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dorinda: From a French postcard of 1902: a woman in hat, coat, cravat, and walking stick writes on a pad of paper. (writer)
A 5x5 bingo card of different book categories with two red dots: "literary fiction" and "published before 1950"

Book 2 for 2025 book bingo! For the “Published Before 1950” square (so many options... I love to read older books!) I selected the original “The Adventures of Pinocchio” (1883), translated by Carol Della Chiesa in 1926.

All I knew about this book was that it was different from the Disney movie, and that instead of the wise and friendly Jiminy Cricket as Pinocchio’s conscience, there’s a talking cricket that tries to advise Pinocchio until Pinocchio smashes him to death with a hammer. (I think Stephen King mentioned this in something of his–maybe “Danse Macabre”?). So I considered myself warned, and wasn't really at risk of tonal whiplash.

As promised, this is a pretty dark story–Pinocchio is mostly a pure chaos agent, kind of like Curious George except with violence and death, plus always someone looking to trick/prey on/take advantage of you. The narrator delivers morals, but for most of the book they come across (to me, at least, in translation and from my different historical context) as brightly tongue-in-cheek, since once a moral gets set out, Pinocchio generally smashes right through it. He’s not malicious per se, but he is entirely impulsive and only does what he wants to do, and then cries about it afterward in self-pity once he has Fucked Around And Found Out. Then he gets rescued somehow, and heads back into the FAFO cycle.

I enjoyed the Fox-and-Cat sections, because of the difference between what Pinocchio knows, how the narrator describes things, and what we as readers (if we can get the hang of unreliable narration) know or intuit. They’re con artists, they have unacknowledged cover stories and nefarious plans, while Pinocchio (and the narrative) is taking them entirely at their word. I can’t remember when I first learned to navigate narrative unreliability in my own childhood reading, but I definitely came to love that feeling.

The last section of the book feels different–the stated morals start feeling more serious, and Pinocchio starts doing kind and positive things without being forced to. That means the sense of humor changes too–it kind of filters away, as does the sharp irony and the layers of unreliability. And a few earlier events get softened–like, the Talking Cricket reappears toward the end of the book without any explanation, scolds Pinocchio for the hammer thing, delivers a sententious moral, and Pinocchio apologizes and agrees with him. Definitely different than the Pinocchio of the earlier sections. (Although interestingly, Pinocchio may have Plot Armor, but even once the book has gentled a bit, other characters still die–like, Lamp-Wick, someone who convinced Pinocchio to misbehave, doesn’t get rescued from being turned into a donkey the way Pinocchio was rescued. He’s bought and then worked to death, and dies in a sad on-page scene.)

I read more about the book afterward and found out it was originally a magazine serial, so it all makes perfect sense, the episodic nature and the tone change and whatnot. Wikipedia also said that the serial originally ended fairly early on, when Pinocchio is punished by being hanged by the neck from a tree and dies (whereas in the book he’s hanged and almost dies but is rescued). (Man, my childhood books were never like this.)

It really benefited Collodi to start up again with a fixit, given how popular the happy-ending book version became all over the world. It’s hard to imagine a dead-at-the-end version becoming as beloved in places like the U.S.–at least in my sense of children’s literature at that time, it wouldn’t have much room for such a pitch-black tone.
dorinda: Bobby Hobbes from The Invisible Man, working on a Rubik's Cube. (iman_bobby_cube)
A 5x5 bingo card of different book categories with two red dots: "literary fiction" and "published before 1950"

(My thoughts on this book already showed up on tumblr, but this DW version has more in it, because I feel freer to express myself. See previous post re: my odd relationship to making text posts on tumblr... :D )

My first read for 2025 book bingo! I chose the "literary fiction" square to start, and read "Everything I Never Told You" (2014), Celeste Ng's debut novel. I'd never read anything of hers, so I was curious.

When I first picked it up, I was worried for a minute about whether it would count as "literary fiction", a mode that gets argued about a lot and carries class connotations with it, so I'm not always sure what it's supposed to include. But I went ahead, because I saw the "literary fiction" tag on various reviews and in the public library (along with things like "mystery").

But then I was reassured, and also cracked myself up, when I got into the story. Oh look, a repressed unhappy suburban family who absolutely cannot communicate, with a dad who's a professor who sleeps with one of his own pretty female students, and someone dies, and there is closeted homosexuality. Literary fiction bingo! It's even set in the 1970s--like, welcome back to "The Ice Storm".

