tommooney's review
4.0
A wonderful experiment and a beautiful, harrowing account of PTSD.
A Canadian soldier suffering terribly from the effects of WW2 tries to build a life for himself in LA. He finds work as a reporter but is haunted constantly by memories of what he has seen and done. And the reminders are everywhere - explosions as buildings are torn down and rebuilt; new year's celebration fireworks; scores of homeless, drunk vets on the streets.
This is a bleak and brutal tale which, written mostly as a longform poem, could have been gimmicky. But it works wonderfully. Telling a novel-length story in this way opens new doors where others close. Sure, characterisation is harder in this format, but a new world of imagery is suddenly possible. Some sections describing the city are as beautiful as any I've read. And the flashbacks to WW2 battlefields are shocking, raw and hugely affecting.
Killer ending, too.
A Canadian soldier suffering terribly from the effects of WW2 tries to build a life for himself in LA. He finds work as a reporter but is haunted constantly by memories of what he has seen and done. And the reminders are everywhere - explosions as buildings are torn down and rebuilt; new year's celebration fireworks; scores of homeless, drunk vets on the streets.
This is a bleak and brutal tale which, written mostly as a longform poem, could have been gimmicky. But it works wonderfully. Telling a novel-length story in this way opens new doors where others close. Sure, characterisation is harder in this format, but a new world of imagery is suddenly possible. Some sections describing the city are as beautiful as any I've read. And the flashbacks to WW2 battlefields are shocking, raw and hugely affecting.
Killer ending, too.
andrew61's review
5.0
At the beginning of this book I felt daunted by the prospect of a narrative poem at over 200 pages long wondering what would it achieve that could not be expressed in the format of a novel yet by the end I was entirely absorbed by the writing and felt that as a reader the style and form allowed me to fully appreciate the dark beauty of the poetry and the experience of the main protagonist Walker a D Day veteran.
This is a book that is incredibly atmospheric as over more than a decade we follow Walker as he gets a job in newspapers in New York before moving to Los Angeles and spending time in San Francisco reporting on the homelessness of veterans. As a lover of film I loved the reference to post-war American movies , those hard boiled detective stories where the smell of cigarette smoke, cordite and bourbon ooze of the screen and fed in to narrative of Walker as he walks the streets passing film crews and observing the sites of famous scenes .
It also brilliantly explores the experience and the effect of PTSD and how it gradually destroys Walker's ability to develop relationships beyond the itinerant veterans who haunt the streets and the drink hardened fellow reporters.
The book shows us glimpses of what could have been in his life in NewFoundland before the war with a poignancy that reinforces the horror of his service and its emotional impact and the description of scenes as he disembarks in Normandy and marches through France are visceral . Some of the pictures of brutalities that are inflicted on his comrades which he subsequently revenges are perhaps amongst the toughest depictions of war I've read.
Walker's emotional disintegration is shadowed by the gradual destruction of the old city as it is bulldozed for modern developments and the ending is a difficult read as Walker finally confronts his ghosts.
A brilliant book and definitely one that I am still thinking about several weeks after I finished it.
This is a book that is incredibly atmospheric as over more than a decade we follow Walker as he gets a job in newspapers in New York before moving to Los Angeles and spending time in San Francisco reporting on the homelessness of veterans. As a lover of film I loved the reference to post-war American movies , those hard boiled detective stories where the smell of cigarette smoke, cordite and bourbon ooze of the screen and fed in to narrative of Walker as he walks the streets passing film crews and observing the sites of famous scenes .
It also brilliantly explores the experience and the effect of PTSD and how it gradually destroys Walker's ability to develop relationships beyond the itinerant veterans who haunt the streets and the drink hardened fellow reporters.
The book shows us glimpses of what could have been in his life in NewFoundland before the war with a poignancy that reinforces the horror of his service and its emotional impact and the description of scenes as he disembarks in Normandy and marches through France are visceral . Some of the pictures of brutalities that are inflicted on his comrades which he subsequently revenges are perhaps amongst the toughest depictions of war I've read.
