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lifeinpoetry's review against another edition
5.0
I was mostly indifferent to the sex and complicated sexual relationships in this but the incandescent rage in these girls and women made me feel seen, uncomfortably so.
lazygal's review against another edition
2.0
Sometimes, pushing the envelope is not what it's cracked up to be and this collection of short stories proves it. There's nothing really experimental here, nothing that really reveals anything "true" about the characters or the situations. Of all the stories, only one really spoke to me (the first) and, sadly, the sex wasn't even exciting.
ARC provided by publisher.
ARC provided by publisher.
reveal's review against another edition
dnf @ 67%
Mainly I feel like this book had nothing to say on a fundamental level. As a result, every character, every setting, every story is a permutation of the other; after the first one, things quickly wear off and we're left with eminently unpleasant characters (but by no means *difficult*, as they are all one-dimensional), and a prose that has no flourish whatsoever.
This wouldn't be a problem to me if there wasn't "two years", a short story following a 29 year old man having sex with a girl ten years younger complete with extreme detail about sex and nothing but contempt for the female character (yes, that's the story) and then right after follows "inside madeleine" in which the opening section details Madeleine's love for food in such a manner that you once again just feel the utter contempt. Then when **NSFW** madeleine got all sorts of infections because she inserted everything into her vagina including a rubber duck **NSFW** happened, i skimmed through, made sure its just a permutation of all the other stories, and I just deleted the book off my kindle.
Mainly I feel like this book had nothing to say on a fundamental level. As a result, every character, every setting, every story is a permutation of the other; after the first one, things quickly wear off and we're left with eminently unpleasant characters (but by no means *difficult*, as they are all one-dimensional), and a prose that has no flourish whatsoever.
This wouldn't be a problem to me if there wasn't "two years", a short story following a 29 year old man having sex with a girl ten years younger complete with extreme detail about sex and nothing but contempt for the female character (yes, that's the story) and then right after follows "inside madeleine" in which the opening section details Madeleine's love for food in such a manner that you once again just feel the utter contempt. Then when **NSFW** madeleine got all sorts of infections because she inserted everything into her vagina including a rubber duck **NSFW** happened, i skimmed through, made sure its just a permutation of all the other stories, and I just deleted the book off my kindle.
anthroxagorus's review against another edition
4.0
trigger warnings: drug/alcohol, possible incest, dubious consent, anorexia, underage sex, sex itself
Inside Madeleine sets up the thesis (they don't want to see young girls win) in the first story "eye socket girls," then tells some uncomfortable stories of girlhood, and then caps it off with the titular "Inside Madeleine." Maddy's story arcs back on itself - she might've become her mother, had she had a kid. It also arcs back to "eye socket girls," starting from the beginning. Either you're competing with the girls around you (better sucking cock then the others, better than the blind girl), or you're smoking together. Girl, girl, don't you see that fire?
This book doesn't really make sense until the end, so bare with it until then. Bare with it, you might. Overall, the stories had so many similarities - smoking, sex, breasts, they hardly stood on their own, which is what I expected. What the characters go through was far from what I experienced, so some of it just didn't land for me. I think the book was written for the author and, conversely, someone else.
Still, gives a lot to think about.
Inside Madeleine sets up the thesis (they don't want to see young girls win) in the first story "eye socket girls," then tells some uncomfortable stories of girlhood, and then caps it off with the titular "Inside Madeleine." Maddy's story arcs back on itself - she might've become her mother, had she had a kid. It also arcs back to "eye socket girls," starting from the beginning. Either you're competing with the girls around you (better sucking cock then the others, better than the blind girl), or you're smoking together. Girl, girl, don't you see that fire?
This book doesn't really make sense until the end, so bare with it until then. Bare with it, you might. Overall, the stories had so many similarities - smoking, sex, breasts, they hardly stood on their own, which is what I expected. What the characters go through was far from what I experienced, so some of it just didn't land for me. I think the book was written for the author and, conversely, someone else.
Still, gives a lot to think about.
judip's review against another edition
2.0
Des nouvelles inégales, et auxquelles il manque un peu de profondeur dans l'analyse psychologique des personnages qui sont toujours un peu construites sur le même schéma (à l'image de la nouvelle d'intro et celle d'outro en forme de miroirs ou d'épanadiplose).
Les terrains défrichés sont intéressants et constituent des enjeux majeurs dans le rapport des femmes à la société, aux hommes, à leur corps, mais on reste toujours sur un sentiment d'inachevé et de flou sur les intentions de l'auteure.
Les terrains défrichés sont intéressants et constituent des enjeux majeurs dans le rapport des femmes à la société, aux hommes, à leur corps, mais on reste toujours sur un sentiment d'inachevé et de flou sur les intentions de l'auteure.
devrose's review against another edition
4.0
This is the first book I've read where the characters aren't mostly happy with a few problems. No one leads a happy life here. The problems displayed in the stories take over the characters' lives. There are no easy resolutions.
