[PDF / Epub] ☂ The Lovely Bones Author Alice Sebold – Saudionline.co.uk

The Lovely Bones chapter 1 The Lovely Bones, meaning The Lovely Bones, genre The Lovely Bones, book cover The Lovely Bones, flies The Lovely Bones, The Lovely Bones bf130c87ecf04 Lovely Bones FilmAlloCin Lovely Bones Est Un Film Ralis Par Peter Jackson Avec Saoirse Ronan, Mark Wahlberg Synopsis L Histoire D Une Jeune Fille Assassine Qui, Depuis L Au Del, Observe Sa Famille Sous Le ChocLovely Bones WikipdiaThe Lovely BonesIMDb Directed By Peter Jackson With Rachel Weisz, Mark Wahlberg, Saoirse Ronan, Susan Sarandon Centers On A Young Girl Who Has Been Murdered And Watches Over Her Family And Her Killer From Purgatory She Must Weigh Her Desire For Vengeance Against Her Desire For Her Family To Heal Critique Du Film Lovely Bones AlloCin Retrouvez Lescritiques Et Avis Pour Le Film Lovely Bones, Ralis Par Peter Jackson Avec Saoirse Ronan, Mark Wahlberg, Stanley Tucci The Lovely Bones WikipediaThe Lovely Bones Film Wikipedia The Lovely Bones Is Asupernatural Thriller Drama Film Directed By Peter Jackson, And Starring Mark Wahlberg, Rachel Weisz, Susan Sarandon, Stanley Tucci, Michael Imperioli, And Saoirse Ronan The Screenplay By Fran Walsh, Philippa Boyens, And Jackson Was Based On Alice Sebold S Award Winning And Bestsellingnovel Of The Same Name It Follows A Girl Who Is Murdered And Watches Over The Lovely Bones Sebold, Alice Livres The Lovely Bones Has Its Flaws, Of Course The Editor Ought To Be Fired For Letting Sebold Draw The Book To A Conclusion, Then Add Another Several Mock Endings That Add Nothing To The Book But One Thing Can Be Said For The Novel It Is One Of The Very Few Books That Has Made Me Cry It Carries Much Of The Same Hope, Poise And Ambition As Philip Pullman S Work, But Told In A Very


10 thoughts on “The Lovely Bones

  1. says:

    The Lovely Bones has got to be the most baffling, poorly written, jaw-droppingly bad book that I have ever set my eyes on. It is truly a black, black tragedy that the words in this book were placed in that particular order, published, and distributed. How could this have ever possibly been popular? Is it for the same reason that the song “My Humps” hit number one? I mean, I don’t technically believe in burning books, but this novel really got me thinking. About burning it.

    If it serves any use at all, it might be a perfect guide on how not to write a book. Here are some of my gripes, problems and issues that we can hopefully use to prevent something like this from ever happening again to us, our children, or our children’s children:

    It is filled with some of the worst sentence-level writing that I have ever encountered. From bad description to horrible grammar to utterly confusing metaphors, Sebold covered it all. A tell-tale way to spot a weak writer? They can’t stop weirdly describing people’s eyes. Don’t believe me? Try this sentence: “Her eyes were like flint and flower petals.” Or this one: “The tears came like a small relentless army approaching the front lines of her eyes. She asked for coffee and toast in a restaurant and buttered it with her tears.” Really? She buttered the coffee and toast with her tears? Or this one, this time about someone’s heart: “Her heart, like a recipe, was reduced.” What the hell?

    And here’s my favorite eye description in the book: “Her pupils dilated, pulsing in and out like small, ferocious olives.” That’s right. Ferocious olives. I’ve read MadLibs that make more sense than that.

    It seems to lack a plot. You know, that thing that books are supposed to have. I’ll never forget my first workshop with Brady Udall, in which he threw my story onto the table and said, “This isn’t a story, Sarah, it’s a situation.” And as much as I despaired when I got home, he was right. Sebold has the same problem: her book is a really long situation. A girl dies and watches her family from heaven. Okay. That’s nice. But what do the characters want? What drives the story forward? Nothing. The characters get older and keep bumping into each other. Things change, and things often do, but there is no forward movement and certainly no building of suspense.