Walker's emotional disintegration is shadowed by the gradual destruction of the old city as it is bulldozed for modern developments and the ending is a difficult read as Walker finally confronts his ghosts.
A brilliant book and definitely one that I am still thinking about several weeks after I finished it.
woodwa29's review against another edition
challenging
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.25
goldhattedlover's review
3.0
Upon finding out a verse novel had been longlisted for the Man Booker prize, I was - as a lifelong lover of poetry - extremely excited to read it. Unfortunately, I didn't enjoy The Long Take nearly as much as I expected to, for a couple of reasons. Robertson's obsession with American street geography and 1940s pop culture references detracted from the rhythm he worked so hard to establish. The glimpses of poetic greatness were undercut by the heavy-handed treatment of Walker's PTSD and the motif to early cinema that felt largely forced. Perhaps Robertson's intention was that the focus on film and LA street names would mirror Walker's attempts to suppress memories of the war, but it didn't quite work for me. Robertson chose to tell this story in verse rather than prose, but then ignored all the amazing qualities of poetry (e.g. its ability to convey abstract emotion) and used it instead to tell a fairly two-dimensional story. There were definitely moments of pure poetry (like his description of Coney Island during daylight), but as a whole, the book fell flat.
cliobemuzedbookworm's review
3.0
The Long Take is a novel told in verse. As such it contains beautiful lyrical language. The book evokes scenes out of film noir movies and cinema plays a big part in this novel.
Our protagonist, Walker, has returned from the war and since he considers that there is nothing left for him in Canada he moves to the US to make his way there.
The book mainly centers around PTSD. As the book progresses Walker's observations on the city around him get interrupted more and more with his experiences in the war, in the end culminating in a hybrid world in which the Los Angeles of his present day starts to feel like a war zone that he is traversing, while desperately trying to find someone to confess his sins to.
The war hasn't just left him with anxiety about whta happened over there, but he and his fellow soldiers also look back on it with a sort of wistfullness. They often seem to long to be able to return to those simpler days when they had a clear mission,a purpose and when they truly belonged. The camaraderie amongst soldiers is often refered to and is remains after the war. Our protagonist is constantly meeting fellow war veterans and this shared experience creates an isntant connection.
The book sets these dark themes against a dark film noir backdrop. Cinema becomes a major reference throughout the book. Robertson often literally draws upon certain movie scenes to set a mood, as Walker becomes a frequent visitor of the theatre. The title of the book itself is a term he borrowed from the movie industry.
Likewise, the book is very much a reflection on American cities. Robertson often refers to american cities as having no past and being fully focused on the future and their ever changing nature as a result.
I thought Robertson did a great job and created some wonderful images. i noted down several wonderfully interesting passages from the book. Overall, however, this is just not my style. It is too reminiscent of stream of consciousness for me. When the language would be just fine, I would find myself not really taking in Walker was experiencing. It was mainly the beautiful imagery that kept me invested.
"He woke suddenly and turned around, but the door of the dream had closed behind him. scrabbling at the surface he could find no handle, no handhold, to let him back into his childhood, to the bar at the end of the world."
"He dreamed a plane carrying troops crash-landed onto the cemetery outside Caen, and the long-dead were churned up with the newly-dead and he had to walk through it all.
Looking for himself."
Key words: lyrical, verse, PTSD, WWII, the city, 40s America, cinema, film noir
Our protagonist, Walker, has returned from the war and since he considers that there is nothing left for him in Canada he moves to the US to make his way there.
The book mainly centers around PTSD. As the book progresses Walker's observations on the city around him get interrupted more and more with his experiences in the war, in the end culminating in a hybrid world in which the Los Angeles of his present day starts to feel like a war zone that he is traversing, while desperately trying to find someone to confess his sins to.
The war hasn't just left him with anxiety about whta happened over there, but he and his fellow soldiers also look back on it with a sort of wistfullness. They often seem to long to be able to return to those simpler days when they had a clear mission,a purpose and when they truly belonged. The camaraderie amongst soldiers is often refered to and is remains after the war. Our protagonist is constantly meeting fellow war veterans and this shared experience creates an isntant connection.
