Review of THE ELEGANCE OF THE HEDGEHOG by Muriel Barbery on CD
CHARACTERS
Renée (read by Barbara Rosenblat-established reader for audio books) seemed more focused on acting than on the story for the first few chapters. When Renée tells of coming home to find her dying husband fully dressed and ready to see The Hunt for Red October, my impression changed. The scene was touching, well-done, not sentimental, just the facts delivered in a way that reached the reader's/listener's heart. Both Barbery and Renée became as one then, and I lost myself in the continuing narrative.
When she began to rant about a misplaced comma, I laughed out loud not only because she was so distraught-and because I have similar reactions-but because she gets at the underlying beauty of language and how and why it should be respected. The "enlightened misusage" of language is not to be tolerated. I agree.
Paloma (read by Cassandra Morris-fresh voice; much newer to audio books) is a 12-year-old who has decided to commit arson and suicide on her thirteenth birthday. Perhaps it was due to the translation from the French, but she used "very" too often for my comfort in the first few chapters; someone that intelligent would make better use of precise words and not rely on "very" to make her point. (I'm reminded of Twain who said, "Substitute 'damn' every time you're inclined to write 'very'; your editor will delete it and the writing will be just as it should be.")
Like Renée, however, Paloma won me over. She possessed the intelligence of a much older person, but retained the emotional level of a preteen who has it "all figured out" as most preteens think they do.
COMMONALITIES
While Paloma has genuine insights, Renée takes things to a level that shows a bit more wisdom; there are layers here that can be explored. For instance:
GENERAL COMMENTS
Positive
It's nice that each character is firmly established before they interact. Too many authors jump right into a relationship. Barbery refrained from this temptation well into the novel and that makes the story stronger.
Negative
Neither main character believes in God nor in any kind of higher power. It bothers me when books that promote intelligence combine that with a lack of faith; the two are not mutually exclusive.
Ambivalent
I do wonder two things: First, are the characters too similar? Is it good to have two intellectuals who think so much of themselves? Maybe, maybe not. I can't judge here. Second, it does tend toward the verbose in spots (for example, there is more than one chapter on still art). Brevity would have illustrated beauty more effectively in a few places.
THE END
In essence, both characters change when they allow themselves to consider the possibility that they don't know everything, that there are options other than the ones they have chosen. Taking chances means opening yourself to pain, but it's the only way to truly live. Fulfillment is not in knowing, but in growing.
That's my interpretation of the events, but I think each reader/listener will derive her or his own insights. And, the language is so beautiful that you may not want to "analyze" the novel at all, but rather simply enjoy the sumptuousness of the words. You may even discover the elegance of the hedgehog along the way. (I won't give away that reference.)
POSTNOTE: "LINGUISITIC SOLIDARITY"
This is Renée's phrase. It is marvelous. It's one of the ways Barbery uses language to seduce us, to help us let go and melt into its generous, imaginative dreamscape. It is, perhaps, the truth I will take from this work.
Read or listen to The Elegance of the Hedgehog. I recommend it.
Copyright 2009 Donna Marie Merritt and Donna Marie Books
Renée (read by Barbara Rosenblat-established reader for audio books) seemed more focused on acting than on the story for the first few chapters. When Renée tells of coming home to find her dying husband fully dressed and ready to see The Hunt for Red October, my impression changed. The scene was touching, well-done, not sentimental, just the facts delivered in a way that reached the reader's/listener's heart. Both Barbery and Renée became as one then, and I lost myself in the continuing narrative.
When she began to rant about a misplaced comma, I laughed out loud not only because she was so distraught-and because I have similar reactions-but because she gets at the underlying beauty of language and how and why it should be respected. The "enlightened misusage" of language is not to be tolerated. I agree.
Paloma (read by Cassandra Morris-fresh voice; much newer to audio books) is a 12-year-old who has decided to commit arson and suicide on her thirteenth birthday. Perhaps it was due to the translation from the French, but she used "very" too often for my comfort in the first few chapters; someone that intelligent would make better use of precise words and not rely on "very" to make her point. (I'm reminded of Twain who said, "Substitute 'damn' every time you're inclined to write 'very'; your editor will delete it and the writing will be just as it should be.")
Like Renée, however, Paloma won me over. She possessed the intelligence of a much older person, but retained the emotional level of a preteen who has it "all figured out" as most preteens think they do.
COMMONALITIES
While Paloma has genuine insights, Renée takes things to a level that shows a bit more wisdom; there are layers here that can be explored. For instance:
- movement of bodies/life (Paloma needs a reason to live; Renée sees it as a link to eternity)
- jasmine tea (Paloma wants something not as harsh as adults and their coffee; Renée sees it as something both the wealthy and poor have in common)
- Japanese culture (It's worth some thought as to why each character finds it so appealing—is it an awkward shared interest used only to introduce a character they both find intriguing or something more?)
GENERAL COMMENTS
Positive
It's nice that each character is firmly established before they interact. Too many authors jump right into a relationship. Barbery refrained from this temptation well into the novel and that makes the story stronger.
Negative
Neither main character believes in God nor in any kind of higher power. It bothers me when books that promote intelligence combine that with a lack of faith; the two are not mutually exclusive.
Ambivalent
I do wonder two things: First, are the characters too similar? Is it good to have two intellectuals who think so much of themselves? Maybe, maybe not. I can't judge here. Second, it does tend toward the verbose in spots (for example, there is more than one chapter on still art). Brevity would have illustrated beauty more effectively in a few places.
THE END
In essence, both characters change when they allow themselves to consider the possibility that they don't know everything, that there are options other than the ones they have chosen. Taking chances means opening yourself to pain, but it's the only way to truly live. Fulfillment is not in knowing, but in growing.
That's my interpretation of the events, but I think each reader/listener will derive her or his own insights. And, the language is so beautiful that you may not want to "analyze" the novel at all, but rather simply enjoy the sumptuousness of the words. You may even discover the elegance of the hedgehog along the way. (I won't give away that reference.)
POSTNOTE: "LINGUISITIC SOLIDARITY"
This is Renée's phrase. It is marvelous. It's one of the ways Barbery uses language to seduce us, to help us let go and melt into its generous, imaginative dreamscape. It is, perhaps, the truth I will take from this work.
Read or listen to The Elegance of the Hedgehog. I recommend it.
Copyright 2009 Donna Marie Merritt and Donna Marie Books
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