    Since there’s no plot, the ending is just a bunch of weird stuff happening. I read the last thirty pages on the train this morning, and couldn’t stop a few outbursts: “Oh, no she didn’t!” I’d say, talking to Alice Sebold and her crazy ways. She is just plain bold when it comes to doing whatever she feels like, and she feels like doing the weirdest stuff ever. It’s not that I don’t want to write spoilers here, it’s that I can’t even explain to you what happened at the end of the book. And I bet she can’t either. I’m not exaggerating.

    Her characters never have interesting or complex thoughts. Not even the serial killer or the mother whose daughter was murdered. It seems that Sebold’s characters do one of two things: they laugh (which means they are happy) or cry (to butter their toast, somehow, when they are sad). As you might guess, there is a lot of laughing and crying in this book. When a character is confused, they laugh and cry at the same time. This also happens often.

    I feel a little better after venting. But I’m still deeply sad and angry. I feel like my own writing might have been permanently damaged by reading this book… like a couple of… ferocious… olives?


  2. says:

    One book, two rapes. How's that for a bargain? (The book only advertises one.) Yuck.

    The book in question is Alice Sebold's The Lovely Bones. I'm not giving anything away by saying it's a book about a girl (the narrator) who was murdered. That's revealed in the book's second sentence. It's also not a big deal to let you know she was raped and murdered by a neighbour, George Harvey. That all is related pretty early on. What isn't revealed until maybe the last fifty pages is that the girl herself, Susie Salmon, becomes a rapist.

    Ideologically, I'm not certain which one is worse. I could be persuaded.

    But the way the book presents the two incidents is markedly different. One is revealed in low lights and has a horror edge to it. It's seen unilaterally as an evil, wicked deed. The other is the book's highlight, the moment at which the author breathes a sigh of relief and says that everything else made right. I suppose it makes sense; the narrator probably wouldn't see her actions for what they were. But in the end, both George and Susie deal with their childhood victimizations in that manner typical to the criminal genre these days.

    Both George and Susie had horrible things happen in their formative years that leave long-lasting scars. The only difference is that George Harvey lived and Susie Salmon died. Not that it makes much difference. Susie is as alive a character as George for the purposes of the story. They both want what they want and care little for the well-being of the women who get in their way. The difference is that George Harvey is portrayed as the villain he is, while little Susie Salmon is treated as a hero.

    Those who have read the book may not have even noticed Susie's complete abandonment of moral sense or care for the woman she violates. After all, she doesn't exactly couch things in those terms. So here it is, laid out for you.

    When Susie was alive, there was a boy who liked her, Ray. In the years after her death, Ray grows up to be, in the narrator's view, an attractive young man. She watches him and loves him. Somehow, events conspire to allow Susie to possess the body of Ruth, a friend of Ray's. Susie uses the opportunity to seduce Ray and they make love several times in the course of a few hours. And then Susie has to go back to heaven. Leaving Ruth, a victim of Susie's power over her body.

    Imagine that you're Ruth. You wake up. Naked. Probably a little tender. Used. In the back of some bike shop. With a man in the shower. That's what I call horror. Not only was she not conscious or aware for any of the immediately preceding events, but the guy who's been really her only friend in the world is now naked and telling her that he screwed her brains out while she was unconscious. And even if he doesn't tell her that, there's a very short rail of evidence and it all points to that conclusion. And now. She could be pregnant. She could be diseased.

    Yep. The crowning act of love on the part of the tale's heroine is little more than a petty, rapacious act of power over the helpless woman who got in her way. Good job Susie Salmon. You and George Harvey should get along nicely.

    p.s. even though I called it a spoiler, I think that Alice Sebold spoiled the book. Not me.


  3. says:

    The greatest first 30 pages ever. The worst rest.

    Compare/contrast with The Shimmering Go-Between.