The book sets these dark themes against a dark film noir backdrop. Cinema becomes a major reference throughout the book. Robertson often literally draws upon certain movie scenes to set a mood, as Walker becomes a frequent visitor of the theatre. The title of the book itself is a term he borrowed from the movie industry.
Likewise, the book is very much a reflection on American cities. Robertson often refers to american cities as having no past and being fully focused on the future and their ever changing nature as a result.
I thought Robertson did a great job and created some wonderful images. i noted down several wonderfully interesting passages from the book. Overall, however, this is just not my style. It is too reminiscent of stream of consciousness for me. When the language would be just fine, I would find myself not really taking in Walker was experiencing. It was mainly the beautiful imagery that kept me invested.
"He woke suddenly and turned around, but the door of the dream had closed behind him. scrabbling at the surface he could find no handle, no handhold, to let him back into his childhood, to the bar at the end of the world."
"He dreamed a plane carrying troops crash-landed onto the cemetery outside Caen, and the long-dead were churned up with the newly-dead and he had to walk through it all.
Looking for himself."
Key words: lyrical, verse, PTSD, WWII, the city, 40s America, cinema, film noir
jackieeh's review against another edition
5.0
Now that’s what I call noir! The Long Take doesn’t pull any punches when it comes to the depiction of a nominally postwar city declaring war on its most vulnerable citizens through development and eroding social services. Given that this book is only a couple years old it’s no surprise that it resonates, but it’s also well researched, a visceral deep dive into a time and place. Damn.
madalcna's review
4.0
“ I’m interested in films and jazz. Cities.’
‘Cities?’
‘Yes. American cities.’
‘What about American cities?’
‘How they fail.’ ”
The Long Take is an incredibly raw look at the post-war experience, illustrating the particular trials and tribulations felt after the second world war ended, specifically as the veterans of the war returned to their home countries and tried to rebuild their lives. Written in verse, an epic of mini proportions, Robin Robertson lyrical writing conjures beautiful images of the american cities, New York, Los Angeles and San Francisco, while discussing the very real issues that arose after the war was over, and that became contemporary in this day and age.
“We won the war, but we’re living like we lost it.” (*)
The story we follow comes from the point of view of Walker, one of the “lucky ones” that managed to survive the war. A canadian from Nova Scotia, Walker can’t bring himself to return home, preferring instead to try and start anew, an attempt to strip himself of the horrors he has lived, done and witnessed.
“ ‘You had a girl back home, in Nova Scotia. You gonna see her again?’
Walker took a long pull on his bottle, tapped out another cigarette, lit it, drew in deeply; blew. ‘I can’t, Billy. The island. My family. Annie. It’s all gone now.’ He stared hard at the floor. ‘I can’t let her see me. What I’ve become.’ ”
“ He could not call her back to his life: which is a horror, which is the dead calf in the bank-head field, a black flap bubbling with maggots, ugly and wrong. ”
It is clear, through instances like the quote below (in a metaphorical way, but there’s also some very real examples of Walker being startled by sudden and loud noises), that Walker is struggling with PTSD, and as the book advances and his journey does too, we begin to get more and more often transported to his recollections of war, narrated to us through the sporadic moments of prove in this otherwise novel in verse.
“ This is not the worst. The worst is the hall of mirrors where you catch sight of yourself, twisted, swollen, unrecognizable. (...) It’s the worst thing in the world, catching sight of yourself. ”
Starting in New York, Walker witnesses for the first time the reality of many veterans who have returned home: with an incredible keen eye and jarring imagery, we get to know the dark side of society, through the image of a city, not only the beautiful, clean and rich side of it, but also, and mostly, the dark corners, the filth and the misery, the prostitution and the abandoned boroughs where most veterans come to live, homeless, after they are unable to reintegrate back into society.