Nothing wrong with heaps of common tropes, of course--hell, I love lots of tropes, I write & read fanfic. :D It's just funny how snobby some advocates of Literary Fiction can get, when it can be just as predictable as any other mode (in good ways and bad). And this is an enjoyable book, despite how much I may sprain my eyes at professor-student adultery-to-comfort-his-own-angst blegh (not a moral thing, I'm probably just at Bitch Eating Crackers* level with its use in fiction, so I end up falling out of the story too much).

*(Bitch Eating Crackers: shockingly, the idiom doesn't have a Know Your Meme entry. The short version is that it came from this comedy postcard on the someecards site back in the day with the text "Once you hate someone, everything they do is offensive. 'Look at this bitch eating those crackers like she owns the place.'")

The book was a good read in general, flew by, and juggles POVs and timelines and various pieces of information in interesting ways (who thinks what, who means what, who misinterprets what, who knows or doesn't know what) that kept me involved.

The issue of race, Chinese-American specificity, plus being set in a mixed-race family in a very white milieu, that's all very particular and interesting, as is the intersectional way it includes the issue of being a woman in male-dominated spaces and cultures (and resisting or not resisting certain modes of culturally-defined womanhood within socially feminized spaces too). It grounds those situations so well through character, the details of daily life, all of that. There was a satisfying conversation where the Chinese-American husband is like 'you don't know how it is to be The Other in a sea of the dominant/oppressive culture' (I'm paraphrasing, he doesn't talk like that :D ) and the white American wife tells him details of how it was to soldier through chemistry classes chock-full of men who harassed, belittled, tormented, and overlooked her. Luckily, it doesn't become an Oppression Olympics situation...they come to understand each other and their potential intersectional similarities very late in the book, but better late than never.

And as someone who was a child in the 1970s, the historical 70s-ness usually felt pretty spot-on. Although I have no memory of an unlocked seatbelt triggering a chime at that time--but, we didn't have new cars, so as that function was rolled out I might've just been late to experience it.

I appreciated the tiny future glimpses at the very end, a comforting way to wrap up what had been a pretty sad story. It did make me wonder if that one line about touching the bump on Jack's nose is supposed to indicate eventual requiting! It would need to be unpacked, and actually struck me as a good basis for fanfic--so I went and looked, and of course there are like thirty-something Jack/Nath stories on AO3. :D

Speaking of Nath... my mind initially heard that as Nath with a short-a, rhyming with bath, until we learned it's short for Nathan. But nevertheless, I had to stop and correct myself so often throughout the entire book, forcing myself to think of it with the long a. It's absolutely a verbal nickname for Nathan, no problem, but visually it wasn't intuitive. I think the more typical rules of English spelling/pronunciation kept intruding on me.

Anyway, I'm glad I read it, and appreciate the bingo square giving me the push.
dorinda: From a French postcard of 1902: a woman in hat, coat, cravat, and walking stick writes on a pad of paper. (writer)
I ran across a cool-looking post on tumblr, a bingo card for "2025 Book Bingo". And I thought that would be a fun way to help me shake up my reading choices this year...I always have some book or other on the go, but often when I don't know what I feel like reading next, I fall yet again into a re-re-re-re-read of some old favorite. (Nothing wrong with old favorites, of course, but sometimes I overdo and am not re-reading out of an active choice but purely because I feel stuck.)

I posted a little report on my first book for the bingo on tumblr the other day, but once I was ready today to post my second one, I found myself strangely hesitant. Not sure why, and I did eventually post it...but for some reason it feels too weird for me to post things like that over there.

Maybe it's because I almost always just use tumblr for 1) browsing pictures, and 2) reblogging other people's posts?? I initiate very few posts--iirc, probably mainly fic announcements. Hmm. I really don't know why, honestly, but there's something about a set of personal book reports that feels more Dreamwidthy for me.

In any case, that's how it feels, and who even knows how my brain works, so I figure I'll put them over here. (Maybe I'll crosspost them on tumblr? Maybe the practice will help me feel more comfortable with it?? Maybe???)

This is the card I'm working from:

A 5x5 bingo card of different book categories

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