  4. says:

    Haaaaaated it. I am one of those OCD literary nerds who takes on a war bunker mentality with books that I've started and dislike: "I will see this through to the end."
    For "The Lovely Bones," I made an exception.
    Somewhere, sometime, someone told Sebold she could write. That person should be made to apologize to me, in person, and to all other poor souls who were duped into buying this shlock.
    The literary press also needs to break out the cattails for a serious bout of flogging. Lev Grossman of Time Magazine is at the top of my flogging docket; he called this book "a beautiful, sensitive, melancholy novel" and repeated that claim a year later in a review for a book called "The Dogs of Babel" (a book just as terrible as The Lovely Bones). I can only assume that Mr. Grossman confined his reading to the zeros on the check accompanying the publisher's blurb or else has some sort of vitamin deficiency that causes his brain to process ham-handed tripe as "beautiful" art.
    It was Mr. Grossman's review along with the alluring premise of the novel (a young girl posthumously tries to make sense of the events that led to her death) that led me to order "The Lovely Bones" and "The Dogs of Babel," which at the time were only available in hardcover. Financial reasons made this an extremely uncommon practice for me, and my experience reading both of those novels ensured that I would never do so again.
    To further illustrate how absolutely wretched this novel is, I'm going to provide a paragraph of background. The "substance" of the novel will be criticized in the subsequent body of this review.
    During the summer of 2003, I was occupying space as an intern at a company that accepted me at the last minute and had nothing for me to do. The company was white-collar and behemoth in office space. HR sent me to an deserted floor to file documents that took up, at most, 2 hours of my 8-hour day. Even in this vacuum of monotony, I could not finish this book. I chose to watch paint chip away, and pick up dust bunnies with recycled paper (I didn't have a broom) rather than finish this book.
    So with that said, I suppose I should actually mention something specific about the book I hated. My caveat here is that I am unwilling to punish myself by picking through a copy of the book for textual examples. I'm going by memory and online synopses alone.
    The narrator and victim is "Susie Salmon." Let me stop there. SUSIE SALMON. That really should have clued me in, but I was too eager to see how the author would represent the afterlife, to catch a glimpse of this beautiful pain of looking a life that goes on without you.
    Unfortunately, Sebold managed to bleach out anything remotely interesting out of the plot in spectacular fashion. Heaven is a school, you see, not that Susie spends much time there or learns anything. Her rapist and murderer is a creepy loser while somehow being the dullest of all of Sebold's numerous dull characters. The "reason" for his murderous tendencies could be guessed by anyone who's ever even heard of a pop psychology book.
    You'd think her family would at least be interesting in grief, but Sebold reduces them to one note drones.
    Everything in The Lovely Bones is a gimmick, played cheaply for sentiment and with no other reward. I'd compare to a Hallmark movie, but Hallmark movies do not adopt the pretension that Sebold belabors with terrible pseudo-post-modernist metaphors.
    All of this would be bad enough, but what made me throw this book "aside with great force" is the offensive, and unjustifiable resolution to Susie's laments that she did not get to live. This unfairness, although poorly developed, was at least a cause of sympathy until Susie decides to forcibly correct it at the expense of others. In the hands of someone else, this last turn could've been bleak insight into motivations of the cycle of victimization but Sebold conveys not one iota of ambivalence.
    Much of my hatred of this novel results from its inexplicable popularity and commendation from people who have a responsibility to promote reading. I shudder to think who else picked up this novel convinced it was the best that the contemporary literary world had to offer. It is not my intention to slam those who enjoyed this book. If you did, I am glad to hear it. I love books, and I want others to love books. I simply fear that someone who is tempted out of a long vacation from reading might pick up a novel like this and give up the cause for lost.


  5. says:

    I worked at Borders for more than a year and I worked the boring ass registers, usually at night whic was always slow. I leaned there with my chin in my hand staring at the shelves actually wishing that I could help customers in their purchases. It's purely insane, but I think that's what happens anytime you place someone in any kind of confinement. The thing is that if I wasn't a register girl, I would have constant actual contact with the books themselves.

    All lunacy aside, one book that I stared at the entire time was this one, cuz it was literally on the number one shelf in the front of the store for a good two years or so. It sounded interesting and got good critical reviews despite its sucess with the bookish Oprah-watching housewife types. So, I REALLY didn't wanna jump on the bandwagon and read it. But at the same time I would open it and try. But I just didn't get into it.

    Last week or so, I was reading a friend's blog and she talked about reading the book and how it was so affecting that she found herself driving to work in complete tears. From then on an invisible seed had been planted. I went to the library the other day to pay my fines ($2.75! Man.) and suddenly remembered the book.