This book is graphic. Graphic drug and alcohol use. Graphic sex. One short story is definitely erotica. The title novella could be defined as pulp fiction, maybe - while sex is not the point of the story, there is a whole lot of it.
I liked it. I liked the fact that there was no sugarcoating. And - as much as I hate to say it, this book made me feel a little bit better about myself. Nothing I've had to deal with in my life has ever come close to the problems these girls have to face.
This book is graphic. Graphic drug and alcohol use. Graphic sex. One short story is definitely erotica. The title novella could be defined as pulp fiction, maybe - while sex is not the point of the story, there is a whole lot of it.
I liked it. I liked the fact that there was no sugarcoating. And - as much as I hate to say it, this book made me feel a little bit better about myself. Nothing I've had to deal with in my life has ever come close to the problems these girls have to face.
justcallmegeekyg's review against another edition
3.0
Real rating: 3.5
This was one of the most powerful pieces of writing I've ever read. Each story was more vicious than the last. Paula Bomer created a series of dark, visceral, brutally honest portraits of women below the surface of their skin.
The stories were often difficult for me to get through, not because they were poorly written, but because of the strength of her writing; much like Sarah Kane, Bomer pulls no punches and makes no excuses for her often violent, unflinching honesty. I would need to take breaks, usually right in the middle of a story because her words made my pulse pound and heartbeat quicken.
While I appreciated her incredible storytelling, the stories are not ones I'd like to read. It's both the best and worst reading experience I've ever had, which is why my review is split. I don't want to dissuade people with a stronger stomach from reading this piece; it is excellent. But it's definitely not for everybody.
This was one of the most powerful pieces of writing I've ever read. Each story was more vicious than the last. Paula Bomer created a series of dark, visceral, brutally honest portraits of women below the surface of their skin.
The stories were often difficult for me to get through, not because they were poorly written, but because of the strength of her writing; much like Sarah Kane, Bomer pulls no punches and makes no excuses for her often violent, unflinching honesty. I would need to take breaks, usually right in the middle of a story because her words made my pulse pound and heartbeat quicken.
While I appreciated her incredible storytelling, the stories are not ones I'd like to read. It's both the best and worst reading experience I've ever had, which is why my review is split. I don't want to dissuade people with a stronger stomach from reading this piece; it is excellent. But it's definitely not for everybody.
melanie_page's review against another edition
3.0
I’m starting with a brief note that while we aren’t close friends, I do know Paula Bomer through my time networking as a creative writing student and book reviewer. And, because I live in South Bend, Indiana, which is where she grew up, we have met up to share some delicious Chinese food.
Because I care about Paula Bomer and am totally biased, I’m letting you know so that I follow the ethical practices of reviewing. Moving forward!
Inside Madeleine is a collection of short stories and one novella. The stories seem to be about the same girl on the cusp of womanhood, though she always has a different name: she’s from South Bend, wears a leather jacket, doesn’t have much money, befriends a wealthy person who thinks she’s tacky, moves to Boston, and has a penchant for receiving oral sex. It’s hard not to wonder why these similar characters weren’t meshed into one and written into a second novella. I’ve read books that contain two novellas, and I love it. In fact, I think the novella is the most underrated genre.
When compared to the Bomer’s novella, the titular Inside Madeleine, I felt the short stories couldn’t compare. The longer the work, the more Bomer seemed in her element. I cared so hard for Madeleine, understood and couldn’t comprehend her, rooted for her and knew failure was just around the corner. Her body is the true main character, though Madeleine is the delusional yet deliberate conductor of it. She’s the fat girl, the joyful slut, the anorexic, the wife, nobody’s girlfriend, somebody’s somebody.
There were moments in the novella that circled back to some of the short stories. For example, the first short story, “Eye Socket Girls,” is about a young woman in a facility for those suffering from anorexia. “We envy the protruding bones of someone who is that much closer to not being here at all,” the narrator laments. The narrator, who is on the mend, befriends a girl who is near death. In the novella, Madeleine finds herself in the same position.
I don’t want to make the assumption that the author feels a personal connection to the type of girl she writes and rewrites in this collection, but I have come across a number of authors and artists who obsess (and I don’t meant that negatively) over the same experiences or character traits or emotions. Lidia Yuknavitch comes to mind. Picasso’s “the blue period,” too. Irvine Welsh’s drug addicts. Jhumpa Lahiri’s immigrant families from Calcutta. To me, it starts to feel like the creator needs to work the process out of his/her system and then share the final product. However, I can also easily see how other readers would cherish being part of an artist’s journey. Just depends on what kind of reader you are.
