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Ellis wields language like a rapier, skewering family members for their caste-conscious concern with their "blood," and showing with mordant humor their deliberate separation from the community. The family is changing, if Rose, daughter of an Irish veterinarian, is any indication, just as Llanelys, now a tourist destination, has changed. But though the family may deserve to be satirized for its meaningless rituals, the local population is not exempt from Ellis's dissection, either. Phyllis, the caretaker for the Captain, saves the best of the family's food to feed her fat grandson, and he steals liquor and makes lewd, sexual overtures to Rose and Ermyn. Other townspeople mock the family, show their rudeness, and even break their windows.
Stunning imagery, delicious turns of phrase, and lively dialogue make the narrative sparkle. The hands of Rose's small twins are described as "so delicate and fine they felt like broken toothpicks in little silk bags," while the sea is "smooth and wrinkle-free, like the face of a saint or a psychopath." Blood is carried as a motif throughout, and references to old Welsh legends connect the family with the past and offer dire portents of the future. Despite the harshness Ellis exhibits toward some of her characters, the reader develops empathy toward Rose and understands that poor Ermyn needs more emotional help than she is likely to get, but Ellis never allows the reader to get comfortable with this family's world. She shows that just as the sin eater cannot take on the sins of others, life has no guarantees of happy endings. Mary Whipple
Ellis wields language like a rapier, skewering family members for their caste-conscious concern with their "blood," and showing with mordant humor their deliberate separation from the community. The family is changing, if Rose, daughter of an Irish veterinarian, is any indication, just as Llanelys, now a tourist destination, has changed. But though the family may deserve to be satirized for its meaningless rituals, the local population is not exempt from Ellis's dissection, either. Phyllis, the caretaker for the Captain, saves the best of the family's food to feed her fat grandson, and he steals liquor and makes lewd, sexual overtures to Rose and Ermyn. Other townspeople mock the family, show their rudeness, and even break their windows.
Stunning imagery, delicious turns of phrase, and lively dialogue make the narrative sparkle. The hands of Rose's small twins are described as "so delicate and fine they felt like broken toothpicks in little silk bags," while the sea is "smooth and wrinkle-free, like the face of a saint or a psychopath." Blood is carried as a motif throughout, and references to old Welsh legends connect the family with the past and offer dire portents of the future. Despite the harshness Ellis exhibits toward some of her characters, the reader develops empathy toward Rose and understands that poor Ermyn needs more emotional help than she is likely to get, but Ellis never allows the reader to get comfortable with this family's world. She shows that just as the sin eater cannot take on the sins of others, life has no guarantees of happy endings. Mary Whipple
Ellis masterfully weaves the past and present together, exploring the power that story can have in a person's life. The Sin Eater, as one might expect is not the central focus of the novel, but a vehicle for healing. This novel is more about the healing power of story and of the past's effect on our present.
With its deep issues and intense emotion, this novel may not be appropriate for the young reader.
My problem with the novel is that there seems to be no right way to behave according to Ellis. The sister-in-law who speaks charitably of the working class comes off as condescending. The household staff are drunk and sly. The patriarch is portrayed as amoral and domineering. As fine a word-weaver as she is, surely a writer of such intelligence could do more than expose the weaknesses of every character she creates.
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