Cloud Atlas Style
Cloud Atlas is far from being a particularly easy read. Much of its difficulty is due to the way with which it is written and organized. The book is progressing through time periods with each section. Because of this, each section is written in a different way stylistically, grammatically and structurally.
The first section of the book, The Pacific Journal of Adam Ewing, is set in the South Pacific during the mid-19th-century. It is told from the perspective of our protagonist, though he is hardly mentioned in the following sections, specifically through his journal writings. The structure of each entry is that of any regular diary, opens with the date at the top, and he writes the happenings of that day. Grammatically, this first section is not easy because of its period fitting grammar, and Mr. Ewing is a rather intelligent man. His sentences are short and to the point, most of the time, though there are often longer tales from the day and about the people he meets, such as the stowaway Autua and his background. At the end of his journal, it is cut off mid-sentence, this is acknowledged in the next section of the book by the second narrator.
Letters from Zedelghem is the second section of Cloud Atlas told from the perspective of Robert Frobisher. Frobisher is a composer and seeks work with his idol composer Vyvyan Ayrs during the summer of 1931 in Belgium. The structure and style of this section differs slightly from that of the first section. It is also written in the form of letters, but these are letters to Frobisher's friend Sixsmith. Much of what he writes is very intellectual and with deep-meaning, largely relating to music, for which he is greatly passionate. Some of it is also frantic, however; it is made clear that one if not both of them are in a dangerous situation. The main protagonist, Adam Ewing, is only mentioned once within this section, and not at all in the next one. Frobisher finds Ewing's journal within Vyvyan Ayr's books and questions it. "Something shifty about the journal's authenticity--seems too structured for a genuine diary, and its language doesn't ring quite true--but who would bother forging such a journal, and why?" (pg. 64) In this, he raises the question, are the journal entries of the first section, really Ewing?
The next section, Half-Lives--The First Luisa Rey Mystery, this is told from the perspective now of Sixsmith (whose first name we now know is Rufus) and Luisa Rey. Set in Buenas Yerbas, California, in the late 20th century, it is written similarly to the other two. Short sections that jump around with various important details. This section, however, switches between Sixsmith and Rey, and they are not letters rather just shortened sections mimicking letters or journal entries. The grammar and dialogue are more contemporary and understandable, and the situation is rather engrossing and surprisingly intense.
Up to this point in the novel, the writing has been short and concise, for the most part, due to its writing style in the form of letters, journal entries or otherwise short sections. The next section is much more like a regular book, which I am excited to see how that will affect the reception and feel of the story as the reader.
The first section of the book, The Pacific Journal of Adam Ewing, is set in the South Pacific during the mid-19th-century. It is told from the perspective of our protagonist, though he is hardly mentioned in the following sections, specifically through his journal writings. The structure of each entry is that of any regular diary, opens with the date at the top, and he writes the happenings of that day. Grammatically, this first section is not easy because of its period fitting grammar, and Mr. Ewing is a rather intelligent man. His sentences are short and to the point, most of the time, though there are often longer tales from the day and about the people he meets, such as the stowaway Autua and his background. At the end of his journal, it is cut off mid-sentence, this is acknowledged in the next section of the book by the second narrator.
Letters from Zedelghem is the second section of Cloud Atlas told from the perspective of Robert Frobisher. Frobisher is a composer and seeks work with his idol composer Vyvyan Ayrs during the summer of 1931 in Belgium. The structure and style of this section differs slightly from that of the first section. It is also written in the form of letters, but these are letters to Frobisher's friend Sixsmith. Much of what he writes is very intellectual and with deep-meaning, largely relating to music, for which he is greatly passionate. Some of it is also frantic, however; it is made clear that one if not both of them are in a dangerous situation. The main protagonist, Adam Ewing, is only mentioned once within this section, and not at all in the next one. Frobisher finds Ewing's journal within Vyvyan Ayr's books and questions it. "Something shifty about the journal's authenticity--seems too structured for a genuine diary, and its language doesn't ring quite true--but who would bother forging such a journal, and why?" (pg. 64) In this, he raises the question, are the journal entries of the first section, really Ewing?
