It's subtle in how it delivers it's brilliance: A Clockwork Orange.
Warning: spoilers follow that do not diminish the knock out punch this work delivers: It's written in it's own language, a mixture of Russian and UK slang, which one cannot read at first. About 3 chapters in, the language clicks and then a good reader starts the book over from the beginning. It is a popular book due to the film, and the ultra violence depicted within, but it is also ground breaking philosophical literature because the main character is a hardened criminal and is the narrator, he spends the entire novel explaining his philosophy of life, which by the end of the novel you realize is the same philosophy of modern politics, and the UK edition of the novel ends with the entire novel being the story of a senior member of parliament's youth origin story.
The fact that the novel is in a fictional language increases the reader's submersion in the story line, creating one of the most impactful novels I know.
Another great read, much shorter, more like getting into a street brawl: Notes From The Underground by Dostoyevsky. Practically the creator of self critical essays, and often the first read for people interested in Existentialism.
Anything from the "Beat Generation" authors, anything from Philip K Dick, anything from Herman Hesse.
If one gets into the books that invent their own dialect, the most dense I found was "Riddley Walker" by Hoban Russel. As a non native English reader it was very difficult to make progress, but once the understanding settles in, it's a pretty nice story. Also of note is Anathem, even though Stephenson's jargon is more accessible, I think, to Latin languages speakers.
I bounced off Midnight’s Children the first time I tried to read it, but that was probably 10 or 15 years ago now. I’m in between books at the moment, so your comment will push me to put it on the top of my list for the new year :)
Girl, Woman, Other is one of my overall favorites from the last few years. Th character work is phenomenal. Do try to read a hard copy, rather than on an ereader, if you can. The book uses punctuation and the layout of text on a page creatively, and I’m not sure how well that gets preserved in an ebook.
I've tried my damnedest, but simply cannot get into Rushdie. Given that Midnight's Children won the "Booker of Bookers", I thought that would be a great place to start. When I finished the book I turned it over in my hands wondering if I missed something or if I'm simply not smart enough to get Rushdie. I read a couple more of his books and the result was much the same, unfortunately.
Big Rushdie fan here. I used to think it could be because of a lack of cultural context especially for books like Midnights Children and Moors Last Sigh but now I also think that it could also be a matter of taste. Rushdie himself quotes Milan Kundera who said: "...that the novel descended from two parents, Samuel Richardson’s Clarissa and Laurence Sterne’s Tristram Shandy". The latter is a style of writing where all conventional rules of literature are broken, it's just wildly creative so to speak. Rushdie's Midnights Children and James Joyce's Ulysses fall into this category.
If you want to see the other style of writing in Rushdie, I can suggest Shalimar The Clown or The Ground Beneath Her Feet. But these are nowhere near as grand as Midnights Children.
In either category, a fair amount of interest in history helps to enjoy his books.
After a few pages into Midnight's Children it made me a bit uncomfortable (not bored)- not for the story or characters like in other novels- where you identify with characters or feel for them, their plights, etc. It made me uncomfortable in reading the way the story was told. I wondered why was this book so loved, it does not seem like any good book I've read so far, in fact it somewhat destroys the ideas I have about how a good novel should be. And then a thought occurred that maybe it is because of those things- as
tirumaraiselvan (sibling comment) put it 'all conventional rules of literature are broken, it's just wildly creative'- that this book was loved. With that understanding I 'decided' I was going to be ok with the discomfort I felt till I finished the book. And then creativity became visible and the discomfort sort of went away.
Exactly! Midnights Children and Moors Last Sigh are so non-linear that one cannot expect to get the hang of it till they are atleast 50 pages through. It's usually on the second reading that the amazingness of those initial pages is felt.
When someone ask for my favourite author my answer is Hemingway. Want to write better? Try to write like Hemingway.
That said, people who read less tend to believe that more and bigger words equal better writting. My (usually scientific) texts are described as "telegraphic", and heavily expanded without adding any real content. E.g. "the house was white" gets transformed to "the paint that covered the beautiful house was pure white".
I've never enjoyed Hemingway; his short sentences feel unnatural to me. I end up feeling like the narrative is trying, hard, to manipulate my feelings, to the degree that sense of being manipulated ends up being the loudest voice in my head as I try to read Hemingway. I've finished his books with only a memory of arguing with the prose the entire time.
Easy to read but provides a profound understanding of the unique historical situation it describes. A famous and heartbreaking sentence: ‘(…) I would like to live a little bit longer in this beautiful concentration camp.’
