Five years ago, there I was, sitting alone, away from the crowds, hating The Lovely Bones all by my lonesome. I hated that book so much, I threw it away upon completion. My contention was that Alice Sebold had transplanted Ghost into a poorly-written, horribly sugary teen drama where life (and death) is just heavenly. Her notions of family and pain, especially of the magnitude hinted at in the book, were nothing short of pedestrian – naïve, even. Every word of the thing made me cringe – was I reading the latest literary bestseller full of grand themes and poetic sentences, or a hunk of godawful trash slapped together by someone trying to rip off R.L. Stine?
I was then and remain still flabbergasted at the worldwide response to the book as some kind of gift from above. Every somewhat competent book-judge from Oprah to Michiko caught the Lovely Bones disease—sugar-shock, probably – and the few of us who doubted Sebold’s ability were slammed for so many things, among them sympathising with rapists (I kid you not). I’m sure I wasn’t the only one with a distaste for Bones, but damn if it didn’t seem like Sebold’s fans all chose me to rant at. Never have I received so much feedback on any single book review. Although, I guess they’re right—I should have used a **spoiler** warning. Sorry.
Still, vindication has come at last! My mum rang me this morning to read the Age review of Sebold’s new novel, The Almost Moon, published in the Saturday culture lift-out: “The Almost Moon is easily the worst second novel to follow a good first novel that I’ve read,” writes Michelle Griffin. “It’s almost baffling in its willful embrace of bad choices.” Ooh, wow.
Michelle is not alone. From USA Today to the Guardian and back around to the New York Times Sunday Book Review, most everyone is wondering what the hell happened to their favorite first-time novelist. And they’re doing it with vitriol. Lee Siegel at the Times musters up more grit than Griffin: “This novel is so morally, emotionally and intellectually incoherent that it’s bound to become a best seller.” And this, which I might just print out and peg to the wall:
Even the schlockiest popular novels of yore—By Love Possessed, Marjorie Morningstar, The Chosen—had accurate, if mundane, social and psychological perceptions. Danielle Steel has that. You and I have that! It’s beyond comprehension that Sebold can publish a novel pretending to reflect reality that’s so severed from reality.
Much the same could be said about The Lovely Bones. Man, what was it about that damn book that had the world so transfixed?
Anyway – time has revealed all, and Sebold appears to have much work to do to grab back her place in the book world as a name to watch. Meanwhile, can I say I told you so?
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// Moving Pixels
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