Over the recent decade, we have seen a certain type of storyline rise to popularity among critics. The plot usually follows a female character with some type of special power or circumstance who, by virtue of said power, is beset by some type of related conflict; sounds normal enough—this is the beginning of virtually every story.

However, in this case, the conflicts that develop around said heroines’ uniqueness do not always follow their growing or learning how to ethically or effectively use their power. Instead, it’s the opposite: their stories or the cultural interpretation thereof often involve the discovery, decision, or insistence that they do not have to grow or learn, but that it is society or the surrounding world that must adapt to and accept them. From Elsa, to Carol Danvers, to Rey (it cannot be stressed enough) Palpatine, some of the most lauded heroines in current media have followed this type of storyline—which, due to the the ways the characters interact with their settings and conflicts, involves several tropes of a common story type, the bildungsroman.

However, the plot structure and underlying tone of the aspects emphasized as worthwhile by critics classify them as an attempt to form a new genre: a kind of anti-bildungsroman that, in line with the beliefs of the modern feminism that usually advocates said storyline type, actively seeks to subvert the assumptions of the individual’s (here, the individual woman’s) relationship with the broader social structure. The execution of this storyline ironically does the female characters—and stories with female leads generally—several disservices that run counter to the stated goals of those behind the stories.

The Bildungsroman: what it is and what it isn’t.

Just for a refresher, a bildungsroman—German for “education novel”—is a story that intertwines the character’s ethical, psychological, and spiritual growth with the resolution of the conflict. Alice’s Adventures in Wonderland is as much about Alice’s learning not to behave like all the examples of toxic femininity she encounters through the story as it is actually getting out of the rabbit hole. Harry Potter learns as much about how to be a responsible young adult as how to actually cast spells (with the when and why invariably outweighing the what). The bulk of Aang’s story in Avatar: The Last Airbender involves not his learning how to use his powers as the Avatar, but his learning not to be a childish idiot who sticks his foot in his mouth at every turn. And who can forget Uncle Ben’s injunction to Peter Parker (established by Spider-Man: No Way Home as a theme that transcends the multiverse) about power and responsibility? It’s become nearly as iconic a scene as a still novice Luke Skywalker running through Dagobah with Yoda on his back, with nary a trickle of Force to be discerned by the anticipating audience.

In each of these, the external conflict is resolved and made more complex and dramatic by the character’s resolving some type of inner conflict—usually involving the growth from maturity to immaturity, selfishness to sacrifice, idleness to responsibility, &c.

Now, not every story is or needs to be a bildungsroman. We don’t always need heroes that change or grow—sometimes we need the opposite! It’s no coincidence that Conan the Barbarian and Superman, both unique because of their unchangeability, came out of the flux of the 1930s, when the average Joe, Jane, Jimmy, or Jill might rather enjoy a character who stands in opposition to the instabilities and shiftings around them.

There are many other examples of changeless characters coming out of changing times. The Lord of the Rings—specifically, Aragorn—came out of Tolkien’s effort to preserve English virtues and history through the trauma of values that were the Great War and Modernism (though, granted, Aragorn did a lot of growing up before Frodo receives the Ring). Later in the twentieth century, James Bond stood like a modern Conan (the parallels between their stories and characters are many, despite the obvious differences) amidst the unease of the Cold War. Nor does it always need to be so dire as these: in the ‘90s, Forrest Gump’s charm often inhered in how his simplemindedness showed how the problems around him might really have simple answers (at least within the bounds of his film), and the Dude of mistakened Lebowski fame would not be His Dudeness if he grew through his misadventures.

I list these to head off any claims of my placing standards on the female characters discussed below that I won’t apply to male characters. This is also why, other than this sentence, I won’t use the oft-bandied phrase “Mary Sue;” besides simplifying the argument into mere stereotypes, the phrase, or its male counterpart Gary Stu, implies that strong or unchanging characters are always bad or always lack depth. They may very well be, but my interest is not to simply descry it but to find out why. I come at the topic and characters below with one goal: to encourage complex characters and stories that do what we need art to do—to concretize the values we need to experience at a given time in ways that are timeless. Sometimes that can best be achieved by characters that grow, sometimes not; usually we need iterations of both simultaneously—often in the same story.

But the stories I’m focusing on do assume the complexity of a bildungsroman framework; in each case, the female character is placed in a situation where she is expected by society (and, often, the audience) to grow and she either flatly refuses to do so, or she grows in ways counter to her respective canon. In fact, the characters often self-consciously push against and subvert the canonical expectations for growth in various ways.

Elsa: Letting Go of Past Story Structures

The phenomenon that was Frozen was hailed by many as a deconstruction of the archetypal Disney princess story. Its setup follows many tropes of said genre: a girl of unique birth locked away by parents to prevent a misuse of her powers. However, from there the movie breaks the tradition of stories as late as Rapunzel (2010), which, itself, broke several tropes while adhering to familiar formats. Parents? The uredeemed source of her abuse. Prince charming? Actually the villain. The protagonist’s powers? To be used without compunction after letting go (of expectations? Of the need for self-control? The unnamed antecedent of her song’s Dionysian “it” is as multifarious as the audience might wish).

It would be wrong to say Elsa experiences no growth or argue her character lacks compelling internal conflicts. After going to live alone on her mountaintop (notably embodying several characteristics of the traditional ice queen villain), she does come down and remit her isolation upon learning that by embracing her powers she has caused an eternal winter in Arendelle. Furthermore, not all of the movie’s deconstructions are negative. While the ending of stories in a marriage signifies the restored balance and completion of comedy—and is much more than merely reducing the female to an ornament of the male and his restored power structure, as the format’s feminist critics allege—Frozen’s replacing the familiar eros-driven love story with one of phileo between sisters should be welcomed as an expansion of the virtues and values we enjoy being explored. However, from there we are faced by the irony that the same voices who push the “sisters > prince charming” dynamic often insist on seeing eros in any story featuring two male friends—an unfortunate sexist double standard…

My focus here on Frozen and the others is as much on the cultural response to the stories as the stories, themselves. The danger to Anna posed by her love-at-first-sight relationship with Prince Hans was not rectified by placing it against the authentic relationship with Kristoff; rather, the reversal of the form was turned retroactively onto all other Disney stories about love at first sight, which had the tone less of adding complexity that had never been established than of burning down the now malicious parts of what had. Finally, it was not a song about Elsa’s learning how to judiciously use her powers that every parent of kids of a certain age (or, let’s face it, young adults, too) had to listen to on repeat for the rest of 2013 and most of 2014. It was a song advocating the audience (especially girls) vicariously “Let it go!” along with Elsa. It was a kicking song, and I don’t begrudge any young girl for making her parents want to break a speaker because of it, but it did, thematically, set the ideological perspective and tone for latter heroines that would come after.