    I read it in three nights. Sebold's voice is entirely unique. Never seen it before ever. I think that being allowed into the vision and point of view of another person is probably one of the awesomest feelings ever. I think that's what it is to be in love, actually. Get in someone's skin, sit in a recliner in a little theatre located behind their eye sockets, and just watch. Not judge, not worry, not affect. Just experience someone who is so not you.

    Sebold allows this on two levels. She sets you up in the front row seat right next to Susie the murdered and raped 14 year old while she watches her former world from Heaven. But she also delivers this language that is new, original, totally fresh and yet entirely accessible. At 3am. In bed. From a free city library borrow.

    Her characters are completely amazing individuals, but not unreal or impossible. The way she wrote the book, from Suzie's viewpoint, was definitely some work on her part. And she pulls it off. What I really enjoyed is the way she would sneak in these little pieces of info - I call them " 'omg, are you serious?' mystery info nuggets". She would just be writing a scene, and at an unsuspecting moment she'd just add in a little sentence. And ofcourse, since the story revolves around the grief of the family and the Susie's unsolved case, their are moment of utter thrill as the reader joins the characters in their search for understanding, motive and the killer himself. The sentences feel like when you've been looking for something non-urgent for a while, and it's not really a big deal to find it now or later, but when you do find it your like, 'Man, now I can do this, and this and that, cuz I finally found this thing that I've been inactively searching for for a while'. So, the nuggets definitely keep you reading and sometimes they even make you say, 'omg' out loud.

    As always, if you read the first few pages and hate it, then don't force the feeling. Just cuz I thought it was a total modern classic, don't mean anything if it really ain't your thing. Either way, truly a great story, even if your mom thinks so too.


  6. says:


    The moment I finished The Lovely Bones, I let out a long, slow and heavy breath.

    Because that was some damn satisfying ending.

    I strongly believe that if you go into this book thinking it will be creepy, scary, mysterious, fast-paced and full of shocking revelations, you will be tempted to put it aside after the first sixty pages.

    It’s not only about the pedophilia, rape or murder. It’s not only about catching the killer. And it’s definitely not only about punishing Mr. Harvey for what he did.

    The Lovely Bones follows the family and friends of Susie, a teenage girl murdered by her neighbour. We see their reactions and coping mechanisms in full detail. We see them fall apart and rise again. Some lose themselves, but others find new reasons for existing. Many try to find the killer, while others perpetually mourn her.

    At first, I was surprised to see that so many people have read this slow, repetitive and, at times, unexciting story. But I understand why it’s so acclaimed by critics. The fact that it describes the lives of so many people after such a tragic event has happened is what makes it so different.

    It’s not just that the author shows the characters’ reactions; she really gets into their minds and makes us understand why they behave the way they do, say things they wouldn’t have said before and change in such a sudden manner.

    The characters are written in a way that makes us feel relatively detached from them, while still keeping an interest in understanding their actions. Sometimes, I was bored by them.

    Still, I couldn’t stop reading: I needed to know how it would end and, frankly, that part really made me not regret reading this book in the first place.

    You’re not exactly missing the world by not reading it, but it’s the type of book that, despite its flaws, will make you remember how important life, family, love and friendship are.

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  7. says:

    Two-dimensional stereotyped characters
    -Mother – living with the regret of losing her independence to the demands of childrearing. The tragic loss of a daughter accelerates her departure from those heavy burdens and into the arms of the detective working the case.
    -Father – obsessed to the point that he neglects the living members of his family destroying his relationship with his wife. Only in her absence is he able to fall in love with her “all over again”.
    -Detective – his ‘sob-story’ past (wife committed suicide) explains his devotion to make sense of senseless death by solving cases of murdered women. This leads him into the arms of the latest victim’s mother (who, incidentally, reminds him of his dead wife - eww).
    -Mrs. Singh – the exotic, wise, independent, and strong foreigner who calmly dispenses cool sage-like personal advice to near-strangers.
    -George Harvey – the ‘odd-but-harmless neighbor’ otherwise know as the psychotic pedophile/murderer who builds dollhouses in his spare time. Queue soundtrack with mangled version of a nursery rhyme transposed to a minor key ungainly lobbed from a detuned piano. Snippets from his mildly troubling childhood are revealed…explaining nothing.
    -Grandma Lynn – the often drunk but all-knowing grandmother with a ‘wacky’ liberal perspective on life.
    -I could go on…the youngest sibling who sees the ghost of Susie as his imaginary friend, the sister who struggles to become her own person from under the shadow of her dead sister, her boyfriend as the complete antithesis to the evil Mr. Harvey, her boyfriend’s older brother as the macho gear-head with a heart of gold.

