Cloud Atlas: A Novel (Modern Library (Hardcover))
Cloud Atlas: A Novel (Modern Library (Hardcover)) book cover

Cloud Atlas: A Novel (Modern Library (Hardcover))

Hardcover – November 20, 2012

Price
$13.49
Format
Hardcover
Pages
528
Publisher
Modern Library
Publication Date
ISBN-13
978-0812994711
Dimensions
5.7 x 1.4 x 8.3 inches
Weight
1.34 pounds

Description

Review “[David] Mitchell is, clearly, a genius. He writes as though at the helm of some perpetual dream machine, can evidently do anything, and his ambition is written in magma across this novel’s every page.” — The New York Times Book Review “One of those how-the-holy-hell-did-he-do-it? modern classics that no doubt is—and should be—read by any student of contemporary literature.” —Dave Eggers “Wildly entertaining . . . a head rush, both action-packed and chillingly ruminative.” — People “The novel as series of nested dolls or Chinese boxes, a puzzle-book, and yet—not just dazzling, amusing, or clever but heartbreaking and passionate, too. I’ve never read anything quite like it, and I’m grateful to have lived, for a while, in all its many worlds.” —Michael Chabon “ Cloud Atlas ought to make [Mitchell] famous on both sides of the Atlantic as a writer whose fearlessness is matched by his talent.” — The Washington Post Book World “Thrilling . . . One of the biggest joys in Cloud Atlas is watching Mitchell sashay from genre to genre without a hitch in his dance step.” — Boston Sunday Globe “Grand and elaborate . . . [Mitchell] creates a world and language at once foreign and strange, yet strikingly familiar and intimate.” — Los Angeles Times About the Author David Mitchell is the award-winning and bestselling author of The Bone Clocks, The Thousand Autumns of Jacob de Zoet, Black Swan Green, Cloud Atlas, Number9Dream, and Ghostwritten . Twice shortlisted for the Man Booker Prize, Mitchell was named one of the 100 most influential people in the world by Time in 2007. With KA Yoshida, Mitchell translated from the Japanese the internationally bestselling memoir The Reason I Jump . He lives in Ireland with his wife and two children. Excerpt. © Reprinted by permission. All rights reserved. Thursday, 7th November—Beyond the Indian hamlet, upon a forlorn strand, I happened on a trail of recent footprints. Through rotting kelp, sea cocoa-nuts & bamboo, the tracks led me to their maker, a White man, his trowzers & Pea-jacket rolled up, sporting a kempt beard & an outsized Beaver, shoveling & sifting the cindery sand with a teaspoon so intently that he noticed me only after I had hailed him from ten yards away. Thus it was, I made the acquaintance of Dr. Henry Goose, surgeon to the London nobility. His nationality was no surprise. If there be any eyrie so desolate, or isle so remote, that one may there resort unchallenged by an Englishman, ’tis not down on any map I ever saw.Had the doctor misplaced anything on that dismal shore? Could I render assistance? Dr. Goose shook his head, knotted loose his ’kerchief & displayed its contents with clear pride. “Teeth, sir, are the enameled grails of the quest in hand. In days gone by this Arcadian strand was a cannibals’ banqueting hall, yes, where the strong engorged themselves on the weak. The teeth, they spat out, as you or I would expel cherry stones. But these base molars, sir, shall be transmuted to gold & how? An artisan of Piccadilly who fashions denture sets for the nobility pays handsomely for human gnashers. Do you know the price a quarter pound will earn, sir?”I confessed I did not.“Nor shall I enlighten you, sir, for ’tis a professional secret!” He tapped his nose. “Mr. Ewing, are you acquainted with Marchioness Grace of Mayfair? No? The better for you, for she is a corpse in petticoats. Five years have passed since this harridan besmirched my name, yes, with imputations that resulted in my being blackballed from Society.” Dr. Goose looked out to sea. “My peregrinations began in that dark hour.”I expressed sympathy with the doctor’s plight.“I thank you, sir, I thank you, but these ivories”—he shook his ’kerchief—“are my angels of redemption. Permit me to elucidate. The Marchioness wears dental fixtures fashioned by the afore- mentioned doctor. Next yuletide, just as that scented She-Donkey is addressing her Ambassadors’ Ball, I, Henry Goose, yes, I shall arise & declare to one & all that our hostess masticates with cannibals’ gnashers! Sir Hubert will challenge me, predictably, ‘Furnish your evidence,’ that boor shall roar, ‘or grant me satisfaction!’ I shall declare, ‘Evidence, Sir Hubert? Why, I gathered your mother’s teeth myself from the spittoon of the South Pacific! Here, sir, here are some of their fellows!’ & fling these very teeth into her tortoiseshell soup tureen & that, sir, that will grant me my satisfaction! The twittering wits will scald the icy Marchioness in their news sheets & by next season she shall be fortunate to receive an invitation to a Poorhouse Ball!”In haste, I bade Henry Goose a good day. I fancy he is a Bedlamite.Friday, 8th November—In the rude shipyard beneath my window, work progresses on the jibboom, under Mr. Sykes’s directorship. Mr. Walker, Ocean Bay’s sole taverner, is also its principal timber merchant & he brags of his years as a master shipbuilder in Liverpool. (I am now versed enough in Antipodese etiquette to let such unlikely truths lie.) Mr. Sykes told me an entire week is needed to render the Prophet- ess “Bristol fashion.” Seven days holed up in the Musket seems a grim sentence, yet I recall the fangs of the banshee tempest & the mariners lost o’erboard & my present misfortune feels less acute.I met Dr. Goose on the stairs this morning & we took breakfast together. He has lodged at the Musket since middle October after voyaging hither on a Brazilian merchantman, Namorados, from Feejee, where he practiced his arts in a mission. Now the doctor awaits a long-overdue Australian sealer, the Nellie, to convey him to Sydney. From the colony he will seek a position aboard a passenger ship for his native London.My judgment of Dr. Goose was unjust & premature. One must be cynical as Diogenes to prosper in my profession, but cynicism can blind one to subtler virtues. The doctor has his eccentricities & recounts them gladly for a dram of Portuguese pisco (never to excess), but I vouchsafe he is the only other gentleman on this latitude east of Sydney & west of Valparaiso. I may even compose for him a letter of introduction for the Partridges in Sydney, for Dr. Goose & dear Fred are of the same cloth.Poor weather precluding my morning outing, we yarned by the peat fire & the hours sped by like minutes. I spoke at length of Tilda & Jackson & also my fears of “gold fever” in San Francisco. Our conversation then voyaged from my hometown to my recent notarial duties in New South Wales, thence to Gibbon, Malthus & Godwin via Leeches & Locomotives. Attentive conversation is an emollient I lack sorely aboard the Prophetess & the doctor is a veritable polymath. Moreover, he possesses a handsome army of scrimshandered chessmen whom we shall keep busy until either the Prophetess’s departure or the Nellie’s arrival.Saturday, 9th November—Sunrise bright as a silver dollar. Our schooner still looks a woeful picture out in the Bay. An Indian war canoe is being careened on the shore. Henry & I struck out for “Banqueter’ s Beach” in holy-day mood, blithely saluting the maid who labors for Mr. Walker. The sullen miss was hanging laundry on a shrub & ignored us. She has a tinge of black blood & I fancy her mother is not far removed from the jungle breed.As we passed below the Indian hamlet, a “humming” aroused our curiosity & we resolved to locate its source. The settlement is circumvallated by a stake fence, so decayed that one may gain ingress at a dozen places. A hairless bitch raised her head, but she was toothless & dying & did not bark. An outer ring of ponga huts (fashioned from branches, earthen walls & matted ceilings) groveled in the lees of “grandee” dwellings, wooden structures with carved lintel pieces & rudimentary porches. In the hub of this village, a public flogging was under way. Henry & I were the only two Whites present, but three castes of spectating Indians were demarked. The chieftain occupied his throne, in a feathered cloak, while the tattooed gentry & their womenfolk & children stood in attendance, numbering some thirty in total. The slaves, duskier & sootier than their nut-brown masters & less than half their number, squatted in the mud. Such inbred, bovine torpor! Pockmarked & pustular with haki-haki, these wretches watched the punishment, making no response but that bizarre, beelike “hum.” Empathy or condemnation, we knew not what the noise signified. The whip master was a Goliath whose physique would daunt any frontier prizefighter. Lizards mighty & small were tattooed over every inch of the savage’s musculature:—his pelt would fetch a fine price, though I should not be the man assigned to relieve him of it for all the pearls of O-hawaii! The piteous prisoner, hoarfrosted with many harsh years, was bound naked to an A-frame. His body shuddered with each excoriating lash, his back was a vellum of bloody runes, but his insensible face bespoke the serenity of a martyr already in the care of the Lord.I confess, I swooned under each fall of the lash. Then a peculiar thing occurred. The beaten savage raised his slumped head, found my eye & shone me a look of uncanny, amicable knowing! As