The next section, Half-Lives--The First Luisa Rey Mystery, this is told from the perspective now of Sixsmith (whose first name we now know is Rufus) and Luisa Rey. Set in Buenas Yerbas, California, in the late 20th century, it is written similarly to the other two. Short sections that jump around with various important details. This section, however, switches between Sixsmith and Rey, and they are not letters rather just shortened sections mimicking letters or journal entries. The grammar and dialogue are more contemporary and understandable, and the situation is rather engrossing and surprisingly intense.
Up to this point in the novel, the writing has been short and concise, for the most part, due to its writing style in the form of letters, journal entries or otherwise short sections. The next section is much more like a regular book, which I am excited to see how that will affect the reception and feel of the story as the reader.
Interesting. Very interesting.
ReplyDeleteDifferent stories from different places during different times. I wonder how these stories might connect. What do you think?
I am pleased that you are enjoying the book, and must admit that this shift of storytelling intrigues me. The way you described the difference in tone and perspective between the sections is certainly a very unique feature of this book. This book sounds like it was an incredibly difficult project for David Mitchell, but his hard work in generating the perspectives of these different characters seem to be what makes this book so creative. I just looked it up saw that Tom Hanks and Halle Berry star in the movie version, so it must be good. sadly, it might be a bad idea for me to read your future blog posts, because I do not want this to be spoiled for me. Perhaps I will make a trip to the library and read it myself!
Don't watch the movie; it's horrible. And if you haven't read the book, it will make little sense.
DeleteBryton, your overview of the styles and connections between the different sections is insightful. It would help to include some specific examples of the sentence structures. Also, do you have any ideas yet on how and why the section connect? There are some small details to pay attention to throughout the different narrative parts. Consider motifs closely as you continue to read.
ReplyDeleteHi Bryton!
ReplyDeleteI'm glad you are enjoying this book as much as I am! How do you think Sixsmith in the third section is connected to the one in the second section? How do you think Adam Ewing's journal ended up in Ayr's collection?
Hi Bryton!
ReplyDeleteI really liked your descriptions of the different styles in sections of the book; that was cool to read because a lot of books stick to a singular structure and maintain it throughout. What effect do you think the different sections have on the overall book?
Grace
Bryton,
ReplyDeleteThis book definitely sounds like a complicated read. Good for you for sticking it out and trying to make sense of it. Are you enjoying it?
Well anyway, I'd be interested to know how the exactly the style of each section changes. Do you think the syntax/style that the author uses effects how the characters seem to you? Also I'm wondering how each section of the book is related. Hopefully as you read more you'll be able to tell us all in your next post.
Bryton,
ReplyDeleteEach time I read your posts I get even more confused about this book. As I addressed in the first blog I see this book giving you more challenges as you read on. I like how you describe the book having such a weird style, I have read books similar to this style but they seem to only stick to one style. I like who your book continues to change it up. Enjoy the rest!
Caleb
Bryton,
ReplyDeleteI strongly agree with your observations about the style of this novel and I think that it is also important to consider Mitchell's use voice. The contrast in style and voice between each section is used to reflect themes and characters throughout the novel. This contrast exists for a reason and there are also a few intentional similarities. These connections are well hidden but I think the passage that you mentioned about the authenticity of the journal is the first significant insight we are given into the nature of these connections. When R.F. calls into question the authenticity of Ewing's journal, this not only raises the question of whether these entries were really made by Ewing but it also makes me wonder if Adam Ewing even exists. Or Luisa Rey??? Do we have a Matrix situation here...? You mentioned that Adam Ewing is very intelligent and while I agree with this, I also notice that he can be foolish, naive and even arrogant in many ways. I'm glad you enjoyed the Luisa Rey Mystery as much as I did :)