    The Narrative
    There is only the occasional passage where the narrator’s voice sounds like that a teenage girl from the mid-seventies (“Lindsay had a boy in the kitchen!” – oh the giddiness of it all!). Small blessings. Cliché after cliché. If you haven’t already gotten a sense of the hackneyed construction of this book please re-read the first page of this rant. Only a sportscaster from some small-town cable station would stand a fighting chance of besting Sebold in a contest of cliché slinging.

    The Ending
    Worthy of Hallmark. Every loose end is tied up with nobody owning up to the consequences of their actions (with the exception of Mr. Harvey, because he’s bad, you see). The family is reunited, the murderer is murdered, the daughter marries her high school sweetheart and has a child of her own (thus proving that life does go on…sniff), and lastly, the teenaged ghost of murdered Susie Salmon transcends her personal minor heaven (a staging ground for spirits who persistently cling to the living world) by ‘falling’ back to earth, inhabiting the now 20-something body of a lesbian acquaintance in order to trespass into another person’s home and have sex with the now 20-something boy she had a crush on shortly before her murder. The moral? Only after wilfully experiencing the delightful carnal pleasures of the flesh can one, even the spirit of a murdered teenaged girl, let go of those lost earthly pleasures and move on to a higher and presumably more enlightened plane of existence where you are free to smite those that have wronged you. Touching, really.

    The Lovely Bones reviews
    -Why do they always say “brutal” murder or “brutal” rape? Is that opposed to the “wonderful” murders and “superb” rapes in other novels?
    -Did any of these reviewers even read the book?! They just seem to be reading each other’s reviews, praising the unique first person narrative of a protagonist in heaven and how it deals with such a horrifying topic. The fist person perspective does not offer anything new and the only thing horrifying here is that people consume mind-numbing garbage like this at an alarming rate.
    -There’s nothing new here. What was the point? Aside from, paranormal sex is a wonderfully liberating experience for both the possessive-spiri


  8. says:

    This book has single handedly shown me that I spend too much time skimming and not enough time really reading and thinking about the books I have been reading. I have two kids and so I'm busy and I often find myself reading when I am stealing time or tired. But that is not even an excuse for this book. When i read the book I thought it was pretty good. Not great, but not bad. I liked the concept and the fact that the girl was the narrator. I like a murder mystery, so I liked the suspense of waiting to see if the guy would get caught, etc. So when all was said and done and I finished the book, I thought - yeah, okay. Not bad, but not great. Then I went online here and read the other reviews, particularly one by TheDane (http://www.goodreads.com/user/show/16...) and I went - HEY!! That's right! I mean, the writing alone is something I should have picked up one had I really been paying attention. Pupils pulsing like olives?? Buttering toast with tears?? Umm... I really must have been distracted or skimming like crazy because that is ridiculous. And the real meaning of the final scene went WAY over my head, which I am somewhat ashamed to admit. When I read it, I really was like, yeah yeah, oh that's sweet she got one night with her boyfriend which she had been cheated of and all. But when you slow down and really think of this, the enormity of that is overwhelming. A young girl who dies after being RAPED. A girl who's first sexual experience was RAPE by an older man. A girl who actually barely knew this boy in her life. This girl can only let go of life after having sex. With that boy. That she really didn't know that well. That alone is enough to send of some big alarms. But then you add that she was allowed to go back to earth - to have sex??? Not see her family, not comfort her father and brother and sister? Not point out the killer?? Nope, heaven lets her go back, then of all times, not earlier when she wanted it more, or could have done more both for justice and her family? So the admission to heaven is teen sex? Really? The way to overcome deep grief and gain acceptance and peace is.. again, teen sex? Wow. I missed out as a teen because that was NOT my experience. Okay, now louder warning bells should have been going off. But the final issue - she takes over the body of a "friend". Without the girl's knowledge or permission. The "friend" who is a lesbian. And uses her body to have sex with a boy. Just taking over her body is a violation. Taking over her body and using that time to have sex is another violation. And to have sex with a boy, knowing that is the antithesis of everything this "friend" would have wanted or agreed to is yet another violation. What the hell??? And none of that gets brought up or mentioned. No, it is a feel good ending. yeah! I mean, I have some pretty close friends - some I have known for at least triple the time these two girls have "known" each other - and if I somehow managed to just steal their bodies and have sex with a woman?? Well, it would be good for me that I was already dead. That is a betrayal in the worst sense on so many levels it is shocking. And what of the possible consequences? Pregnancy? STDs? Never mind the "lesser" consequences of emotional damage, damage to their friendship, the trust issues, etc etc etc????? After thinking about it more and more, I was truly embarrassed to have not seen these dark and disturbing connotations, made all the worse for the fact that the author serves this up as the feel good ending - not noticing the irony at all of having the main character who was raped and violated in turn rape and violate a friend, while denouncing the first act as a heinous crime and lauding the second act as happy ending? So in short, I have learned my lesson and I am now making more of an effort to truly read and then think about what I am reading!!!