Rey Palpatine: A Victim of her Advocates

The next female character who declines to grow in ways prescribed by her lore is Rey Palpatine. Establishing Rey’s arc or lack thereof is difficult due to her appearing in three films with different directors with conflicting goals for her movies. The lack of unified vision, added to the retconning the trilogy exacted on the established Lucas canon and universe, makes it difficult to treat Rey’s plot either as a uniform whole or as a consistent intentional decision to buck expectations.

Nonetheless, against the backdrop of Luke’s growth under Yoda Rey’s development falls short. While Luke’s progression is drawn over two, if not all three, of the original movies, Rey is able to, for example, beat Kylo Ren the first time she touches a lightsaber. This could be possibly excused if, like Anakin, she were shown to have a high concentration of midichlorians and, thus, a more preternatural adeptness with the Force; however, such a reveal, set up by Abrams in The Force Awakens, was rejected by Rian Johnson in favor of making her a nobody in The Last Jedi (a more vicious crime against Star Wars lore than simply creating a new heroine backstory—or, really, refusing to—might necessarily entail). Abrams, then, had to pick up the pieces in The Rise of Skywalker to make what he could of Johnson’s arson. Central as it is, Rey’s disjointed arc is by no means the only problem with the new Star Wars trilogy.

Enough has been written and recorded about the canonical breaks between the original and the prequel trilogies and Rey’s that I don’t need to belabor the differences. Furthermore, many of Rey’s lacks can be explained, and possibly excused, by acknowledging the directorial conflicts of the trilogy. However, this does not excuse how Rey’s character was marketed: she was, we were often reminded, a female heroine, and that to reject her and all the incongruous elements of her story, even for the sake of preserving the larger Star Wars universe in good faith, was nothing less than sexist bigotry resulting from an irrational fear of strong women (which, strangely enough, had not reared its head in response to any of the other strong, complex females in the Star Wars universe).

The insistence among Rey’s defenders that she is a prime example of both a strong female character and a victim of unfair bigotry unfortunately sets the bar quite low for what is considered a good character—besides disregarding a devoted fanbase who were already invested in finding in the star of the revival trilogy as much depth as they could. Again, my focus is less on whether Rey consistently grows (if she does, it is disjointed due to director disagreements and rushed in a “tell rather than show” kind of way—a sin for character development of any genre). At issue here is the implied insistence that she should not have to grow—that standards of growth from a previous canon are at best an unfair standard and at worst a reactionary response from a threatened tradition of supposedly (but, as fans know, not really) male lore and predominantly male audience against a new heroine. That Rey’s greatness, thus, relied on the spectre of sexist pushback for its vitality and clout did not strike anyone as an issue to be worried about.

Carol Danvers: The Unrestrained Will

My final example of a heroine who rejects the complexity of growth prescribed by her own canon—and the one that does so most openly—is the adult version of Elsa, Marvel’s Carol Danvers. Begun in production as Elsa was gracing theaters, Captain Marvel (2019) added the element of the character’s rethinking her entire culture—of decolonizing her mind, as it were—to the formula, providing her further justification to eschew the self-control and prescribed growth of the traditional superhero story.

Danvers’s story begins with her training opposite Jude Law’s Yon-Rogg, who is preparing her to be a Kree warrior. It is against his mentoring admonitions to control her impulses and to use her head over her heart—and to become “the best version of yourself”—that the rest of her story takes place. Through the movie, she pieces together her disjointed memories to discover the Kree she is fighting for against the Skrull are actually the baddies, and that she is a human whose powers come from Kree technology she destroyed but which Yon-Rogg and the civilization’s Supreme Intelligence AI are trying to still utilize in her.

For the present I’ll ignore the fact that the movie reduces the 1970s “Kree-Skrull War” match between two bloodthirsty races in into a one-sided genocide of the Skrull by the Kree that resembles less the source material and more the modern revisionist simplifications of history into binaries between rapacious, patriarchal colonists and innocent, victimized indigenous. At issue here is that the heroine discovers, in a reverse-brainwashing sequence, that she has actually been misled (gaslit, brainwashed, Stockholm syndromed, all the common terms) by the Kree, and that her assumptions and even her own mind are complicit with the evils of the Kree. She must, thus, decolonize her worldview as she works out whence she got her powers—which, upon learning she gained them through an attempt to save the Skrull, could be used without any moral qualms about their being created by the antagonists.

Within the bounds of the movie, it’s a compelling conflict, and one which does necessitate Danvers’s rethinking and rejecting Yon-Rogg’s inducements to use her powers in what the Kree would say were the right ways (but which are, in reality, against her practical and ethical interests). However, it is not, technically a character arc: rather, it is an anti-arc. Released from the usual inducement to meet power with self-control, or to clearly delineate between her power and her self (with the former always needing to predominate), Danvers simply uses her powers.

This results in some great cinematics that, I’ll admit, meet the desire for a decent action movie with a satisfyingly insolent protagonist. However, Danvers nonetheless loses a major potential character arc.

Even in the final moment with Yon-Rogg, where, in rejecting his last-ditch effort to manipulate her into fighting as herself without her powers (i.e. on terms in which he knows he can beat her), she simply blows him away, thus showing that he’s right: that she cannot control her impulses.

She claims she has nothing to prove to him, but what about to herself? This is, after all, one of the classic canonical superhero conflicts—where the line between self and power falls, which can provoke further questions of what can ultimately be relied upon, or how to maintain one’s self despite the changes brought by power. What about conflicts regarding the dependability of her newfound way of seeing the world, a major question in a movie where the inability to trust reality (brainwashing Kree, shapeshifting Skrull, etc) is a common motif? No, once she gets woke to the Kree, Danvers never questions her new episteme. Why allow internal conflicts to burden her character with unnecessary complexity—especially when we can resolve all the movie’s external conflicts with unlimited girlboss power, smashing the patriarchy—err, the Kree—with their own tools, instead?

