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Abarat, by Clive Barker
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Titlee: Abarat
Author(s): Clive Barker
Publisher: HarperCollins
Publishing year: 2002
Sate: Second Hand - Good
ISBN : 9780007149049
Comment: Former library book. Soiling on the side. Ammareal gives back up to 15% of this book's net price to charity organizations.
Ammareal sells online second hand books provided by our partners which are associations and lbraries.
A portion of the price of each book is donated to our partners or to charities.
What we do not sell is given, what we do not give is recycled.
- Sales Rank: #5089501 in Books
- Published on: 2002
- Format: Import
- Original language: English
- Number of items: 1
- Binding: Paperback
- 414 pages
Most helpful customer reviews
61 of 63 people found the following review helpful.
DO NOT BUY THIS BOOK IN KINDLE/KINDLE APP FORMAT! Get a hard copy.
By Jude River N. Allan
The book is good. However, it is hugely lost in this format because none of the beautiful images created for this story are included. There's well over 100 images in the book that are not in the kindle version Buy a hard copy. It's worth it.
0 of 0 people found the following review helpful.
Grimm and Grotesque
By L. K. R. Christoph
Any young adult novel filled with strange creatures and set in a strange land lends itself to comparison with both Alice in Wonderland and The Phantom Tollbooth. Some other adolescent fiction contains only fairies and talking animals, such as the Chronicles of Narnia, but books like Alice and Tollbooth contain not only talking animals and physics-defying occurrences, but also beasts that do not exist in the world with which we are familiar. Abarat by Cive Barker is rife with such creatures: one man, John Mischief, has one normal head and seven “brothers,” which consist of seven other heads at the ends of antler prongs growing out from his “normal” head. In Abarat, squids become binoculars and sea-skippers offer means of aquatic transportation where none is otherwise available. Abarat, like the Chronicles of Narnia and A Wrinkle in Time, realizes that its magic must have a pure source in order to be good magic, and plays respectfully with the idea of deity. As in L’Engle’s classic, there are three mysterious and powerful wise women that make a brief appearance in Abarat, and somewhat similar to the game layout in Catching Fire, the world of the Abarat islands is sectioned into hours like an enormous clock face. But unlike L’Engle, Carroll, Lewis, and Juster, Barker seems to be far more fascinated with the macabre and grotesque.
Barker, one feels, could be best friends with Guillermo del Toro. The creatures that spout from his imagination, unlike the ones from the previously-mentioned authors, generally elicit horror and disgust. Not all of the creatures, certainly, but more of them than not. Barker is a talented writer, with a brave and engaging female protagonist named Candy, breathless and frequent action sequences, interesting philosophical lessons, and a taut thread of overarching peril throughout, but his narrative is more twisted and disturbing than many others of his genre. Genuine cruelty, not limited to abuse, appears in Abarat, although the abusive characters are certainly categorized as evil, or at least their abusive actions are. Christopher Carrion, Lord of Midnight, is happy to abuse and torture others for his own ends, but he is also terribly lonely and heartbroken, so Barker draws a very effective portrait of a complex villain who does possess significant aspects of humanity. Carrion is surrounded by visible nightmares wherever he goes, though, so his very appearance is loathsome.
One wonders whether or not Barker passed the time with recreational drugs while working on this novel, as some of his inventions are incredibly bizarre. A few are luminously unforgettable and unique word-images, though, and they will haunt the reader with wonder. The Great Head of the Yebba Dim Day, the terrifying clowns with clock-face features that rotate with the seconds, and the sinister Wolfswinkel with his ludicrous hats are worth remembering.
In addition to the horror overtones and the unique creatures of the novel, I should also mention the pacing and structure. The pacing is a trifle uneven (although of course this is true of Juster, L’engle, and Carroll as well). To be quite frank, some parts are just boring, and a separate narrative thread from Candy’s appears later in the book, introduces completely new characters, and has no intersection whatsoever with Candy’s thread except that her friendly acquaintance John Mischief is caught up with this new band of rescuers. The reason why the two threads never intersect brings us to the end of the novel: it doesn’t end. Candy simply escapes one peril and finds herself in an interlude presumably prior to the next peril. It’s a period a bit like the 100-plus pages in The Deathly Hallows in which Harry, Ron, and Hermione are camping in the woods with no idea of where they’re going or how to get there. Abarat, of course, is the first book in a series, but I found its ending a bit frustrating since I don’t intend to read the other books. Probably. Although genuinely unique and engaging, Abarat was also rather grotesque and disturbing. In the grand tradition of fantasy, of course, the original Grimm’s fairy tales were quite grisly as well, but that horror quality was mostly lent by gruesome violence engaged in by humans, not the nastiness of something unique and completely unnatural like Barker’s stitchlings, horrific little creatures stitched together like Frankenstein’s monster and filled with oozing mud.
By Aristotle’s greatness of content and execution standards, Abarat holds its own, but just. Candy, like Harry Potter, is heroic because of her kindness, courage, and cleverness, and evil characters are clearly seen as reprehensible, so the content of this work reflects truth. As far as beauty of execution, though, the pacing and narrative are a bit uneven and the compassion and courage of Candy and her friends are tiny lights enveloped in the thick darkness of characters like Carrion and the stitchlings. If you like horror fantasy, you’ll probably love Abarat. If not, you might want to skip it.
0 of 0 people found the following review helpful.
A (young) reader�s treat not to be missed
By Geert Daelemans
If you are looking for the most boring place on earth, you can stop your search right now: Chickentown, U.S.A. is just that kind of place. The only thing that is of any importance in this small American city is, you guessed it: chickens. But that was not always so: Candy Quackenbush, a young girl living together with her mother and her alcoholic abusive father, is preparing for her school project and about to discover the `real' history behind Chickentown. But when Miss Schwartz, her hateful school teacher, sees the final results, she is utterly disappointed: "You have not mentioned any chickens!" It is not surprising that Candy gets a very bad score. Enraged by her teacher Candy leaves school and ends up in this field right outside of town. There she meets a strange man called John Mischief, who takes her to the fantastic world of Abarat: an archipelago where every island is a different hour of the day. Not much time goes by until Candy realises that not everyone treats her as friendly as her friend John.
Abarat is the first instalment of the quartet The Books of Abarat. And that is maybe the only weakness of this book. When you finish this episode you are left with a hunger for more. It seems as though the characters were all introduced, the setting explained and the real story-line is about to start, when you discover that this is really is all you get in the first instalment. It is clearly not intended as a stand-alone book.
But that is all the negative comment I can give, because Abarat is a reader's treat. The imaginary is mind-blowing; the characters are wonderfully fascinating and the atmosphere honours Clive Barker's exceptional talent for the "fantastic". Once you enter the world of Abarat, it is not likely you will put this book down; so reserve a few hours before you start reading...
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