if a theatrical performer saw a long-lost friend in the Royal Box and, undetected by the audience, communicated his recognition. A tattooed “blackfella” approached us & flicked his nephrite dagger to indicate that we were unwelcome. I inquired after the nature of the prisoner’s crime. Henry put his arm around me. “Come, Adam, a wise man does not step betwixt the beast & his meat.”Sunday, 10th November—Mr. Boerhaave sat amidst his cabal of trusted ruffians like Lord Anaconda & his garter snakes. Their Sabbath “celebrations” downstairs had begun ere I had risen. I went in search of shaving water & found the tavern swilling with Tars awaiting their turn with those poor Indian girls whom Walker has ensnared in an impromptu bordello. (Rafael was not in the debauchers’ number.)I do not break my Sabbath fast in a whorehouse. Henry’s sense of repulsion equaled to my own, so we forfeited breakfast (the maid was doubtless being pressed into alternative service) & set out for the chapel to worship with our fasts unbroken.We had not gone two hundred yards when, to my consternation, I remembered this journal, lying on the table in my room at the Musket, visible to any drunken sailor who might break in. Fearful for its safety (& my own, were Mr. Boerhaave to get his hands on it), I retraced my steps to conceal it more artfully. Broad smirks greeted my return & I assumed I was “the devil being spoken of,” but I learned the true reason when I opened my door:—to wit, Mr. Boerhaave’s ursine buttocks astraddle his Blackamoor Goldilocks in my bed in flagrante delicto! Did that devil Dutchman apologize? Far from it! He judged himself the injured party & roared, “Get ye hence, Mr. Quillcock! or by God’s B——d, I shall snap your tricksy Yankee nib in two!”I snatched my diary & clattered downstairs to a riotocracy of merriment & ridicule from the White savages there gathered. I remonstrated to Walker that I was paying for a private room & I expected it to remain private even during my absence, but that scoundrel merely offered a one-third discount on “a quarter-hour’s gallop on the comeliest filly in my stable!” Disgusted, I retorted that I was a husband & a father! & that I should rather die than abase my dignity & decency with any of his poxed whores! Walker swore to “decorate my eyes” if I called his own dear daughters “whores” again. One toothless garter snake jeered that if possessing a wife & a child was a single virtue, “Why, Mr. Ewing, I be ten times more virtuous than you be!” & an unseen hand emptied a tankard of sheog over my person. I withdrew ere the liquid was swapped for a more obdurate missile.The chapel bell was summoning the God-fearing of Ocean Bay & I hurried thitherwards, where Henry waited, trying to forget the recent foulnesses witnessed at my lodgings. The chapel creaked like an old tub & its congregation numbered little more than the digits of two hands, but no traveler ever quenched his thirst at a desert oasis more thankfully than Henry & I gave worship this morning. The Lutheran founder has lain at rest in his chapel’s cemetery these ten winters past & no ordained successor has yet ventured to claim captaincy of the altar. Its denomination, therefore, is a “rattle bag” of Christian creeds. Biblical passages were read by that half of the congregation who know their let- ters & we joined in a hymn or two nominated by rota. The “steward” of this demotic flock, one Mr. D’Arnoq, stood beneath the modest cruciform & besought Henry & me to participate in likewise manner. Mindful of my own salvation from last week’s tempest, I nominated Luke ch. 8, “And they came to him, & awoke him, saying, Master, master, we perish. Then he arose, & rebuked the wind & the raging of the water: & they ceased, & there was a calm.”Henry recited from Psalm the Eighth, in a voice as sonorous as any schooled dramatist: “Thou madest him to have dominion over the works of thy hands; thou has put all things under his feet: all sheep & oxen, yea & the beasts of the field; the fowl of the air & the fish of the sea & whatsoever passeth through the paths of the seas.”No organist played a Magnificat but the wind in the flue chimney, no choir sang a Nunc Dimittis but the wuthering gulls, yet I fancy the Creator was not displeazed. We resembled more the Early Christians of Rome than any later Church encrusted with arcana & gemstones. Communal prayer followed. Parishioners prayed ad lib for the eradication of potato blight, mercy on a dead infant’s soul, blessing upon a new fishing boat, &c. Henry gave thanks for the hospitality shown us visitors by the Christians of Chatham Isle. I echoed these sentiments & sent a prayer for Tilda, Jackson & my father-in-law during my extended absence. Read more

