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Crack Apple and Pop Saira Viola 9780985000356 Books

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Crack Apple and Pop Saira Viola 9780985000356 Books

Social realism, huh?

Here's some commonplace, everyday life examples of social realism for you:

✔ Escaping the oppressive confines of Walmart to find a refuge in the glory of the lower-middle class glamour that is Safeway.
✔ High-fiving a shirtless gang-bunger covered in unreadable tattoos who is proudly taking his baby-mama for a ride on a motorized shopping cart he just stole.
✔ Telling two very polite burly thugs that you do not wish to buy a home entertainment system that they have in the back of their pickup truck.

But then, that's just a boring, everyday routine. Who would want to read that? Let's step it up a notch.

Take drugs, sex, and violence; expensive night clubs and run-down dens of sin; filthy rich and those who want to be even richer or filthier; and while we are at it, throw in some good, old-fashioned hatin' as well. Stick it in London's "live in the moment" scene, paint the glamour on the backdrop of dirt, and power it up with enough coke to fuel a Nazi blitzkrieg.

That will do for a start, I guess. With this, we are sliding into that slippery Guy Ritchie territory that makes us want to see the bad guys succeed and stop wondering about such clichés as moral relativism.

But enough of my daily dose of social commentary, we've got us some book-critiquing to do. Just roll with it, sister, like there's no nails sticking out of the ground.

Tony, the key protagonist, doesn't seem to me like the main hero of this novel. Interesting, right? I understand that everything is revolving around him and his business. However, there are so many different stories and subplots in this book in which he is not directly involved that it gave me an idea - perhaps, the actual hero of the novel is not a mere human but a lifestyle of the not-so-invisible underside of the society? That makes certain sense to me when I think back to how the story was constructed.

Much like Ritchie or Tarantino tales, the narrative is a kaleidoscope of small happenings that involve multiple characters that sometimes might seem unrelated at first. A lawyer with a coke habit gets a client who is an Indian crime-lord a mild-mannered older gentlemen on a drug run gets in a fight over a road-rage incident; a socialite is preparing for a charity event; a rabbi gets busted pushing coke. This is not a painting in wide strokes, however, the feeling I got was more of a zooming in from above at points of interest.

Since there are many scenes, there are also many characters involved. It starts with Tony's crew, expands to people they know and do business with and other people involved, however sideways. With Tony's "New-Age Natural High" idea of a retirement plan, more and more characters get in the action. Some of them are episodic but a few keep reappearing periodically and move the story forward. A few of the latter tend to stand out. I think my favorites are "Big" Bernie, standing "three‐foot‐four inches tall with a Mohican haircut coloured blue and green, at only twenty‐ seven‐years‐old he was a Mensa maths genius who took care of all Tony's outgoings, expenses, deposits, savings, and money draw‐downs" and Richard, who "enjoyed the power of being a lawyer and not much else." Both are colorful in their own way, and both start as hard-to-relate-to characters yet grow somewhat sympathetic as the story progresses.

One thing that deserves close attention is the way the novel is written. Many a time, the words are a Synesthesia of a cultural references that has an urban beat to it. Here are some passages I liked:

◕ "He smiled walking over to his phone whilst piping the lyrics to the Black Eyed Peas song Where is the Love. It was a bumbling skit shaved with good intentions and unswerving devotion. T felt valued. The rest of the day fell away with a yawn."

◕ "It was a ripe, spanking night; the wind slapping the skin of the trees and hurling the leaves from top to bottom in a spin rush, shading the Autumn sky with thick brush strokes of colour, a post impressionist hue of twilight beauty."

◕ "Tony was gliding around like a figure skater, his footwork smoother than a Pink Floyd baseline and twice as chilled."

The style also pinpoints the intended audience for the novel. If you can understand what this is about, then this book is definitely for you:

◕ "Limping to his feet like a wounded animal, he was a drowning reflection of a Herman Nietzsche liturgy."

◕ "One solitary gunfire shot had ripped open the Manhattan skyline and mottled the night air red. It was a horrifying sight to behold, like a Damien Hirst installation without the safety of Perspex."

◕ "They chatted politely for the next few minutes then T lost interest in her girlish life and tuned into ALI G."