This lack of reflection on her powers is a major part of what makes Danvers’s character flatter than either Elsa’s or Rey’s. Both of them at least experience doubt regarding their powers and their relationship to them and their relative place in the world. However, as if stuck in Elsa’s famous song, Danvers’ climactic embracing of her powers keeps her in a third-act moment of what could have been a five-act growth arc.

There is also the unadmitted Superman paradox.

The Superman paradox arose when writers realized an all-powerful being could have no serious conflicts—and, therefore, no compelling story. His creators had to steadily introduce kryptonite to keep him interesting. Presumably her creators knew of this but didn’t think it would apply.

It can certainly be argued that incorporating both an awakening embrace of power and an overcoming of weakness to that power would be expecting too much—and trying to include two major conflicts in one movie. However, completely eschewing any real weakness (Danvers’ conflict involves her adopting and subsequently rejecting weaknesses she does not intrinsically have, which are accidental and, thus, ultimately unserious as conflicts) still sets a low bar of complexity when most superhero movies include some sort of chink in the hero’s armor for future exploration. Danvers’s embracing of her powers is so wholly untainted that, as cathartic for some as the final sequence may be (complete with her acquiring the ultimate symbol of freedom, flight), the seeds for future growth or reflection—the marks of a hero’s staying power—are, sadly, lacking.

[1] Feminist Heroines: A Rejection of Complex Females

None of this is to deny that Elsa’s, Rey’s, or Danvers’s movies are entertaining and have devoted, good-faith fanbases. As with the unchanging heroes I mention above, people can and should enjoy what they like and feel they need. However, this leads to my qualms with the idea of a character type that shouldn’t have to grow in expected or sympathetic ways. Among other things, I fear the contention that traditional complexity and character growth are arbitrary impositions meant to reject characters because of their femaleness will result in less complexity in female characters, as well as create, in a self-fulfilling prophecy, an antipathy or apathy among audiences towards new female characters—not because they are female, but because they are simple.

However, so long as a certain brand of feminist critics assume that all efforts to mold a female character according to a broader ethical framework are, really, a patriarchal attempt to keep women down, we will continue to get simplistic stories and morals thereof like these. This should not surprise us. The same critics who hold to this implicitly Marxist reading of traditional story structures interpret Pride and Prejudice as an anti-woman novel because it suggests some of Elizabeth Bennet’s problems can only be fixed by personal reflection and reformation—i.e. because the novel is in part a bildungsroman—despite her embodying most of the same traits of their stated favorite heroines (even those discussed above!). If that is how such critics interpret a thoroughly complex character arc, we should not hold out hope for better from them or from studios working to satisfy them as an audience.

So, what should we do? For one, we should flatly deny the accusations that disliking an individual character equates antagonism or bigotry against an entire category; besides employing an irrefutable denial of moral legitimacy, it tries to shoehorn a Marxist reading that sees individuals as merely instances of their group or class. In trying to save characters from simplicity, we should also fight the simplification of critique.

When stories or characters come out that do, indeed, participate in complexity in some way, we should promote them. This may mean being open to new reworkings of stories (on that note, I had originally included The Legend of Korra above, but on further reflection and research of perspectives, I decided the Avatar Korra does grow in ways consistent with the precedents of the Avatar universe that I had not considered before). While above I critiqued the characters for breaking from their canons, it can be equally damaging for story to never stretch what has already been. The best stories will, in my view, resurrect familiar elements of their canons while showing that new arcs are still possible therein. So, we should vote with our pounds, dollars, and online engagements to show at least the less ideology-driven studios that complexity of story matters to audiences more than character identity politics.

A converse of this is to reject stories built around transgressive or socially deconstructive elements, and to educate ourselves on why such things do not and should not be privileged as equally valid views or stories (being anti-stories) in the marketplace of ideas—especially when those who promote them would not and are not extending the same toleration to the rest of us.

Finally, as we at The Mallard have advocated and tried to put into practice, we should create the things we want to see. If nothing else, this will help us understand how to interpret the other art we consume. Complexity is difficult, and accomplishing it subtly and succinctly is even moreso. It might discredit me as a writer to put it in print, but I had to cut 250+ pages of my novel Sacred Shadows and Latent Light, most of which was backstory and characterization. Necessary for fleshing out my characters for myself, but not inherently necessary for developing the book’s conflict. The experience paradoxically made me more sympathetic but also less yielding when it comes to character depth. I hope I’ve shown both above in my treatment of characters who have, in theory (certainly in budget), better writers than I behind them.

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[One aspect of Captain Marvel that is only peripherally related to Danvers’s relationship with her powers, but which nonetheless aligns with the eschewing of usual self-control progression, is her treatment of the minor male characters in the film. Danvers has the perfect excuse to treat new people with suspicion, and, perhaps excepting Stan Lee on the bus, she enjoys it—from ____ to committing theft grand auto. Of course, the trope of an apparent alien not conforming to local property laws goes as far back as Thor (and, of course, farther), but the undertone here is that the theft is justified in response to the man admittedly creepily asking Danvers for a smile. She later shows that her default to rudeness is not a casualty of her untrusting circumstances: she responds to someone as unthreatening as Tom Holland’s Peter Parker in Avengers: Endgame in as insolent a manner as she does to the characters in her movie—an indecency for which I have not been able to forgive her.]

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At the end of 2021, I challenged myself to read at least 10 pages of a book a day. I was initially shocked at how difficult I found it to just sit down quietly and read a book. However, within the first month, I found it easier and easier to sit quietly, and enjoy reading. Having been unable to read practically anything for pleasure in the past few years, I am glad that I was able to accomplish this. By the end of 2022, I was able to read 14 books, and I decided that it would be prudent to compile a list of them, and to give a brief review of each one. All of these reviews were written within a few days of finishing the book, so as to give my most accurate opinions of them. This article, therefore, has been a year in the making! I hope that I am able to persuade you to take up this challenge in 2023.

Upon reflection, it has become clear to me that my reviews at the start of the year are not as good as the ones nearer the end of the year. Please excuse me for this, I have had no experience in writing book reviews up until now; but I feel as though this exercise has given me good practice in the area.