Likely, because I spent so many years reading one story collection after another, I’ve grown fussy about them, thinking harder than necessary about the order of the stories, themes, how stories link and tie in together. I was trained to do this in two different creative writing programs. A reader with a different background likely has not. For example, Kellan @ 29Chapters loved Inside Madeleine, and I agree with her reasoning. Bomer’s stories feel like someone’s taken a vegetable peeler to your skin. I’ve never been so aware of my body as a thing as when I’m reading Bomer’s work. That’s both uncomfortable and fascinating. I was completely transfixed by her first short story collection, Baby, and taught the titular story repeatedly and an all-women’s college — much to the horror of my students (HA-HA).
Originally reviewed at Grab the Lapels.
Because I care about Paula Bomer and am totally biased, I’m letting you know so that I follow the ethical practices of reviewing. Moving forward!
Inside Madeleine is a collection of short stories and one novella. The stories seem to be about the same girl on the cusp of womanhood, though she always has a different name: she’s from South Bend, wears a leather jacket, doesn’t have much money, befriends a wealthy person who thinks she’s tacky, moves to Boston, and has a penchant for receiving oral sex. It’s hard not to wonder why these similar characters weren’t meshed into one and written into a second novella. I’ve read books that contain two novellas, and I love it. In fact, I think the novella is the most underrated genre.
When compared to the Bomer’s novella, the titular Inside Madeleine, I felt the short stories couldn’t compare. The longer the work, the more Bomer seemed in her element. I cared so hard for Madeleine, understood and couldn’t comprehend her, rooted for her and knew failure was just around the corner. Her body is the true main character, though Madeleine is the delusional yet deliberate conductor of it. She’s the fat girl, the joyful slut, the anorexic, the wife, nobody’s girlfriend, somebody’s somebody.
There were moments in the novella that circled back to some of the short stories. For example, the first short story, “Eye Socket Girls,” is about a young woman in a facility for those suffering from anorexia. “We envy the protruding bones of someone who is that much closer to not being here at all,” the narrator laments. The narrator, who is on the mend, befriends a girl who is near death. In the novella, Madeleine finds herself in the same position.
I don’t want to make the assumption that the author feels a personal connection to the type of girl she writes and rewrites in this collection, but I have come across a number of authors and artists who obsess (and I don’t meant that negatively) over the same experiences or character traits or emotions. Lidia Yuknavitch comes to mind. Picasso’s “the blue period,” too. Irvine Welsh’s drug addicts. Jhumpa Lahiri’s immigrant families from Calcutta. To me, it starts to feel like the creator needs to work the process out of his/her system and then share the final product. However, I can also easily see how other readers would cherish being part of an artist’s journey. Just depends on what kind of reader you are.
Likely, because I spent so many years reading one story collection after another, I’ve grown fussy about them, thinking harder than necessary about the order of the stories, themes, how stories link and tie in together. I was trained to do this in two different creative writing programs. A reader with a different background likely has not. For example, Kellan @ 29Chapters loved Inside Madeleine, and I agree with her reasoning. Bomer’s stories feel like someone’s taken a vegetable peeler to your skin. I’ve never been so aware of my body as a thing as when I’m reading Bomer’s work. That’s both uncomfortable and fascinating. I was completely transfixed by her first short story collection, Baby, and taught the titular story repeatedly and an all-women’s college — much to the horror of my students (HA-HA).
Originally reviewed at Grab the Lapels.
theresaannalee's review against another edition
5.0
Bomer's writing is gritty and honest. She accurately captures all the unattractive bits that come with being a woman, struggling through the awkward years, finding an identity, and even losing one. She gives detailed, cringe-worthy accounts of all the shallow thoughts and actions that we like to pretend we have not gone through with ourselves because that would be to admit that we're flawed just like everyone else. Straightforward and without shame, "Inside Madeleine" is a cathartic reading experience.
melanie_page's review against another edition
3.0
I’m starting with a brief note that while we aren’t close friends, I do know Paula Bomer through my time networking as a creative writing student and book reviewer. And, because I live in South Bend, Indiana, which is where she grew up, we have met up to share some delicious Chinese food.
Because I care about Paula Bomer and am totally biased, I’m letting you know so that I follow the ethical practices of reviewing. Moving forward!
Inside Madeleine is a collection of short stories and one novella. The stories seem to be about the same girl on the cusp of womanhood, though she always has a different name: she’s from South Bend, wears a leather jacket, doesn’t have much money, befriends a wealthy person who thinks she’s tacky, moves to Boston, and has a penchant for receiving oral sex. It’s hard not to wonder why these similar characters weren’t meshed into one and written into a second novella. I’ve read books that contain two novellas, and I love it. In fact, I think the novella is the most underrated genre.
