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A review by marc129
The Long Take by Robin Robertson
2.0
Faulkner meeting Steinbeck, meeting Döblin, meeting Capote, …
Honestly, not my cup of tea. I love a demanding read, and I love poetic prose. But this didn't really work for me. I recognized the story of the unsettling return of a World War II veteran, incapable of finding his way back to normal life, traumatized by what he saw back in Normandy in 1944. And I recognized the evocation of America at the end of the 40’s and the beginning of the ’50s, with its scores of homeless people, its great urbanistical works, and its tremendous violence between criminal gangs.
But then there’s the connection between the horrible war scenes, the brutal scenes of demolition of neighbourhoods in Los Angeles, and the description of mutilated victims of gang violence. In contrast there are the very intense and intimate nature descriptions. Is Robertson suggesting the violence in all these actions is on the same level? And is he hinting with this towards a meta-level of criticism on the violence of modernity? It’s positive the author doesn’t suggest clear answers, but – as a reader – I’m a bit at a loss.
At times, Robertson poetic prose led to beautiful passages, expressing existential anguish and bewilderment. And this novel reminded me of the urban fever of Alfred Döblin in [b:Berlin Alexanderplatz|243381|Berlin Alexanderplatz|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1298025058l/243381._SY75_.jpg|1473268], the modernist disruptive style of William Faulkner in [b:Sanctuary|18789|Sanctuary|William Faulkner|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1385366876l/18789._SY75_.jpg|1646639], the social focus of John Steinbeck in [b:Tortilla Flat|163977|Tortilla Flat|John Steinbeck|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1400859671l/163977._SY75_.jpg|890203], and the gang scenes of Truman Capote in [b:In Cold Blood|168642|In Cold Blood|Truman Capote|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1424931136l/168642._SY75_.jpg|1940709]. That are no small references, for sure. But – to me – the mix didn’t really work. Maybe it's the film noire character of this story (many references to the Hollywood film scene too) that's standing in the way. I guess I ought to try a second read.
Honestly, not my cup of tea. I love a demanding read, and I love poetic prose. But this didn't really work for me. I recognized the story of the unsettling return of a World War II veteran, incapable of finding his way back to normal life, traumatized by what he saw back in Normandy in 1944. And I recognized the evocation of America at the end of the 40’s and the beginning of the ’50s, with its scores of homeless people, its great urbanistical works, and its tremendous violence between criminal gangs.
But then there’s the connection between the horrible war scenes, the brutal scenes of demolition of neighbourhoods in Los Angeles, and the description of mutilated victims of gang violence. In contrast there are the very intense and intimate nature descriptions. Is Robertson suggesting the violence in all these actions is on the same level? And is he hinting with this towards a meta-level of criticism on the violence of modernity? It’s positive the author doesn’t suggest clear answers, but – as a reader – I’m a bit at a loss.
At times, Robertson poetic prose led to beautiful passages, expressing existential anguish and bewilderment. And this novel reminded me of the urban fever of Alfred Döblin in [b:Berlin Alexanderplatz|243381|Berlin Alexanderplatz|Alfred Döblin|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1298025058l/243381._SY75_.jpg|1473268], the modernist disruptive style of William Faulkner in [b:Sanctuary|18789|Sanctuary|William Faulkner|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1385366876l/18789._SY75_.jpg|1646639], the social focus of John Steinbeck in [b:Tortilla Flat|163977|Tortilla Flat|John Steinbeck|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1400859671l/163977._SY75_.jpg|890203], and the gang scenes of Truman Capote in [b:In Cold Blood|168642|In Cold Blood|Truman Capote|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1424931136l/168642._SY75_.jpg|1940709]. That are no small references, for sure. But – to me – the mix didn’t really work. Maybe it's the film noire character of this story (many references to the Hollywood film scene too) that's standing in the way. I guess I ought to try a second read.