Book 1: American Psycho by Bret Easton Ellis

Read from: 01/01/2022 to 14/01/2022

Rating: 5/5

Review:

When I saw this for sale in Waterstones, I chuckled to myself because I have seen the film so many times, and am very aware of all of the references and memes it has generated. I immediately bought it and I am extremely glad that I decided to make it my first read of 2022.

The book is an extremely well-written and unique dive into the horror nightmare land of Yuppie culture in the 1980s through the eyes of an unreliable narrator, Patrick Bateman.

For anyone who has seen and enjoyed the film, you will love this book. This novel fleshes out the character of Patrick Bateman and the accompanying cast and really helps to add the context and depth which would be impossible (or at least extremely difficult) to show on film.

The book is intentionally written in a repetitive and confusing style to try and put us in the head of Bateman, who lives a life surrounded by repetitive and confusing people constantly lost in meaningless conversations over what kinds of socks match with a certain tie, or who is calling up the newest celebrity-owned restaurant to make a reservation. As a reader, you may find this jarring at some points. But I beg you to be mindful of the point Ellis is trying to make. By about a third of the way through you will begin to appreciate the pages and pages of text covering the newest album from Huey Lewis and the News, and Patrick’s running commentary on what he, his girlfriend, his friends, and his victims are wearing.

Please be aware that if you have a vivid imagination, this book can be extremely difficult to read at some points due to the levels of violence and gore it portrays in excruciating detail. (I actually found myself feeling sick at some points, but this just lends more credit to the incredibly descriptive abilities of Bret Easton Ellis).

I thoroughly recommend this book, and I hope that you read it and enjoy it as much as I did.

Book 2: The Art of Rhetoric by Aristotle

Read from: 15/01/2022 to 13/02/2022

Rating: 4/5

Review:

I had never been very interested in philosophy, I had always found it unnecessary for myself to learn it. However, after a few debates and arguments with some of my friends who did enjoy learning philosophy, I decided that I would finally get around to reading some.

As I am interested in politics and public speaking, one of my friends recommended to me the Art of Rhetoric. I bought this book some time ago last year and had never read it, so I thought it would be best to start off my philosophical education with this book… that was a mistake.

I soon came to realise that, if you have never read any of Aristotle’s work, he can appear to be a confusing writer. He seems to love tangents and diversions and references to his own and other people’s work. Whilst it was certainly interesting to read about all of these tangents, it did make it quite difficult and confusing at some points to really understand his point or what he was talking about. One minute he would be talking about the different reasons people debate, and then he would suddenly be discussing the benefits of slave ownership.

Another issue I had while reading the book is that it introduces some new terms and words that I had never heard of before such as ‘Enthymemes’ etc. I had to spend considerable time actually learning what all of these specific terms meant before I could even understand what a large amount of the book was talking about, otherwise, I would have completely missed the context of entire chapters. That is not the fault of the book but a fault of mine (as mentioned earlier this was the first philosophical book I have ever read, and that was my mistake).

The book is actually split into three books (all relatively short). Without spoiling anything, The first two books give a lot of context to the third book which is where the actual ‘art of rhetoric’ is discussed at length. This made the first two books feel very slow compared to the third. It is also worth noting that the first two books are where most of the tangents can be found, whereas the third book seems laser-focused on the topic at hand.

Overall, I found the book very enjoyable. It pushed me to actually learn new concepts and terms I had never heard of before, and gave me new ways of looking at debate and argument as a practice. I would definitely recommend this book to people interested in improving their debate and public speaking skills, however, I would also warn you that, if you have never studied philosophy before, don’t be surprised if you have to re-read a few pages and do some research on some of the concepts Aristotle talks about.

Book 3: Trans-Siberian Rail Guide by Robert Strauss

Read from: 13/02/2022 to 19/02/2022

Rating: 4/5

Review:

I found this book completely by accident at the ‘Barter Books’ second-hand book shop in Alnwick. I saw the cover, saw the low price, took a guess at what it might be about, and decided that I had to have it! At first, I assumed that this would be a simple guide for tourists of the Trans Siberian railway, but as soon as I started reading it, I discovered that it was so much more than that. It is a charming collection of history, anecdotes, and stories about the Trans Siberian Railway; and an assortment of (now obsolete) information about the various ways one could successfully navigate the journey across the Soviet Union to China and Japan (or vice versa) via train in the late 1980s.

This is by no means a history book, however, it is a very dated guidebook that was written for an 80’s audience, and it contains an absolute heap of useless and obsolete information about how to behave properly around Soviet border agents, the addresses of various consulates and embassies for countries which no longer exist, and tips on where best to buy camera film and cheap Hi-Fi’s when lost in Beijing. I found that this added to the charm of the book, and made it more interesting to read about the lived experiences of those bold adventurers making their way across Communist Russia, Mongolia, and China.

What makes this book even more endearing is that, when it was written, the author put out an advert for readers of the Times newspaper to submit their own stories of their travels along the Trans Siberian to him. He features these stories throughout where relevant, which really adds to the human touch of the book.

The book is broken down into 5 parts. Some of these parts are more focussed on the history of the railway and various anecdotes and stories of travelers’ experiences over the last 100 years on it. Other parts of the book are more instructional and list embassies, hotels, hostels, useful numbers for Visa applications, etc. The author, Robert Strauss, does an excellent job of weaving these two very separate kinds of information together to make for a very delightful read.

I would highly recommend this book to anyone interested in the history of the Trans Siberian Railway, anyone who wants a brief flashback to the late 1980s, and anyone who is sad enough to spend their time reading pages and pages of completely useless and obsolete information about how to purchase train tickets from the Hungarian Socialist Republic (people like me).

Book 4: Lolita by Vladimir Nabokov

Read from: 20/02/2022 to 08/04/2022

Rating: 4/5

Review:

This book was bought for me as a gift by my girlfriend after I had expressed some curiosity in it (it is her favourite book and I was interested to see why).

This book (sometimes referred to as ‘The Great Divider’) is a tricky one to get through at times, it brazenly challenges you to keep reading it, despite its cruel themes and evil characters. I found some parts of the book particularly difficult to stomach due to the horrible issues which it covers, but I did soldier on through it to the end. This is why it has taken me almost double the time to get through this book as it has to get through other books of a similar length.

The book tells the story of Humbert Humbert, a handsome young European academic who comes to America after the death of his first wife. The story is told in the past tense from his perspective as he desperately tries to convince the reader, using all of his intellectual charm and cultured European graces, that his attraction to young girls is completely fine, and that the rape of his landlady turned wife’s daughter, Lolita, is justified.

