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50 Shades of Grey: initial impressions
May. 16th, 2012 08:35 amI started 50 Shades of Grey, by E.L. James, first in the 50 Shades trilogy, last night. The trilogy constitutes a very drawn-out romance novel with bdsm themes, starring Ana as an inexperienced college graduate and Christian as a 27-year-old CEO and millionaire.
Let me tell you, folks -- it's a treat! And by "treat" I mean "a book in dire need of a ruthless and judicious editor." I found myself rolling my eyes up to thrice a page at some infelicity of style or bizarre authorial choice. I fear I'm going to sprain my ocular muscles by the time this book is through.
In no particular order, here are some of my observations after about the first 60-80 pages [I forget where I stopped]:
Ana has an unusual relationship with her inner monolgue, which she, in her first-person narration, inaccurately terms her "subconscious." Her "subconscious" repeatedly appears personified, tapping its foot and rolling its eyes at one of her stupid remarks, for example. This gives the unintentionally hilarious picture of a homunculus inside Ana's brain, providing MST3K-like commentary on everything she does. It's an interesting characterological device if you want to explore it, but, of course, James doesn't, so Ana's internal divide ends up revealing nothing interesting about her.
Furthermore, Ana's inner monologue sounds off indiscriminately, no matter what the needs of the story. It's almost always repetitive. For example, when Ana admires Christian's office building, she describes it as "impressive." Okay, she's impressed. We do not need to know that her internal monologue is saying, "Wow." Ana's inner voices have a reaction to every single event in the novel, mostly along the lines of, "I feel horrible for doing [insert embarrassing thing] in front of Christian." Since Ana's body language and speech, also detailed in the text, clearly demonstrate her chagrin, her thoughts add nothing to either the story or her personality. In fact, she ends up coming across as literal-minded, unanalytical and kind of stupid.
On another subject, Ana keeps tripping over her own feet and falling into Christian's arms. She should consult her primary care doctor about this. I think she might have problems with proprioception.
Speaking of Christian, he too is a very odd duck. He has the most labile emotions of any character I've met recently. His feelings change from paragraph to paragraph, as he vacillates between leering at Ana, freezing her out, then getting angry that she's not acting the way he wishes her to [which, of course, he hasn't communicated to her at all]. His actions are extremely unusual, in that most people don't cycle through emotions so rapidly. His transparent, fluctuating facial expressions suggest that he was inadequately trained in the socially acceptable methods of monitoring and expressing his emotions.
We know that Christian has some painful secret past, so it's possible that James intended his emotional instability to manifest his internal damage. However, given the way that James completely fails to recognize opportunities to psychologize her own characters, even as she's writing these opportunities into the story, I doubt that I'm supposed to be considering what historical effects led to Christian's emotional problems. More than likely, James wishes us to read Christian's instability as the seductive moodiness of a typical romance-novel alpha male.
On a related note, I see nothing but trouble for Christian in any sort of bdsm scenario. An ideal scene requires explicit, trusting communication between the participants about their roles, interests and dislikes. Christian would much rather impose his will on his partners, instead of initiating productive dialogue. He's the sort of creepy dom who would touch people sexually without their permission and probably ignore their safe words.
A particular incident between Ana and Christian set off warning bells for me about Christian's abusive traits. In one scene, Ana gets drunk for the first time and impulsively calls Christian. She has a short chat with him, at which point Christian flies off the handle and states that he is coming to pick her up. He tracks her location by using data from her cell phone call. Conveniently, Christian arrives just in time to save Ana from being raped by a "friend." Ana pukes on herself and Christian [that's what I think of him too], then faints, waking up in Christian's bed in her underwear.
Look, Mr. Grey -- I don't care how "justified" you are [according to the story] with the assault and the puke and the sexual tension. You are stalking Ana by finding her through cell phone data. You are assaulting her by nonconsensually removing her clothes. Furthermore, you are a classic abusive personality in the first place for using her phone call as an excuse to control and confine her behavior. You really are a repulsive individual. And if you "quirk" your eyebrows or grin a "sardonic" grin one more time, I'm taking away your poetic license.