Features & Highlights

  • By the
  • New York Times
  • bestselling author of
  • The Bone Clocks
  • Shortlisted for the Man Booker Prize
  • A postmodern visionary and one of the leading voices in twenty-first-century fiction, David Mitchell combines flat-out adventure, a Nabokovian love of puzzles, a keen eye for character, and a taste for mind-bending, philosophical and scientific speculation in the tradition of Umberto Eco, Haruki Murakami, and Philip K. Dick. The result is brilliantly original fiction as profound as it is playful. In this groundbreaking novel, an influential favorite among a new generation of writers, Mitchell explores with daring artistry fundamental questions of reality and identity.
  • Cloud Atlas
  • begins in 1850 with Adam Ewing, an American notary voyaging from the Chatham Isles to his home in California. Along the way, Ewing is befriended by a physician, Dr. Goose, who begins to treat him for a rare species of brain parasite. . . . Abruptly, the action jumps to Belgium in 1931, where Robert Frobisher, a disinherited bisexual composer, contrives his way into the household of an infirm maestro who has a beguiling wife and a nubile daughter. . . . From there we jump to the West Coast in the 1970s and a troubled reporter named Luisa Rey, who stumbles upon a web of corporate greed and murder that threatens to claim her life. . . . And onward, with dazzling virtuosity, to an inglorious present-day England; to a Korean superstate of the near future where neocapitalism has run amok; and, finally, to a postapocalyptic Iron Age Hawaii in the last days of history.But the story doesn’t end even there. The narrative then boomerangs back through centuries and space, returning by the same route, in reverse, to its starting point. Along the way, Mitchell reveals how his disparate characters connect, how their fates intertwine, and how their souls drift across time like clouds across the sky.As wild as a videogame, as mysterious as a Zen koan,
  • Cloud Atlas
  • is an unforgettable tour de force that, like its incomparable author, has transcended its cult classic status to become a worldwide phenomenon.

Customer Reviews

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Most Helpful Reviews

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Brilliant

I purchased this book for someone who isn’t an avid reader. He picked at it for a month and gave up. I took it from the nightstand (where it was being used as a coaster) and ended up reading it twice. I will likely even go back for a third round. This is THE book. It’s entertaining, poignant, and perfectly crafted. The way the author writes in so many voices is astounding, and in so many colloquial tongues (even a language the author created as being spoken in post-apocalyptic Hawaii—amazing). The Luisa Rey story is my least favorite, but the strength of all the others carries the book. I don’t plan to watch the movie as I doubt the beauty of this book can be effectively translated to dialogue. Loved it!
17 people found this helpful
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An Insightful and Entertaining Novel Which Deserves to be a Classic!

