Re: Ian Rankin
- From: "Annie C" <chernow2@xxxxxxxxxxxxxxxxxxx>
- Date: Tue, 28 Oct 2008 12:12:39 -0500
"ggg" <bmvolkman@xxxxxxxxx> wrote in message
news:3a5c229c-8662-48b9-8cb5-02390488c7b5@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
On Oct 27, 9:57 pm, Howard Duck <hbd...@xxxxxxxxxxx> wrote:
Thought I'd give him a try. I'm reading his first book (I think),
Knots and Crosses. Seems a bit immature to me, but I'll reserve
judgment until I've read the first three at least. I'll have to
admit, I'm biased toward the writings of fifty-plus years ago. And I
also like the cozy atmosphere of earlier British writers. The
crassness of most modern writers simply disgusts me. I think they
should learn from their predecessors rather than from their modern
peer group.
(this is mostly for Annie C)
--
Howard Duck
From Merriam Webster Online: Crass: 1 a: gross 6a ; especially :having or indicating such grossness of mind as precludes delicacy and
discrimination b: being beneath one's dignity.
How about we go back to censorship. Or, at least eliminate George
Carlin's seven words you can't say on TV. Grow up!
.................................................
No. You may have taken his point wrong.
I believe Howard's referring to the immaturity (as a writer) he detects in
Rankin's first Rebus novel, which he wrote while a much younger man. And, I
do not disagree, that is true. The Rebus books really took off mid-series..
(see my other post) as the author's writing really developed into something
very special and moved to a higher and more complex level. But the potential
talent was always evident and, fortunately, it did develop..
I do not think H is suggesting censorship, but rather is commenting on the
contrasts between golden age crime writing and some of the things he find
objectionable in some contemporary crime novels. (probably
language/sex/graphic violence etc) And to some extent, I do agree with him.
But, fortunately, with so many fine crime/mystery writer's working today,
there should be something out there to suit anyone's tastes.
Annie
.
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