Once again, as with Outline and Transit, I found myself both jealous of and slightly appalled by the conversations in Kudos. Jealous because I don't often have soul-baring conversations, appalled because I definitely don't have them with strangers. But I also realized (because Sam pointed it out) that the dialogue in this book can't really be called conversation; instead, the book is full of monologues delivered to the narrator. And (as Sam also pointed out) despite the natural feeling of these monologues, they're still fiction. Just because it seems like the narrator's actual experience doesn't mean her chats are as constantly scintillating as this book would make one think.
I want to memorialize page 200 here, because I strongly identified with it. I grew up in a household of silent, awkward family dinners, and I have a clear memory of one dinner where teenage me decided (without speaking the thought aloud, of course) that when I grew up I would have a family that talked at the dinner table. Page 200 raises the bar. "Huge comforting meals were served and . . . everything was discussed but nothing examined, so that there was no danger of passing . . . into the state of painful self-awareness where human fictions lose their credibility." Now I want to ensure that we both discuss and examine. Although this may have to wait until my seven-year-old is a bit more mature.
The setting of this book is never revealed. I spent a good bit of the book trying to figure out where it might have taken place, and then felt a brief moment of annoyance that it wasn't specified, but then I imagined what the book would have been like if I knew where it took place, which made me realize this would have made it an entirely different book. The location really isn't that important, and it actually makes more sense for it to be anywhere/nowhere. But . . . ugh, but I'm still curious.
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