First things first, I really liked it. McEwan's approach is unconventional, but it suits his style well. Way back in January when I first started reading this book (sixth-grade Aida is offended, because she would have never taken six months to finish) I recorded some impressions in my journal, and I remember being struck by the humor. I appreciate narrators who can tell even a very somber story with a good sense of comedic timing. A Series of Unfortunate Events is truly one of the funniest things I've ever read; the story can be both sad and frustrating, but Daniel Handler as Lemony Snicket provides absolutely hilarious narration. Exhibit A, when explaining the phrase "born yesterday": "Neither were you [born yesterday], unless of course I am wrong, in which case welcome to the world, little baby, and congratulations on learning to read so early in life."
In any event, especially (and nearly exclusively) in Part One, Atonement's narrator (later revealed to be Briony Tallis) is delightfully funny. A quick digression - I had the hardest time figuring out how to pronounce Briony, and as a person with a difficult-to-pronounce name myself, I consider it my duty to determine the proper pronunciation as rapidly as possible out of respect and solidarity. But Briony was pre-Goblet of Fire Hermione all over again with me (incidentally, there is a character named Hermione in Atonement, which proved rather distracting - anyway, digression within a digression). The trailer seems to indicate it should be "Bree-oh-knee," which is what I was learning towards. "Bry-oh-knee" does sound a bit odd.
Okay, back to my actual thoughts on the book. I thought Part One in particular was very well-written. McEwan draws out the sexual tension between Robbie and Cecilia masterfully. At the same time, I both identified and was highly annoyed with Briony. Perhaps because he is a writer himself, McEwan really captures the mindset of a writer, of creating and organizing the lives of characters and the inadequacy of the words on the page. I also remembered that sense of false sophistication and wanting to appear grown-up and mature even while everyone else sees you as a precocious child at best. So bravo on that front, and also on building up a palpable sense of dread. I know something bad was going to happen, but I thought it might be that the twins would befall some misfortune and Robbie would be blamed for their deaths, because I'm morbid like that. This turned out to be one of the few things I was wrong about. Anyway, I'm not sure if McEwan meant for the identity of Lola's rapist to be a twist. If he did, he failed, because it was obvious to me that Paul Marshall was responsible. (I'm not sure where Cecilia and Robbie's theory about Danny Hardman came from, but maybe it's been too long since I read the first part of the book.) Still, I found the beginning of Atonement to be very compelling.
I did not care for Robbie's section (correct me if I'm wrong, but was Briony actually the narrator in this part of the book in-universe? The ending implies this, but I don't know how she could have known much of what was written here, especially Robbie's inner monologue. Maybe she read his letters and made some stylistic choices?) for exactly the same reason I usually despise war novels. I don't do gritty and dirty. Sue me.
Part Three was more interesting. Briony's life as a nurse wasn't nearly as funny, but it made for good reading, and I was touched by her account of looking after a French soldier in the last minutes of his life. The reunion with Cecilia and Robbie was fascinating, and I appreciated that Briony's remorse came not only through her dialogue but through basically everything in her section.
The ending made my heart hurt. To be honest, I felt a bit emotionally gipped, although I guess that's part of the tragedy of Briony's story. Apparently Cecilia and Robbie were never reunited, and each died without the other, unable to escape Briony's mistake. Curse you for making me feel all hollow inside, Ian McEwan!
All in all, I thought it was a powerful work. The story packs a wallop, and yet works (pretty) well as a piece of writing. Some of the Robbie section was drawn out and unnecessary, but Atonement proved to be a solid novel.
Stray observations:
I did not care for Robbie's section (correct me if I'm wrong, but was Briony actually the narrator in this part of the book in-universe? The ending implies this, but I don't know how she could have known much of what was written here, especially Robbie's inner monologue. Maybe she read his letters and made some stylistic choices?) for exactly the same reason I usually despise war novels. I don't do gritty and dirty. Sue me.
Part Three was more interesting. Briony's life as a nurse wasn't nearly as funny, but it made for good reading, and I was touched by her account of looking after a French soldier in the last minutes of his life. The reunion with Cecilia and Robbie was fascinating, and I appreciated that Briony's remorse came not only through her dialogue but through basically everything in her section.
The ending made my heart hurt. To be honest, I felt a bit emotionally gipped, although I guess that's part of the tragedy of Briony's story. Apparently Cecilia and Robbie were never reunited, and each died without the other, unable to escape Briony's mistake. Curse you for making me feel all hollow inside, Ian McEwan!
All in all, I thought it was a powerful work. The story packs a wallop, and yet works (pretty) well as a piece of writing. Some of the Robbie section was drawn out and unnecessary, but Atonement proved to be a solid novel.
Stray observations:
- Atonement's Hermione had redheaded, freckle-faced children, as all Hermiones should have.
- It's kind of horrifying looking back on it, but the narration surrounding Lola and Paul Marshall's introduction is probably one of the funniest passages in the book. Don't ask me why.
- The death of the Flemish mother and her son hurt nearly as much as Robbie and Cecilia being killed off.
- Great book!