Certain books (SOMETHING WICKED THIS WAY COMES, SHATTERDAY, GRAVITY'S RAINBOW, THE WORLD ACCORDING TO GARP, THE ACCIDENTAL TOURIST, etc.) and authors (Nevada Barr, Ray Bradbury, Harlan Ellison, Stephen King, John Irving, Ann Tyler, Neil Gaiman, George RR Martin, Jorge Luis Borges) have so impressed me that I've felt compelled to share the book with other readers and/or located everything ever written by said author. CLOUD ATLAS and David Mitchell turned out to be that sort of book, and that sort of a writer (I've purchased all of his other novels as well).

I should also begin by admitting that even for an unreserved, omnivorous reader like me, making headway into this novel as was bit tough. But ONLY because the first chapter is written in diary form, and in the 18th century style of English (at times, it reminded me quite a lot of Herman Melville's seafaring novels, so accurate was the mimicry. And after getting comfortable with that style, it was easy to finish the final chapter (the end of that narrative) when I got to it.

Mitchell's Fourth novel, CLOUD ATLAS (perhaps his masterpiece), is - like his first - a collection of the different stories which are all inter-connected. In this case, Mitchell has used Italo Calvino's IF ON A WINTER'S NIGHT A TRAVELER and THE BRIDGE OF SAN LUIS REY by Thornton Wilder as, respectively, the foundation and inspiration for his fourth novel.

"The Pacific Journal of Adam Ewing", the first narrative - set in and around the Pacific Rim, during the mid 1800s - follows the fate of Adam Ewing. He witnesses a variety of cruelties visited upon darker skinned people, most of whom are enslaved in one way or another, but does nothing to intervene, believing this is the natural order of things. But his voyage back home - to California, and his young wife -- finds him growing mysteriously ill. He is seen to by Dr. Henry Goose, another traveler of Ewing's acquaintance. But the good doctor's ministrations don't seem to be helping, and a stowaway - a black islander, who turns out to be a crack sailor, whom Adam kindly helps out - helps save Adam Ewing's life, thus opening his eyes and heart.

"Letters From Zedelghem", the second narrative, set during the early 1900s, in Belgium, follows bon vivant and aspiring musician, Robert Frobisher, who has taken on the job of being an apprentice to a renowned, but mostly retired, classical musician. Frobisher's tale is told in epistolary form: letters from the young bisexual to his long-time lover, Rupert Sixsmith, recount the story of his days with Composer Ayrs, and his sexually frustrated wife. There follows a tale of frustration (Ayrs thinks Frobisher is neophyte with no skills) lust (Ayrs's wife seeks out Frobisher for sexual fulfillment - and her daughter is chasing him as well), wonder (Frobisher begins writing his "Cloud Atlas" sextet) and longing (Frobisher continues to express his undying love for Sixsmith). In this narrative of creative wonderment and romantic longing, it is revealed that Frobisher was born with a distinctive birthmark: one that looks like a comet; and he also mentions his frustration at having stumbled across an old journal - written by one Adam Ewing - which is only half there.

"Half-Lives: The First Luisa Rey Mystery" is the third narrative. It's told in third person, and set in the 1970s in California, featuring Luisa Rey, daughter of a famous investigative journalist of the 1960s, follows the basic tenets of a mystery novel or story - because it is just that. Luisa (who sports a birthmark shaped like a comet. During the course of writing an article for a tabloid type magazine, Luisa finds herself I the company of a man named Rupert Sixsmith. The older man happens to be scientist in the employ of a company which is committing corporate and ecological crimes. When Sixsmith tries to open up to Luisa, he is targeted for termination - and when Luisa learns the secrets Sixsmith was keeping, she finds herself in the sights of the companies hired killers as well.

