story set in multiple time periods with strong musical undertones and a message of peace, love,
and happiness...). This book grants me one of the greatest pleasures a book can: it restores
profundity to a hackneyed truth. If you're not into Mitchell's prose, characters, or fancy-schmancy
structure, though, you might just end up with the hackneyed bit.
This, Sir, is a Novel. I don't think I've read anything so surprisingly excellent since
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. Actually, I have. What I meant to say is that I've read nothing so marvelously epic since then. As
usual, my attempts to explain it to people have met with polite nods and changed subjects, but let
me try: the book is like 6 perfect little novellas, arranged as Russian matroyshka dolls, and as you
read, you bore in, and bore back out. Each doll is a different period in time, the outermost being in
the early 19th century, the latest being somewhere around 2200 (I think). Four of the six are out and
out genre pieces: historical maritime fiction, crime novel, dystopian scifi, and post-apocalyptic scifi,
with all their various tropes rendered with loving affection. But they are just written, so,
that they are simply irresistible. I only wish I could find single genre novels that were as perfectly
crafted as a single portion of this book. The pieces placed in the 1930s and the present day are also
wonderful, but certainly aren't the type of fare I normally seek out.
But yes, exceedingly well written. What's it about? Well, there's the the journal of an American
notary returning home from the Chatham Islands aboard a morally suspect ship in the 1830s; a
young quasi-rake of a composer cuckolding an older colleague while helping him write new works,
who documents his dalliances and mishaps in letters to his former lover; there's a true-story thriller
about a Californian journalist in the 1970s attempting to out a corrupt and deadly energy company
for squelching a safety report damning their new nuclear energy plant; the soon-to-be-filmed
chronicles of a publisher in the present day whose attempts to escape the extortionist cronies of his
gangster star author land him in a Draconian nursing home from which he cannot escape; there's
the not-too-distant future testimony of a Korean clone bred for service in a fast food joint but who,
via the machinations of forces many and penumbral, gains full consciousness; and finally (in the
sweet and creamy middle) the Huck Finnish tale of a post-apocalyptic Hawaiian "primitive" and the
"civilized" researcher sent to study his society. Whew! The characters of each story find themselves
reading their predecessor, and sometimes characters overlap a very, very little. Each story features
a character with the same birth mark, and they all seem to experience deja vu from characters in
other stories. See? Now it sounds corny. But I swear to you, it is cool.
I guess the book is primarily about the will to power. Slavery and subjugation, small personal
cruelties, corporate greed. It's sort of like the anti-Fountainhead, except much more fun to read. I
don't know. Dissecting fiction about giant apes comes much more naturally to me. Please read this
book so, at the very least, you can explain it to
me.["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>
Neil Powell
Several short stories, that on their own are relatively weak. The author has linked them together
tenuously with some mistakenly profound pseudo-religious nonsense and a tattoo. An interesting
idea, let down by the poor quality of the writing. Pretentious twaddle of the highest order
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This book seems to be one of those hoaxes to call out hack reviewers. I'm slightly puzzled by the
fact that Mitchell hasn't come forward yet six years after publication.
He hits all the usual clichés that are the hal
Several short stories, that on their own are relatively weak. The author has linked them together
tenuously with some mistakenly profound pseudo-religious nonsense and a tattoo. An interesting
idea, let down by the poor quality of the writing. Pretentious twaddle of the highest order
This book seems to be one of those hoaxes to call out hack reviewers. I'm slightly puzzled by the
fact that Mitchell hasn't come forward yet six years after publication.
He hits all the usual clichés that are the hallmark of the "great" modern novel. The whole thing is a
pretentious construction of six separate stories, with the protagonists in each being incarnations of
each other, and ending up in possession of the story of the previous one in some way.
The first one is the story of some American lawyer on a ship in the Pacific some time in the 1850s.
It's supposed to be a journal, but it's a hideously unconvincing one. If it wasn't intentional, I don't
know why these pretentious cockpouches never seem to be able to manage a decent pastiche; it's
as if actually reading anything they didn't write themselves is beneath them. Replacing every
instance of "and" with "&", trying to use outdated vocabulary (incorrectly, most of the time; in the four
pages where he repeatedly uses the word "kerchief" (before forgetting it exists again; some
word-of-the-day calendar is probably responsible for that one), he inexplicably seems to be under
the impression it's short for "handkerchief", and spells it with a prepended apostrophe), and just
sprinkling racism over everything isn't good enough.
The fact that it's rife with anachronisms doesn't help.
The second story takes the form of letters written by an English twat in the 1930s, who moved to
Belgium to escape debt. It's probably completely forgettable to non-Belgians, but a special kind of
annoying to me. Mitchell managed to spell "Zedelgem" as "Zedelghem", which was indeed the
correct spelling before the spelling reform of 1946, but uses the modern spelling for everything else.
I don't know enough about the spelling reforms of French in the 20th century to say if he made the
same mistake there, but I'm guessing he did.
Somewhere along the way this English twat finds the diary of the American twat for no good
narrative reason, because that's what passes for plot coherence.
karen
**okay - i have actually written a "review" for this book, all you early bird voters! feel free to take
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back your picture-votes if you hate my words (and by "feel free," i mean "don't you dare!!")**
why have i never read this book before??
observe:
do you see how it is wedged into a teetering, lode-bearing stack of books??
removing it was a tricky business, indeed, but i succeeded, and i am finally reading it. so thank you
for badgering me about it, internet, because so far, i am really enjoying it!
**okay - i have actually written a "review" for this book, all you early bird voters! feel free to take
back your picture-votes if you hate my words (and by "feel free," i mean "don't you dare!!")**
why have i never read this book before??
observe:
do you see how it is wedged into a teetering, lode-bearing stack of books??
removing it was a tricky business, indeed, but i succeeded, and i am finally reading it. so thank you
for badgering me about it, internet, because so far, i am really enjoying it!!!
PDF File: Cloud Atlas Book PDF
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