It is fair to say that the book is a heavy read, and forces you to stay on your toes in order to not sympathise with him. Humbert Humbert is the king of unreliable narration, and phrases the most disgusting events in ways that can become very palatable to the reader if not considered properly in context.

This is indeed the crux of the book’s appeal, it is astonishingly beautifully written, even if it leaves you feeling sick or sad afterward. The writing style of the author, Vladimir Nabokov, in this book is absolutely impeccable and suits the theme and character of Humbert Humber almost too perfectly. It made the characters feel so alive and real.

My main complaint about the book, and what is stopping it from receiving five stars in my opinion, is that some sections (specifically the road trips) seem unnecessarily drawn out and overcomplicated, whilst other parts (specifically the ending) seem too rushed and simple – it feels as though you waited through a huge build-up over hundreds of pages for an ending that is covered in less than 30! I understand that this is because the book is framed as a retelling of a story from one person’s blinkered perspective, but I would have enjoyed it a bit more if the book spent more time fleshing out other parts of the story, and perhaps cutting back on excessive detail in others. However, this issue did not kill to book for me and I did still find it very readable almost all of the time.

In conclusion, an absolutely fantastic read that I would definitely recommend to anyone bold enough to take on Nabokov’s challenge.

Book 5: Mine Were of Trouble by Peter Kemp

Read from: 08/04/2022 to 13/05/2022

Rating: 5/5

Review:

This book was completely unknown to me until I started being recommended it by various anonymous accounts on Twitter. My curiosity peaked after I had heard the general theme of it; and I must say, I am extremely glad that I took the decision to buy and read it.

This is arguably one of the most interesting, thrilling, and charming books I have ever read, and most certainly is a contender for my favourite of the year. The author, Peter Kemp, has a superb skill for structure, detail, and storytelling that makes it extremely difficult to put this book down. It gives you just enough detail to help you understand the situations he was in without being too heavy-handed and boring. At some moments, ‘Mine Were of Trouble’ reads almost like an adventure book; not because the events are so unbelievable, but because of the great lengths the author went to describe the acts of heroism and horror he saw in real life.

The book tells the true story of the experiences of Peter Kemp (the author), a 21-year-old English law student who was so moved by the stories coming to Britain of the horrors experienced by Catholic priests at the hands of the Republicans, that he decided to join the Carlists (a monarchist faction within the Nationalist army during the Spanish civil war). The book does not read like a diary, and instead is more of a lengthy account of his entire time before and during his service in the Spanish Nationalist military.

The true tales told by Kemp range from the humourous and charming to the horrendous and despicably ugly. At times during the book I was chuckling, and at other times I was almost crying. The book is not attempting to engender these emotions within you, it is simply telling you the story of Kemp’s fascinating journey through the civil war. It serves to remind us all that not all of war is horror; and not all of war is camaraderie, fun, and games.

This book has generated within me a great desire for travel and escapades. I would sincerely recommend this book to anyone interested in the history and politics of inter-war Europe and the Spanish civil war. I would also recommend this book to anyone interested in the concepts of masculinity, heroism, and the call to adventure. Whilst not saying it directly, Kemp touches on all of these topics in great detail. His time and actions in Spain reflect his values of faith, honour, courage, and compassion. This book has served as a great insight for me into all of these topics, and I am sure that it would do the same for you.

Book 6: Convenience Store Woman by Murata Sakaya

Read from: 13/05/2022 to 16/05/2022

Rating: 5/5

Review:

As I was strolling around the Waterstones near Monument Metro Station in Newcastle, my girlfriend and I came across a small ‘Japanese Literature’ section. I have never read any Japanese literature of any kind ever, so I was intrigued by it. I was curious to see what was on offer and, as I was looking at the table, I was passed a copy of this book ‘Convenience Store Woman’ by my girlfriend who said to me that she had really enjoyed reading it in the past. I took her advice and, as it was only £8.99, I decided to buy it. This was a very good decision, and I am very glad that I bought this book.

The book itself is very short at just 160 pages with barely more than 200 words a page on average, so you can get through this extremely quickly. I consider myself to be quite a slow reader and I managed to complete it in just 3 days! I found the book to be very difficult to put down, the pacing was just right and kept you hooked into the story all of the time. I didn’t feel as though the story dragged at any point, and the general theme was one which I found quite relatable.

The story itself centres around Miss Keiko Furukura, a 36 year old Japanese woman who has been working the same part time job at the same convenience store for the last 18 years. Whilst never stating it explicitly, it is obvious that Keiko has autism and struggles to understand the actions of the people in the world around her, except for when she is working in the store. Keiko’s whole life revolves around her job at the store and it seems as though, to her, it is the one thing that gives her a purpose. She sees no reason to keep herself healthy, except for the benefit of the running of the store; she sees no reason to take a shower and shave, except for the benefit of the running of the store etc. This all changes when a new employee, a man name Shiraha, enters the picture.

Both of these characters are outcasts who take a different approach to dealing with the similar situation that they find themselves in. Shiraha is a failure who cannot find a wife. He is angry at the world for forcing him to work and just wants to hide away and do nothing. Keiko, on the other hand, has no anger to the world and just cares about the running of the store. The author does an excellent job at contrasting their opinions and methods for dealing with their problems, and it proves to be an excellent commentary on the expectations that Japanese society places on men and women.

If you are looking for a light and quirky book, this is certainly one for you. I thoroughly enjoyed reading it, and I was sad to have finished it so quickly. It has been a refreshing brake from the other books I have read so far, and I will certainly make an attempt to read more Japanese literature in the future as a result of it.

Book 7: The Great Gatsby by F. Scott Fitzgerald

Read from: 16/05/2022 to 24/05/2022

Rating: 4/5

Review:

This particular book was of great importance to me because of how I came to have it. It was given to me as a gift by my English teacher back in 2016 just before I took my GCSEs. I had never read the book and we did not study it at school, I knew absolutely nothing of the plot and I used to ask her questions about it. Instead of giving the answer away, she bought me it as a present so I could come to the answer myself. Well, after almost six years of starting it, stopping it, and starting again, I finally got myself into gear and finished it. This was a great relief to me, as it means that I wont have to read the first chapter over and over again any more.