When compared to the Bomer’s novella, the titular Inside Madeleine, I felt the short stories couldn’t compare. The longer the work, the more Bomer seemed in her element. I cared so hard for Madeleine, understood and couldn’t comprehend her, rooted for her and knew failure was just around the corner. Her body is the true main character, though Madeleine is the delusional yet deliberate conductor of it. She’s the fat girl, the joyful slut, the anorexic, the wife, nobody’s girlfriend, somebody’s somebody.
There were moments in the novella that circled back to some of the short stories. For example, the first short story, “Eye Socket Girls,” is about a young woman in a facility for those suffering from anorexia. “We envy the protruding bones of someone who is that much closer to not being here at all,” the narrator laments. The narrator, who is on the mend, befriends a girl who is near death. In the novella, Madeleine finds herself in the same position.
I don’t want to make the assumption that the author feels a personal connection to the type of girl she writes and rewrites in this collection, but I have come across a number of authors and artists who obsess (and I don’t meant that negatively) over the same experiences or character traits or emotions. Lidia Yuknavitch comes to mind. Picasso’s “the blue period,” too. Irvine Welsh’s drug addicts. Jhumpa Lahiri’s immigrant families from Calcutta. To me, it starts to feel like the creator needs to work the process out of his/her system and then share the final product. However, I can also easily see how other readers would cherish being part of an artist’s journey. Just depends on what kind of reader you are.
Likely, because I spent so many years reading one story collection after another, I’ve grown fussy about them, thinking harder than necessary about the order of the stories, themes, how stories link and tie in together. I was trained to do this in two different creative writing programs. A reader with a different background likely has not. For example, Kellan @ 29Chapters loved Inside Madeleine, and I agree with her reasoning. Bomer’s stories feel like someone’s taken a vegetable peeler to your skin. I’ve never been so aware of my body as a thing as when I’m reading Bomer’s work. That’s both uncomfortable and fascinating. I was completely transfixed by her first short story collection, Baby, and taught the titular story repeatedly and an all-women’s college — much to the horror of my students (HA-HA).
Originally reviewed at Grab the Lapels.
Because I care about Paula Bomer and am totally biased, I’m letting you know so that I follow the ethical practices of reviewing. Moving forward!
Inside Madeleine is a collection of short stories and one novella. The stories seem to be about the same girl on the cusp of womanhood, though she always has a different name: she’s from South Bend, wears a leather jacket, doesn’t have much money, befriends a wealthy person who thinks she’s tacky, moves to Boston, and has a penchant for receiving oral sex. It’s hard not to wonder why these similar characters weren’t meshed into one and written into a second novella. I’ve read books that contain two novellas, and I love it. In fact, I think the novella is the most underrated genre.
When compared to the Bomer’s novella, the titular Inside Madeleine, I felt the short stories couldn’t compare. The longer the work, the more Bomer seemed in her element. I cared so hard for Madeleine, understood and couldn’t comprehend her, rooted for her and knew failure was just around the corner. Her body is the true main character, though Madeleine is the delusional yet deliberate conductor of it. She’s the fat girl, the joyful slut, the anorexic, the wife, nobody’s girlfriend, somebody’s somebody.
There were moments in the novella that circled back to some of the short stories. For example, the first short story, “Eye Socket Girls,” is about a young woman in a facility for those suffering from anorexia. “We envy the protruding bones of someone who is that much closer to not being here at all,” the narrator laments. The narrator, who is on the mend, befriends a girl who is near death. In the novella, Madeleine finds herself in the same position.
I don’t want to make the assumption that the author feels a personal connection to the type of girl she writes and rewrites in this collection, but I have come across a number of authors and artists who obsess (and I don’t meant that negatively) over the same experiences or character traits or emotions. Lidia Yuknavitch comes to mind. Picasso’s “the blue period,” too. Irvine Welsh’s drug addicts. Jhumpa Lahiri’s immigrant families from Calcutta. To me, it starts to feel like the creator needs to work the process out of his/her system and then share the final product. However, I can also easily see how other readers would cherish being part of an artist’s journey. Just depends on what kind of reader you are.
Likely, because I spent so many years reading one story collection after another, I’ve grown fussy about them, thinking harder than necessary about the order of the stories, themes, how stories link and tie in together. I was trained to do this in two different creative writing programs. A reader with a different background likely has not. For example, Kellan @ 29Chapters loved Inside Madeleine, and I agree with her reasoning. Bomer’s stories feel like someone’s taken a vegetable peeler to your skin. I’ve never been so aware of my body as a thing as when I’m reading Bomer’s work. That’s both uncomfortable and fascinating. I was completely transfixed by her first short story collection, Baby, and taught the titular story repeatedly and an all-women’s college — much to the horror of my students (HA-HA).
Originally reviewed at Grab the Lapels.