Reviewer Gordon Osmond : Gordon is a produced and award-winning playwright and author of: So You Think You Know English--A Guide to English for Those Who Think They Don't Need One, Wet Firecrackers--The Unauthorized Autobiography of Gordon Osmond and his debut novel Slipping on Stardust.
He has reviewed books and stageplays for http://CurtainUp.com and for the Bertha Klausner International Literary Agency. He is a graduate of Columbia College and Columbia Law School and practiced law on Wall Street for many years before concentrating on writing fiction and non-fiction. You can find out more about Gordon by clicking HERE
In its solid form, La Larme d’Azure is a brilliant jewel that, like the one in Titanic, spends a fair amount of time in the water. It is sought by the character(s) in this book not for its material value but rather as an entrée to wisdom and happiness, representing as it does the tear of God in frozen form. Moreover, the quest is directed toward edges of various kinds which, when reached, often lead to more edges.
The author demands a fair amount of reader participation in the construction of a coherent plot although, to be fair, plot is not of paramount importance in a work of this kind. We’re reasonably confident that a plane has crashed into the sea (although at some point the wreckage seems to be being sought in the desert), a woman has jumped off a cliff, and a survivor is rescued by not always friendly fishermen.
As for a protagonist, my best guess is that it’s some combination, or fusion, between Sapphiro and John Provlepsis. Provlepsis is the creator of a program called Envisage, which is a kind of cross between what Tony Robbins and Nostradamus might come up with. This reader was most comfortable and grounded when learning about this program and its progress.
The book’s shortish length and plentiful imagery might dictate that it is best evaluated as quasi-poetry rather than conventional prose. The predominant images are tears, jewels, the sea, and above all, edges which are virtually omnipresent, giving the book a flat earth quality. Consider, for example:
“The only way for our love to survive is by going across each and every edge that we come across. The process never seems to end, but it is never certain what one edge has in store or will it leads it [sic]. The certain always becomes uncertain becomes one edge leads another [sic]. The only certainty our love can achieve to [sic] attain the kind of unity that a fractured world often lacks. The boundary of our love can lead us to new places, even when the predictable becomes unpredictable. And this process will continue…”
As for the tears, there’s overwhelming telling of welling. The following excerpt is representative:
“He imagines the girl’s tears swelling in her eyes. His mind transforms the image of these tears into one massive tear, which seems to expand infinitely along with a shimmering surface of water. The tear appears to be as broad as the ocean. For some reason, crying seems as both familiar and alien to him. He grasps how a current of emotion can overwhelm the body, causing it to weep. He images an emotion releasing itself at the same time that a tear releases itself from the eye. The moment of release seems to expand eternally, like a tear that seems to forever be about to fall but remains fully in place. Something keeps it from falling.”
Although in a book of this kind one expects and may even relish a certain formlessness and vagueness, elementary rules of English must necessarily be addressed, and here the reader is frequently stumbling upon words which are not grammatically welcome or frustrated by a sentence’s lack of structural essentials. The text may have passed spell check, but not much more.
Nevertheless, if you’re inclined and have the time to let your mind wander in a world of blue tears, seas, and skies, La Larme d’Azure may be an agreeable companion.
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