The book is relatively short but the pacing of the story can make it quite difficult to read at times. I found the start and end of the book to be very slow and drawn out whilst particular sections were very rushed. I’m sure that Fitzgerald was doing this for dramatic purposes, however I felt as though I should have been given more information at certain important moments. Fitzgerald is clearly a master of the English language and his usage of it in the book is interesting and unique. I found that some of the speech patterns in the book are very dated (this is the original unabridged version after all) which certainly gave it a 1920s feel. Whilst I had no problem with this, you do sometimes find yourself re-reading the same lines to make sure you understood what was being conveyed in this older style of writing. If you are not used to certain aspects of 1920s speech patters and history, try and buy a copy like mine which came with context explainers at the back. This helped me in my own understanding of what was going on in certain scenes.

The story is a somewhat reliable narration by Nick Carraway, a Midwesterner come to seek his fortune in New York City in the early 1920s. There he meets his neighbour Jay Gatsby, a mysterious and extremely wealthy man who, by complete chance, happens to be madly in love with Nick’s cousin Daisy, who lives just across the water from him. Daisy is married to the equally wealthy adulterer, Tom Buchanon. The story follows Nick as he is pulled further and further into a disgusting web of deceit, lies, and deception that surrounds Gatsby, Daisy, and Tom.

I found that the 2013 film adaptation of the book is fairly true to the source material, but it does skip over a large chunk of the relationship between Nick and Jordan Baker. The book does a better job of fleshing out the relationship between the two and it also does a much better job of making the characters less fantastical and more realistic. The film portrays Nick as a clueless do-gooder who just happened to be caught up in rich peoples cruelty whereas the book assures you that he knows what he’s getting himself in to.

In conclusion, a classic book which I would highly recommend. Not too long and certainly recommended if you have seen the film and wanted a bit more from the characters.

Book 8: Rules of Civility by Amor Towles

Read from: 24/05/2022 to 22/06/2022

Rating: 4/5

Review:

This is arguably the first book of the year that I have read that I went into with absolutely no idea of what to expect. I had never heard of Amor Towles or his works, and this book was more of an impulse purchase after a friend of mine saw it on sale for a ridiculously low price and recommended it to me. I am glad that he made such a frantic bid to get me to but it. I have also just noticed that this is the third book of the year that I have read to be based in New York City (with American Psycho and The Great Gatsby being the other two). I suppose, through the lens of these fictions, I have taken a journey of the history of New York from the 1920’s to the 1980’s.

This book follows the life of Katherine Kontent, a typist at a law firm, as she makes her way through the year of 1938 in New York City. The concept of time passing is a big factor in this novel, the book is structured heavily around the changing of the seasons and the progression of time. It is no surprise that the main story starts on New Years eve 1937 and ends on New Years eve 1938. She, along with her room-mate Eve, meet Tinker Gray, a very curious individual who they both take great interest in. Over the course of the year, this typist is pulled from the bottom of New York society to the top. She becomes close and personal friends with the wealthy and not-so-famous member of society who keep the machine of the city moving along. She seems to find herself both disgusted and fascinated by it, and keeps venturing into it for more.

This book had the ability to trigger a very strong emotional response from me. It reminds us (bluntly in some places and subtly in others) that time is indeed passing and slipping through our fingers, and that we are the total sum of all of our decisions and all the decisions of everyone around us. Fittingly, I found the ending of the book both beautiful and agonising; all of the separate story lines of the small array of characters that Katherine meats neatly come to their conclusions. It left me felt feeling so sad, and I am not entirely sure why this is. Perhaps it is because it reminds that, no matter how eccentric or interesting we try to be, we too are side characters in someone else’s story; and one day, our relationship with those people will end as well one way or another.

The book’s structure is well put together, and it is clear to me that Amor Towles has an incredible grasp on the English language. His writing style is very unique and enjoyable; however, the method he uses to represent conversations (long flows of text rather than broken up sentences with quotation marks) can be quite jarring at times and it sometimes became very difficult to tell who was talking to who. I would also argue that the pacing of the book was a bit strange. The story seemed to race at the start, then slow down toward the middle, and then jump to a breakneck pace at the end again.

In conclusion, this was definitely an enjoyable book and is one which I shall be recommending to others.

Book 9: The Communist Manifesto by Karl Marx and Friedrich Engels

Read from: 23/06/2022 to 23/06/2022

Rating: 3/5

Review:

Due to the nature of this book and my political biases, I think it unfair to attempt to give this book a true ‘rating’, so I have opted to give it a 3 out of 5 – truly, the most neutral of ratings you can award a book (or anything for that matter).

I read this book many years ago when I was only a child, and so I saw that it was high time to read it again. Whilst I do not agree with Marx and Engels, I found the book to be very interesting and insightful into the initial aims of Communism.

I think today in the world of debate, we get very caught up in politicking, good and bad looks, and the humdrum of boring arguments. Sometimes we forget what certain people actually sincerely believe. It was quite refreshing to read straight from the source. I appreciate the fact that there have been many different iterations and interpretations of communism over the last hundred or so years, but it was nice to actually be able to get a grip of what the original idea of it actually was. As we live in the age of gutter politics, Marx is someone who has been warped and twisted beyond disbelief by people on both sides. Rereading this book reminded me that the chap, at the end of the day, was a philosopher trying to make sense of the modern industrial world and make predictions on the upcoming class struggles between proletariat and bourgeoisie.

Has this book changed my opinions on economic and social relations? No. I am just glad to have been given a fresh perspective on what communism is, and what Marx and Engels were trying to put forward. I am curious as to what they would think of the modern world if we could reach through history and bring them to now. I wonder if they would rejoice or shudder at the state of the modern communist movements. I wonder what they would say about the history of the last 100 years. I wonder how they would view the states of China, Cuba, and the like.

In terms of the books structure, it is incredibly short. You can read this in an afternoon if you really wanted to. I found the first half and the last tenth to be the most interesting, whereas the middle of the book was very slow.

In conclusion, it’s a short read and I would recommend it to anyone interested in learning about the communist movement. I would be interested in reading more of Marx’s material after this as I personally found it very interesting.

Book 10: Silence by Shusaka Endo

Read from: 24/06/2022 to 16/07/2022

Rating: 5/5

Review:

I picked up this book at the same time that I got ‘Convenience Store Woman’ from the Japanese section at Newcastle Waterstones. It is funny as I had not intended to get any books at all and wound up buying two. I have also now purchased this book again as a present for a few friends as it is relatively cheap and extremely worth a read. I loved this book and I am glad that I made the impulse purchase after admiring its cover in the Waterstones.

