This story is constantly keeping me waiting. It was as if Larson said, "Let's take this story, this very interesting story, and stretch it out as far as we can." I'm not saying that giving us a lot of detail is a bad thing, but there are moments where this story can somewhat drag.
Take for example the numerous sections where Burnham is attempting to get all the other architects together. It takes Larson page after page after page, each with a few sections to let the reader know that the architects are still unsure whether or not they want to take on the project. Not only that, but then he goes on to describe how Burnham forgot to ask architects from Chicago if they wanted to join the project, so then Larson feels the need to describe the process in which Burnham apologizes to them and then asks a select few to come on to the project. The small bits of detail that Larson gives us is very interesting, however, there are some moments when that information is not needed, creating a slight dragging feeling in the story.
Let's be honest, we all are waiting for Holmes to kill someone, which has yet to happen and is really starting to change my feelings for this book. It's as if I'm constantly waiting for the story to take off, and with each section, it just keep plateauing. Holmes begins to create kilns and sound-proof rooms, but then nothing comes of them. Larson seems to be trying to hard to build suspense, and you could say its working, but it's also becoming slightly annoying. I enjoy reading as much as the next guy, but let's get this story rolling.
Things finally seem to get going with the introduction of Icilius "Ned" Conner and his family. He has a wife, Julia, a daughter, Pearl, and his sister Gertie, all of whom work for Holmes and live in his apartment. The attention that Larson pays to the relationship between the ladies and Holmes makes it seem as though something dangerous is about to come. He writes about how they are showered with gifts and the customers look toward Ned with pity as if to say "Sorry you're losing your loved ones to the boss." Then, within the next page, we're back to discussing the architect group. Giving me some danger, some violence, death, anything Larson, otherwise, your book will be the death of me.
You will probably be feeling the same way about In Cold Blood if you ever end up reading that. It was kind of slow to pick up, but I busted through it knowing what was to come, although Capote doesn't even structure it the way you would expect or in the way you think you want once it gets good. There is something truly voyeuristic about the human race - it's the train wreck affect: we cannot tear our eyes from carnage.
ReplyDeleteI find your acceptance of the detail as having some positive traits interesting - typically, when I am impatient or frustrated I become ridiculously fatalistic and commit the fallacy of compostion (applying generalities to the whole based on one or few parts). I did this especially when I read (well, there was an attempt made, at least) Hawthorne's Scarlet Letter. Talk about tedious! I absolutely despised the detail and loathed the language, and vented about it constantly in my homework assignments and papers required for the text. I ended up giving up and never finished the book and I really don't care what that says about my character.