"TheGhastly Ordeal of Timothy Cavendish", the fourth narrative - a boisterous, comedic farce, recounted in first person - takes place in England and centers around vanity publisher and knight errant, Timothy Cavendish. Set during the present - with tongue firmly in cheek - it weaves the hilarious tale of Cavendish's fortunes after one of his customers - an ex-con in London who writes a badly-written tell-all entitled, "Knuckle Sandwich" - is arrested for murdering a critic who loathed his book. Cavendish reaps the financial benefits when the book becomes a bestseller. But the brother of his (now favorite) writer come calling, looking for their own "piece o' the pie"), demanding thousands of dollars, which leads Cavendish - the knight errant - to take it on the lam, resulting in quite a few laugh-out-loud scenes.

"An Orison of Somni-451", the Fifth narrative, recounted as transcripts of an interview, is set around the mid-part of the 21st (or perhaps 22nd) century, in Korea. A fabricant - basically a clone created to live in servitude - is on trial for participating in illegal activities which are considered crimes against the state. Her story - of revelation, escape, and rebellion - eventually becomes the stuff of legend and myth.

"Sloosha's Crossin' An' Ev'rythin' After", the Sixth narrative, is set in Hawaii after an apocalyptic event. It is another first person narrative - told in a style of "broken English" which recalls the old SF classic, RIDDLEY WALKER) - recounting what happens when Zachary - a decidedly non-heroic, but basically good-hearted man - encounters (along with the surviving members of his tribal village) a certain prescient (a human who still has the power of advanced intellect and technology) who is in search of something that will affect the future of all humankind. But first he and the prescient, named Meronym, must survive a gauntlet that will take them past packs of murderous Kona savages (war-like cannibals).

After the narrative of the sixth section is complete, each of the previous narratives - which all stop at a sort of cliffhanger type ending - begin again, in descending order: narrative 5, then 4, then 3, and so on. It's a narrative conceit that both keeps the reader in suspense and works to further illustrate how each seemingly separate narrative is joined with the others (in the same manner that seemingly separate lives are either joined together or affected by one another).

This narrative technique works resoundingly well, and only adds to the depth, drama and wonder of author David Mitchell's variously moving, and variously entertaining, stories, as well as the over-arching, overall theme: that every human being, no matter how seemingly insignificant, contributes to the future and (in the end) the success or failure of his family, community and species. And each of the narratives affects the others. For instance, Adam Ewing's journal is read by Robert Frobisher. Robert Frobisher's lover, Sixsmith, helps Luisa Rey (and she shares a distinctive birthmark with Sixmith's long-dead lover). At one point, vanity publisher Cavendish is reading the manuscript of a mystery novel entitled, HALF-LIVES: THE FIRST LUISA REY MYSTERY, written by someone named Hilary V. Hush. Fabricant Somni-451 gets to watch part of an old "Disney" (as future beings refer to films) that recounts the comedic misadventures of an old man named Timothy Cavendish. And Zachary and all of the surviving far-future humans pray to a goddess named Somni. Thus reiterating the idea that no matter how small, or how big, a being, their life affects the rest of the world in ways one can't imagine.
As Adam Ewing observes: "...what is any ocean but a multitude of drops?"
14 people found this helpful
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A brain twister

Make sure you buy the hardcover version of this book because you will want to keep it and re-read it many times. This is not a light read so if you like horse operas, romance novels or space operas give this one a pass. You will need to put as much of yourself into the read as the author did in writing it. The six stories are all interrelated but that is not readily apparent. The subjects touched on are basically the human condition and how people handle it. I love stories about people and what motivates them and this fills the bill in spades. If you like meat in your books this is the one.
9 people found this helpful
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Recommended, but you must be ready to commit.

This is not a perfectly written story. Elements are frequently seen in other places of science fiction.

What is special about Cloud Atlas is it's ambition. It's complex and uses a twisting tale to illustrate the concept of universal truth through a conscious universe. Simply put... all things are connected thus "souls", people, frames of time, any experienced realities are connected to others. The winding story attempts to show some of the causality of such an idea, but mainly focuses on the lived lives as subjects.