This book follows the journey of Father Rodrigues as he journeys to Japan in the 1640s with his friend Father Garupe to act as a missionary and to discover the fate of his former teacher, Father Ferreira who has been rumoured to have apostatized and to now be assisting the Japanese government in hunting down and persecuting Christians. The journey of Rodrigues is a sad and miserable one. He starts with, what he believes to be, complete faith in God and the Catholic church. This faith is tested repeatedly by the misery and suffering of himself and the Christians of Japan that he sees around him. He is constantly doing battle with the silence of God when he sees injustice and cruelty done upon himself and his fellow Christians.

The novel’s author, Shusaka Endo, was a Japanese Catholic, and I believe the book itself was an attempt by himself to understand his relationship with God and his Christian faith through the abstraction of historical story telling. I believe, therefore, that this book is a good way of understanding my own faith better and coming to terms with the reality of the world around me and my relationship with God. If you are a Christian as well, I would thoroughly recommend this book.

The book, at just 267 pages, is relatively short and I found it very readable. The author uses letters, diaries, and reports from different sources as a framing device for good chunks of the story which helps to break it up and adds a layer of depth to the various characters that are met along the way. The general arc of the story is good and has a sound progression. Do not go into this book looking for a happy ending, you will not find one. The story does not finish with some grand triumph for any character, it merely reflects on the situations that they find themselves in.

Overall, I would certainly recommend this book. It is a brilliant example of 20^th century Japanese fiction and, more specifically, provides an excellent retrospective on the persecution of Japanese Christians in the early Edo period by a practicing Japanese Christian. It is a great shame that the film adaptation by Martin Scorsese (himself a great admirer of this book) was such a commercial flop.

I would like to take a moment, if I may, to reflect on the books I have read so far. It is now the 17^th of July 2022 and so much has happened since I started this challenge. Russia invaded Ukraine, I turned twenty-two, Boris Johnson has resigned, I bought my first house, and now we are all suffering through an absurdly hot heatwave and sky-high energy and commodity prices. It has indeed been a strange year for me, Britain, and most of the world. My one constant, however, has been the reading I have been doing. As I mentioned at the start of this piece, I barely read at all in the last decade, and it has been thoroughly enjoyable to burn my way through so many of the books that have been sitting gathering dust in my room.

I did not think, when I set myself this challenge, that I would have already finished 10 books by the end of the year… let alone the middle of July. I am very proud of this achievement, and I am looking forward to carry on reading throughout the year and into the next (and so on and so forth). I have learned so much from these books, not just what they contain, but also the foundations of what makes good fictions and non-fictions so enticing. I also think that my reading comprehension and patience has increased dramatically, and my ability to review the books has improved too.

If you are still reading this behemoth of an article at this point, I hope that you have been finding it of some use or interest. I sincerely hope that it motivates you to pick up some of the books laying around at your house that you’ve been telling yourself you would actually read too.

Book 11: Patriotism by Yukio Mishima

Read from: 17/07/2022 to 17/07/2022

Rating: 5/5

Review:

This book was recommended to me by a friend. I did not intend to read it so quickly but it is an incredibly short book and is an extremely compelling read. It is also the second Japanese book I have read in a row. I am glad that I bought it and I hope that I can convince you to buy it too.

The book is set over a period of three days and follows the story of a Lieutenant in the Japanese Imperial Army, Shinji Takeyama, and his beautiful young wife, Reiko. Being instructed to command troops destined to fight the forces of rebellious officers (many of whom are his close friends), Shinji is faced with the impossible choice of loyalty to his friends, or loyalty to the Imperial Army and the Emperor of Japan. Shinji, instead, chooses to commit seppuku (ritualistic suicide) with his wife as his witness.

The book describes, in graphic detail, the couple’s last few hours together on the night that they will take their own lives. It explicitly takes the reader through the couple making love multiple times before then agonizingly describing every moment of Shinji and Reiko’s suicide. Reading this part of the book was genuinely difficult at some points due to the gruesome nature of Yukio’s writing style.

Achieving a ‘glorious death’ was something that the author was very focussed on in his own personal life, so it is easy to understand why he would write about ritualistic suicide so positively. After further investigation, I discovered that the rebellion in the book was a real event that took place known as the ‘Ni Ni Roku’ Incident. This incident, along with many other events in Japanese politics, would shape Yukio’s worldview and drive him further into his beliefs surrounding right wing politics and the future of the Japanese nation and people.

In terms of structure, the book is incredibly short and can be read easily in less than an hour. I would thoroughly recommend the book to anyone interested in Yukio Mishima, this is an excellent way to ingratiate yourself with his beautiful and graphic writing style, and a good way to get a glimpse at his views and beliefs.

Book 12: The Sailor Who Fell From Grace with the Sea by Yukio Mishima

Read from: 17/07/2022 to 13/08/2022

Rating: 4/5

Review:

This is the fourth Japanese-authored book I have read this year, the third in a row of Japanese books, and the second from the esteemed author Yukio Mishima. I heard about this book from various accounts on Twitter and have seen it recommended numerous times but I had absolutely no idea what it was about. I am still not entirely sure if I have fully understood the book, but I will do my best to review it here.

The book is set in Japan a few decades after the second world war, and follows the story of the child Noboru and his wealthy widowed mother Fusako. Noboru is part of a gang of self-proclaimed genius boys led by ‘the chief’ who have become radically angered and dissatisfied with the modern world and modern rules and morality. Noboru is obsessed with the sea and ships and, when he is taken by his mother to the docks to actually see some vessels, they meet the ship’s second mate, Ryuji.

Fusako and Ryuji are smitten with each other and they have sex soon after meeting, whilst Noboru watches on from a peephole he has discovered in between his wall and his mother’s. Initially, Noboru is very pleased with Ryuji. He likes the fact that he is connected to the sea and he sees him as perfect. However, after a series of faux-pas on the part of Ryuji, and Noboru’s excessively high standards and non-standard morality, he soon finds himself disgusted by Ryuji.

