Intentional Dissonance

Frisson: the word used to describe the moment the hair on the back of your neck stands up when you are struck by a climax of beauty in art.

 

Intentional Dissonance is a book purely profound in every way that with every page inflicts its own frisson. Not only does the post-apocalypse piece of art make you consider the power of words, from frisson to saudade, but also makes you consider your life as a whole. With a profoundly empty world, where bottled emotions are taken like drugs and antique shops hold the ruins of the statue of liberty, the story follows Jon as he tries to survive in the microcosm of a world that has barely survived.

 

‘You have read this all before and you will read it again’ reads The End which opens the book, starting the loop of central character Jon’s life. The story then tumbles from first person into third, due to Jon’s preference to refer to himself in the third person, he explains to us, and then begins to explain what happens when he ‘falls’.

 

The world in which Jon has lived in for the past ten years has not treated him kindly, leaving him addicted to a drug called sadness despite it being illegal, as the government instead taints the water supply with the opposite, happiness, in order for every member of society to be forcefully induced with it. But through the story, Jon is left to save or destroy what little of the free world is left as it is besieged by its own governors.

 

However, the storyline is not what makes Intentional Dissonance special. While reading it you must pay attention to details as the novel explores the very concept of human emotion and survival. It can be a difficult read, at times confusing, and without paying utmost attention it can simply be accused of being, in extreme cases, unenjoyable. However, if you particularly enjoy the poetics of words and what it is to be human, and are willing to face what could even be called a literary challenge, then this book could be excellent for you.

King Lear

The National Theatre’s presentation of King Lear presented the King’s Love Test within a modern setting, where the divide of the kingdom and the events which follow it are exceptional.

The exploration of unique staging kicked off the play, with the fool facing the audience throughout the test, which itself suffered a mass of waves in emotion; from Lear’s power fuelled beginning, through to the outlandish drop into rage, every step found itself swelling with dramatics.

As the play continued the production stayed true to the aspects of Shakespeare’s play which had always made it great. From humour, to suspense, horror through to sorrow. Beale’s performance of the mad king excellently encapsulates the pure power the king thinks himself drenched with in the beginning. Onwards into the play he maintained the admirable presentation with acting that twitched with tiny details that only grew Lear into a character the audience could only attach to, if sorrowfully.

With a setting in a type of modern day royalty, more suited to military than monarchy, the story stays committed to Shakespeare’s original outline. From the famous speeches of love, through to Edgars ending lines, the story is shown heavily but truthfully, lending to a deep understanding of the complex turning of events as Edmund and the two sisters try to weave the world around their fingers.  

Overall, the play built a solid foundation on top of which it built an excellent portrayal; one that was understandable, fluid and, at times, mind-consuming. It successfully proved King Lear to be one of Shakespeare’s greatest plays.