The same goes for you, Ana. If you don't stop biting your lower lip and saying "crap" and "double crap," there will be consequences.
Let me tell you, folks -- it's a treat! And by "treat" I mean "a book in dire need of a ruthless and judicious editor." I found myself rolling my eyes up to thrice a page at some infelicity of style or bizarre authorial choice. I fear I'm going to sprain my ocular muscles by the time this book is through.
In no particular order, here are some of my observations after about the first 60-80 pages [I forget where I stopped]:
Ana has an unusual relationship with her inner monolgue, which she, in her first-person narration, inaccurately terms her "subconscious." Her "subconscious" repeatedly appears personified, tapping its foot and rolling its eyes at one of her stupid remarks, for example. This gives the unintentionally hilarious picture of a homunculus inside Ana's brain, providing MST3K-like commentary on everything she does. It's an interesting characterological device if you want to explore it, but, of course, James doesn't, so Ana's internal divide ends up revealing nothing interesting about her.
Furthermore, Ana's inner monologue sounds off indiscriminately, no matter what the needs of the story. It's almost always repetitive. For example, when Ana admires Christian's office building, she describes it as "impressive." Okay, she's impressed. We do not need to know that her internal monologue is saying, "Wow." Ana's inner voices have a reaction to every single event in the novel, mostly along the lines of, "I feel horrible for doing [insert embarrassing thing] in front of Christian." Since Ana's body language and speech, also detailed in the text, clearly demonstrate her chagrin, her thoughts add nothing to either the story or her personality. In fact, she ends up coming across as literal-minded, unanalytical and kind of stupid.
On another subject, Ana keeps tripping over her own feet and falling into Christian's arms. She should consult her primary care doctor about this. I think she might have problems with proprioception.
Speaking of Christian, he too is a very odd duck. He has the most labile emotions of any character I've met recently. His feelings change from paragraph to paragraph, as he vacillates between leering at Ana, freezing her out, then getting angry that she's not acting the way he wishes her to [which, of course, he hasn't communicated to her at all]. His actions are extremely unusual, in that most people don't cycle through emotions so rapidly. His transparent, fluctuating facial expressions suggest that he was inadequately trained in the socially acceptable methods of monitoring and expressing his emotions.
We know that Christian has some painful secret past, so it's possible that James intended his emotional instability to manifest his internal damage. However, given the way that James completely fails to recognize opportunities to psychologize her own characters, even as she's writing these opportunities into the story, I doubt that I'm supposed to be considering what historical effects led to Christian's emotional problems. More than likely, James wishes us to read Christian's instability as the seductive moodiness of a typical romance-novel alpha male.
On a related note, I see nothing but trouble for Christian in any sort of bdsm scenario. An ideal scene requires explicit, trusting communication between the participants about their roles, interests and dislikes. Christian would much rather impose his will on his partners, instead of initiating productive dialogue. He's the sort of creepy dom who would touch people sexually without their permission and probably ignore their safe words.
A particular incident between Ana and Christian set off warning bells for me about Christian's abusive traits. In one scene, Ana gets drunk for the first time and impulsively calls Christian. She has a short chat with him, at which point Christian flies off the handle and states that he is coming to pick her up. He tracks her location by using data from her cell phone call. Conveniently, Christian arrives just in time to save Ana from being raped by a "friend." Ana pukes on herself and Christian [that's what I think of him too], then faints, waking up in Christian's bed in her underwear.
Look, Mr. Grey -- I don't care how "justified" you are [according to the story] with the assault and the puke and the sexual tension. You are stalking Ana by finding her through cell phone data. You are assaulting her by nonconsensually removing her clothes. Furthermore, you are a classic abusive personality in the first place for using her phone call as an excuse to control and confine her behavior. You really are a repulsive individual. And if you "quirk" your eyebrows or grin a "sardonic" grin one more time, I'm taking away your poetic license.
The same goes for you, Ana. If you don't stop biting your lower lip and saying "crap" and "double crap," there will be consequences.