Many of the characters tend to speak in a rapping sing-song that, together with their description, give the reader a feeling of who they are and why they are in a scene. Here's Tony's boss:

◕ "Those days man I was a fool runnin all over town so mi got `ere, mi had nothin so mi had nothin to lose understand."

Here's just an episodic character:

◕ "Ello darling my you is a pretty boy mmm ooh wee you got competition man he is fine oh bwouy so fine."

One can correctly guess what they are about even without reading a description, which makes it easier to get a quick reference point on the character, especially since there are so many of them appear in the novel.

There's somewhat in the style of recitation of this novel reminiscent of the way Kurt Vonnegut used to do it, this amused monotone. However, I think the general style of the prose is much closer to that of Alfred Bester - attacking all the senses and piling up the references to give in a few lines the picture that it would take half a page to construct. Either way you swing, this is a good read for those who appreciate things done differently and with a style.


Tags : Crack Apple and Pop [Saira Viola] on Amazon.com. *FREE* shipping on qualifying offers. Money is nothing but freedom; with money, you can create your own morality. This is the credo that the characters live by in Saira Viola's novel of social realism. At times,Saira Viola,Crack Apple and Pop,Kite and Key Publishing,098500035X,FICTION General,Fiction - General,Fiction : Urban Life,General,Urban

Crack Apple and Pop Saira Viola 9780985000356 Books Reviews

There are very few books that reach out, grab you by the throat, and give you a good shake, before taking you on a twisty-curvy ride through the exposed underbelly of society - the underbelly everyone knows exists, but mostly ignores or pretends to be surprised about when it rears its head through the news.

Saira Viola's Crack Apple and Pop! is one of those books.

Its opening quote - "Superman don't need no seat belt" (Muhammad Ali) - is a brilliant choice, setting the stage for the fast-paced story that follows Tony from his introduction as a victim of a vicious, hate-filled beating, to a short-lived career as a promising boxer, to a drug kingpin of London looking to retire. Tony's story is intertwined with those of many other characters to provide a complete picture of the decadent and self-indulgent world of London's nether regions populated with the rich and famous, those who would be rich but wish to stay under the radar, the smart, the stupid, the greedy, and the hangers on. Social commentary at its finest, the world Viola has created is presented without apology or explanation and is not for anyone who wishes to read a sanitized, politically correct tale.

I found the narrative to be very Tarantino-esque, though not quite as gratuitous in terms of violence and gore. Mention has been made of Viola's created writing style, termed "sonic scatterscript," by other reviewers. Initially, I wasn't quite sure what to expect. The description immediately brought to mind Anthony Burgess' A Clockwork Orange which was a nightmare to read because I had to keep looking things up in the dictionary he provided with his work which destroyed the pacing for me. This wasn't the case with Crack Apple and Pop!. Viola's ability to create the most wonderful phrases and seamlessly craft the narrative is masterful enough to incite jealousy if not downright envy.

Viola also references much of pop culture - everything from famous boxers to musicians and bands to philosophers (and, yes, I include Nietzche in the pop culture category). That she has done her homework is obvious - she obviously understands the points of reference she makes and effortlessly weaves them into the narrative without coming across as trite or clichéd. They also provide a depth to the characters that could otherwise come across as stereotypical and one-dimensional.

Viola herself offers the paramount question to ask. Chapter 15 begins

"Ever wonder why the drug dealers, politicians, models, the super rich, the super bad, the fame whores, the great, the greedy, and the godless all end up at the same party?"

If you have ever pondered that question, Crack Apple and Pop is the book to read.
Saira Viola is truly a modern day literary giant if there’s any doubt about that fact look no further than her novel Crack, Apple & Pop. She writes with punch and an unparalleled fearless bravura. I want more!
I picked up this book honestly not knowing what to expect, I read the reviews of course as well as the book jacket but I could not have known just how good it was until I got into the book. The surprises started right in the beginning. Saira provides a description of a character who falls into the world of boxing. The character's mother was instrumental in pointing him in that path and as a person who reads a lot of books, I started to predict in my mind what would happen next. I was wrong, she weaved a character that I was able to understand why he behaved the way he did, what his motivations were, why he acted the way he did. What was also pretty impressive was her use of Patois. I am of Caribbean descent and I can tell you that her written Patois is accurate - not just in spelling but actually the way the words are used together. The characters are three dimensional - you get to see them interact with different people and BE different people depending on who they are talking to. All in all, it was worth the money and worth the read.
Social realism, huh?