  9. says:

    After hearing all the hype about this book, I couldn't wait to read it and discover how amazing it is for myself. I was greatly disappointed.

    How has this book become such a worldwide success? It's slow, boring and there is no real connection with any of the characters. I found myself disliking everyone in the book.
    The overall idea could have been very good, even though it isn't exactly original, but I just thought the author didn't make the most of this great idea that she had. The best part of the book, without meaning to sound gruesome and morbid, was the death scene at the beginning. I admit that it was creepy and well told, I read that and geared myself up for a good book. But for me, it was as if the story ended there and the rest was a load of slow-moving waffle. The great idea had come along, happened for a while, and then died a painful death with the protagonist. The characters weren't interesting enough to hold up the rest of the story, I was just relieved when I finally got to the end. It was a painfully boring book... and I've lost count of the times people have told me how much they love it - why? Did I miss something? I honestly feel like I've read a completely different book from everyone else... I do not understand it's popularity at all.


  10. says:

    The lovely bones, Alice Sebold
    The Lovely Bones is a 2002 novel by American writer Alice Sebold. It is the story of a teenage girl who, after being raped and murdered, watches from her personal Heaven as her family and friends struggle to move on with their lives while she comes to terms with her own death. The novel received much critical praise and became an instant bestseller. A film adaptation, directed by Peter Jackson, who personally purchased the rights, was released in 2009.
    تاریخ نخستین خوانش: روز سی ام اکتبر سال 2003 میلادی
    عنوان: استخوانهای دوست داشتنی؛ اثر: آلیس سبالد (سیبالد)؛ مترجم: فریدون قاضی نژاد؛ تهران، روزگار، 1382، در 495 ص، شابک: 9643740285؛ چاپ دوم 1383، چاپ چهارم 1384؛ چاپ پنجم 1386؛ موضوع: داستانهای نویسندگان آمریکایی سده 21 م
    عنوان: استخوانهای دوست داشتنی؛ اثر: آلیس سیبالد؛ مترجم: میترا معتضد؛ تهران، البرز، 1382، در 435 ص، شابک: 9644423682؛
    عنوان: استخوانهای دوست داشتنی؛ اثر: آلیس سیبالد؛ مترجم: فریده اشرفی؛ تهران، مروارید، 1383، در 421 ص، شابک: 9645881536؛
    قهرمان داستان دختری چهارده ساله، به‌ نام: «سوزی» ست؛ او پس از آنکه از سوی: «جرج هاروی»، مورد تجاوز قرار گرفته، و به قتل می‌رسد، با زبانی کودکانه و جذاب، رویدادهای پس از مرگ خویش را روایت می‌کند. لحن کودکانه ی «سوزی»، با گذشت سال‌ها همچنان کودکانه می‌ماند، و این روح به روایت ماجراهایی می‌پردازد، که در طول ده سال، پیرامون: والدین، دوستان، پلیس، و حتی قاتلش، رخ می‌دهد. راوی همچنین توصیفی ساده و صمیمی از بهشتی که در آن مستقر شده ارائه می‌دهد. و ... ا. شربیانی


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