The book has plenty of flaws. But for a complex sci fi story, I don't think there are many better.
5 people found this helpful
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Painful, Needlessly Overwrought

I was excited to read this book after seeing it listed as a "future classic." I struggled engaging with this book from the very beginning. I thought maybe it would get better. It never did. Through the entire book I felt like someone sat down with the sole purpose of writing a "classic" and unfortunately their definition of "classic" is overwrought writing with a timeline that jumps around and cuts off for with no other purpose than to make uninteresting prose seem fancy. I feel like this could have been an interesting story if only the author had not spent the entire book trying to show off.
4 people found this helpful
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Flat Character; Awful Dialogue

The cool concepts in here are almost completely ruined by David Mitchell's complete idiocy. His characters ALL use large vocabulary in their dialogue, and while I am a fan of vocabulary, I am also a fan of realism; nobody talks like that. Also, the whole novel suffers from great inconsistency. All shoes of the future are called Nikes, but why are all cameras called Kodaks when Kodak barely exists as a company anymore? Why are some words spelled simply in the future like xactly instead of exactly, but other words like numbly stay the same? The dialogue is the worst of all in this novel. The evil characters are absurdly evil, and aparently Mitchell believes that all rich people are evil; when asked why the nuclear plant wanted to blow up everybody Mitchell says something along the lines of "the usual reasons: money, power etc..." WHAT ARE YOU TALKING ABOUT? Rich people are people too.
So, in conclusion, buy this book if you enjoy dialogue like "What I want from you Luisa is a killing with intimacy", flat characters and an incredibly loosely connected story that will force you to ask yourself on every page: "Why I am I reading this?"
3 people found this helpful
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Loved the movie? You will love the book.

If you loved the movie, you will love the book. The structure of the story follows a series of divided narratives, leading from the enlightening experiences of a man involved with slavery in the 19th Century, through stages into the present, and then on into an apocalyptic future; then the cycle is completed, moving back into the past, completing each narrative, to one man's redemption from ignorance. A chain of cause and effect, propelled by human kindness, is thus revealed. Each segment even embraces a different genre of writing. Generally I prefer books to films, since print seems able to indulge in more detail, additional plotlines, etc. In this case (as with "Fight Club") I honestly like the book and the film both. Mitchell's novel was a bit streamlined for the film, so reading it provides some ah-ha moments about the movie characters. There are a couple noteworthy differences, but I recommend reading the book to find out what they are.
2 people found this helpful
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Not a full size hardback

There’s nothing to indicate the hardback’s size. For everyone’s information, it’s a small hardback. I expected a normal hardback. I already know the book is good. It’s for my son. The two stars are for not revealing it’s a “trade” size, if that’s the term.
1 people found this helpful
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Excellent book

a truly transformational book; movie is superb as well
1 people found this helpful
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A Phenomenal Read

Cloud Atlas is a mammoth of a book, and one that takes a lot of concentration too, but it is well deserved. It is magical storytelling at its best; the way it weaves a narrative over centuries and genres is simply astounding.

I've read reviews were people criticise Mitchell's eclectic use of genre as 'experimental' and 'indecisive', but I see it more of a unique and realistic look at how atmosphere and culture change throughout the human 'life'. Of course in the Journal of Adam Ewing sees a more different outlook to life than hundreds of centuries later in Neo Seoul where humans are experimenting with genetics.

Mitchell has a profound insight into multiple protagonist attitudes and no central character is the same as the last; be it a bisexual music lover, a futuristic tribesman, a laugh-out-loud vanity publisher who is institutionalised by his brother into an old peoples' home. I do have to say though that the 'Sloosha's Crossin'' chapter is incredibly difficult to read and stick with for more than fifteen minutes at a time.

I came to this book after watching the film, and although different in many ways, I loved both. Bravo, Mr Mitchell, bravo.
1 people found this helpful