After, he is transported to Los Angeles, where he finds a job working as a journalist to the Press, which in turn lead him to San Francisco. However, Los Angeles truly is the main character in this book; New York, Los Angeles, San Francisco: the cities are characters all of their own, alive, changing, decaying.
“And then he felt a presence behind him. Turning round, he saw the city, stretching out below.”
It was that sense of pulsating atmosphere that really enhanced the experience for me; the idea that the city is always watching, always changing, growing, like a human, falling, crumbling, like Walker does.
“Building and demolition seem to happen here within the span of a human life – so citizens can either watch their own mortal decline, or see themselves outliving their cities.”
“The city is constantly changing, blocks being bought and sold, demolished and rebuilt, so it has no memory: it knows only this timeless present.”
In a text that relies mostly on the beauty of its language, Robertson excels at it spectacularly. Although poetry is not my strongest suit, I have always had the idea that poets have a way with words that excels, seers through the pages and manages to touch the heart of the reader. The Long Take did nothing if not confirm that theory: even if some of the images were shocking and unpleasant, Robin Robertson’s unflinching fragility made it easier to swallow. For example:
“(...) one slash opened the black guy’s buttock like a plum, then this neat stab to the throat and with it a twisting rope so hot it steamed as it splashed on the cobbles; the blood that ran out of him till he ran out of blood.”
Taking this quote to continue the discussion of the book’s themes, besides the issue of homelessness and displacement that, while not in this particular context, will always be a contemporary and, unfortunately, long-lived issue, Robinson also tackles the tensions that follow the war: the 50s and 60s were eras of incredible racial and political tension, particularly in the United States, where the social rights movement made history and the cold war would start to brew. We get glimpses of those important issues in this text, a passage about McCarthyism that really stuck with me:
“ ‘McCarthyism is fascism. Exactly the same. Propaganda and lies, opening divisions, fueling fear, paranoia. Just like the thirties: a state of emergency, followed by fascism, followed by war. You’ve just defeated Hitler. Can’t anyone see you’ve made another, all of your own?’ ”
And if we look at the current political and social climate in the US particularly, right now, we can see how contemporary all these issues are, even if, again, played out with some minor differences:
“ America has to have its monsters, so we can zone them, segregate them, if possible, shoot them. ”
However, what made me think of this novel as an incredibly powerful achievement in portraying the reality of the 50s was the apparent amount of research the writer did in order to make it authentic: long descriptions of the city transport you right back into them, even if you’ve never visited them, even if you can’t know how they look now or in the fifties. But while that shows the amount of dedication and love for the american cities cited above, it can also be a detriment to the book and the reader who isn’t all that interested in the noir and the film era often associated with this period. There are an excruciating amount of little “cameos”, nods to movies and directors and scenes and actors of Old Hollywood, that while charming to those who know them, can just be overwhelming to those who don’t (I fell somewhat in between). Those, at times, kept me from fully enjoying the book and the character's journey. For that reason, I don’t think this is a book for everyone.
I couldn’t complete this review without mentioning another small aspect of this book that completely won me over: the beauty in it isn't exclusive to the prose. As a photography enthusiast, I loved the pictures at the beginning of every chapter, which helped the continuous transportation to another times, another atmosphere.
Overall, The Long Take is a tremendous achievement that should be read and enjoyed, a book that needs the readers full attention and commitment but that, in the end, will absolutely pay off.
(*) All the quotes should be written in verse but for some reason my eBook didn’t retain the format of the text so although the transcribed quotes appear to be written in prose, know this is not how they are presented in the book.
kimswhims's review
5.0
This is a magnificent audiobook.
The narration is compelling. Alternatively, soothed by the voices and engrossed in the language and story.
I'll look at this again on the page at some time but I could just as easily listen to this again.
This work is a worthy winner of everything it's been awarded.
Brilliant.
The narration is compelling. Alternatively, soothed by the voices and engrossed in the language and story.
I'll look at this again on the page at some time but I could just as easily listen to this again.
This work is a worthy winner of everything it's been awarded.
Brilliant.