This book is strange. I very much enjoyed it, but sometimes it was difficult to get into. Yukio Mishima was exploring his own philosophies and ideas on modern morality through the character of an extremely intelligent child, however, sometimes this came across as very unbelievable and annoying. The only truly sympathetic character is Ryuji.

Mishima, of course, uses his masterful command of language and metaphor to create beautiful images in the reader’s mind, especially when discussing sex and violence. This is a theme seen throughout all of Mishima’s work.

In terms of structure, I found that the pacing of this book was actually very good. The book is split into two halves, ‘summer’ and ‘winter’, each having its own distinct tone. The book is quite short at just over 100 pages and was paced in such a way that it never felt too quiet or too busy throughout.

Overall, a good book that I enjoyed. I would recommend it to you if you were especially interested in understanding Mishima’s personal philosophies and worldview.

Book 13: The Obesity Code by Dr Jason Fung

Read from: 14/08/2022 to 25/08/2022

Rating: 4/5

Review:

As someone who has struggled with weight their entire life, this book was a real eye opener. This book was bought for me years ago by my dad, but I never once opened it. I did not know who Dr Jason Fung was, and I had no intention to read what I assumed was just another self help book. Fast forward to a few months ago when a friend of mine suggested buying this book (as it had really helped them with their weight). I realised that I already had it buried away on my book shelf, and I made it my aim to at least try and get through it. As soon as I saw the cover, I realised that this Jason Fung was the same Jason Fung whose YouTube videos I had been watching for the past few months. Given the high quality of his channel, I went in with high expectations, and I was not disappointed!

Firstly, this is not a self help book. Dr Fung uses this book to meticulously and thoroughly dismantle commonly held misconceptions about diet, exercise, and weight loss. His calm and methodical approach to explaining problems with the diet and pharmaceutical industry (especially in North America and Europe) is eye opening and fantastically interesting. I found myself unable to put this book down (hence why I was able to read it so quickly).

I wouldn’t be doing the book justice by trying to fully explain Fung’s take on weight loss, but the general lesson he teaches is that insulin and cortisol are the two hormones that contribute the most to weight gain and obesity; that the post-70s western diet and lifestyle has made us prone to insulin resistance and excess cortisol; and that the standard ‘eat less, move more’ advice so often given out by doctors and government health agencies is unhelpful for people truly trying to lose weight. Dr Fung’s solution to these problems is intermittent fasting, which he claims is beneficial for reducing insulin resistance and being the most effective tool for obese people to lose weight.

The vast majority of the book is spent focussing on his main hypothesis that insulin causes weight gain. He only goes into fasting in the final section. This is why I do not consider this to be a ‘self help’ book. He spends far more time helping the reader understand what the problem is then actually giving specific solutions for this to be thought of as ‘self help’. Whether that is a good or a bad thing is up to you, but personally, I liked it. The book didn’t feel preachy or like quackery.

My only complaint, and the reason I don’t think I can award 5 stars, is that Dr Fung spends a huge amount of time going over the same points again and again. I appreciate that he is attempting to drill an idea into the reader, but it can get quite monotonous after a while.

Since watching his YouTube videos last month and reading his book, I have lost roughly 12kg in weight (about 2 stone/28lbs). This is evidence enough for me that his methods work, and I am fervently carrying on with them. If you struggle with your weight or are just interested in a fresh take on why the world has an obesity problem, I would most certainly recommend this book and his YouTube channel.

Book 14: No Colours or Crest by Peter Kemp

Read from: 28/08/2022 to 31/12/2022

Rating: 5/5

Review:

This book took a much longer time to finish than normal due to personal issues and should not be taken as a slight on the piece of work. This book is the second of Peter Kemp’s three books detailing his activities before and during the second world war (see review number 5 for a cover of his first book ‘Mine Were of Trouble’).

We follow him on his journey after the Spanish civil war, joining the British army as a liaison officer and being sent into Albania to act as a representative of Britain and to gather information on partisan activities in the area. Being parachuted into the country, he is forced to deal with the complex political issues that drown the region in mistrust and curtail any effort to form a united front against the Italian and German occupying forces.

This first section of the book was very interesting to me, Enver Hoxha (the post war Communist dictator of Albania) is a character which I have known about for a very long time, but never seriously investigated and researched. In this book, Peter tells of his regular dealings with Hoxha, along with his other Communist, Monarchist, Republican, and Reactionary counterparts in their desperate bid to repel the invaders and attempt to seize legitimacy in forming a new government for Albania after the war has ended. Peter’s writings about these figures and his travels through Albania showcase the chaos and unpredictability of a small nation at war not only with an outside power, but also itself.

The second, much shorter, section at the end of the book tells of Peter’s brief time in Poland in 1945, and his capture and mistreatment by the Soviet Red Army, who viewed him as less of an ally than a potential enemy once the war was over.

The book is an excellent read for any history nerds interested in the niche fringes of the second world war, featuring a very unique insight and detailed description of war stories not often talked about in Western media. Kemp’s keen memory and light-hearted nature make for, not only a detailed read, but also an enjoyable one.

The pacing of the book can be a bit slow at times. I thought it was a shame that Kemp talked for so long about his time in Albania, but very little about his time in Poland. I appreciate that he was in Albania for much longer, but it would have been nice if he could have been a bit more detailed in his discussion on his time spent in Eastern Europe.

Peter has a distinctive writing style which became more and more obvious as I read through this piece, and I would struggle to define it. He writes memoirs like no other memoirs I have read.

Overall, an excellent read which I thoroughly enjoyed and would recommend. I will be reading and reviewing his third book ‘Alms for Oblivion’ later in 2023.

It is the 1^st of January 2023 and I cannot believe how much my life has changed since my last writing on here on the 17^th of July (just after review number 10) and over the year as a whole. I am now a settled homeowner on the other side of a breakup, I have spent time living in London to escape family drama, and I am 30kg lighter than when I started the year. The war in Ukraine still rages on, and inflation seems to have calmed down just a little bit. I have been totally blown away by the rate of change I have experienced this year, and I am reminded whilst writing this that one of the only constants I have had throughout 2022 was the challenge to myself to read more this year. I am extraordinarily proud of what I have accomplished, and I sincerely look forward to doing it again in 2023, I hope that next year I am able to read at least 20 books.

I hope that these reviews and remarks have given you some encouragement to take up reading this year, it really was one of the best decisions I made at the start of 2022, and I hope that you see fit to make it one of your own resolutions for 2023. 

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