Here's some commonplace, everyday life examples of social realism for you

✔ Escaping the oppressive confines of Walmart to find a refuge in the glory of the lower-middle class glamour that is Safeway.
✔ High-fiving a shirtless gang-bunger covered in unreadable tattoos who is proudly taking his baby-mama for a ride on a motorized shopping cart he just stole.
✔ Telling two very polite burly thugs that you do not wish to buy a home entertainment system that they have in the back of their pickup truck.

But then, that's just a boring, everyday routine. Who would want to read that? Let's step it up a notch.

Take drugs, sex, and violence; expensive night clubs and run-down dens of sin; filthy rich and those who want to be even richer or filthier; and while we are at it, throw in some good, old-fashioned hatin' as well. Stick it in London's "live in the moment" scene, paint the glamour on the backdrop of dirt, and power it up with enough coke to fuel a Nazi blitzkrieg.

That will do for a start, I guess. With this, we are sliding into that slippery Guy Ritchie territory that makes us want to see the bad guys succeed and stop wondering about such clichés as moral relativism.

But enough of my daily dose of social commentary, we've got us some book-critiquing to do. Just roll with it, sister, like there's no nails sticking out of the ground.

Tony, the key protagonist, doesn't seem to me like the main hero of this novel. Interesting, right? I understand that everything is revolving around him and his business. However, there are so many different stories and subplots in this book in which he is not directly involved that it gave me an idea - perhaps, the actual hero of the novel is not a mere human but a lifestyle of the not-so-invisible underside of the society? That makes certain sense to me when I think back to how the story was constructed.

Much like Ritchie or Tarantino tales, the narrative is a kaleidoscope of small happenings that involve multiple characters that sometimes might seem unrelated at first. A lawyer with a coke habit gets a client who is an Indian crime-lord a mild-mannered older gentlemen on a drug run gets in a fight over a road-rage incident; a socialite is preparing for a charity event; a rabbi gets busted pushing coke. This is not a painting in wide strokes, however, the feeling I got was more of a zooming in from above at points of interest.

Since there are many scenes, there are also many characters involved. It starts with Tony's crew, expands to people they know and do business with and other people involved, however sideways. With Tony's "New-Age Natural High" idea of a retirement plan, more and more characters get in the action. Some of them are episodic but a few keep reappearing periodically and move the story forward. A few of the latter tend to stand out. I think my favorites are "Big" Bernie, standing "three‐foot‐four inches tall with a Mohican haircut coloured blue and green, at only twenty‐ seven‐years‐old he was a Mensa maths genius who took care of all Tony's outgoings, expenses, deposits, savings, and money draw‐downs" and Richard, who "enjoyed the power of being a lawyer and not much else." Both are colorful in their own way, and both start as hard-to-relate-to characters yet grow somewhat sympathetic as the story progresses.

One thing that deserves close attention is the way the novel is written. Many a time, the words are a Synesthesia of a cultural references that has an urban beat to it. Here are some passages I liked

◕ "He smiled walking over to his phone whilst piping the lyrics to the Black Eyed Peas song Where is the Love. It was a bumbling skit shaved with good intentions and unswerving devotion. T felt valued. The rest of the day fell away with a yawn."

◕ "It was a ripe, spanking night; the wind slapping the skin of the trees and hurling the leaves from top to bottom in a spin rush, shading the Autumn sky with thick brush strokes of colour, a post impressionist hue of twilight beauty."

◕ "Tony was gliding around like a figure skater, his footwork smoother than a Pink Floyd baseline and twice as chilled."

The style also pinpoints the intended audience for the novel. If you can understand what this is about, then this book is definitely for you

◕ "Limping to his feet like a wounded animal, he was a drowning reflection of a Herman Nietzsche liturgy."

◕ "One solitary gunfire shot had ripped open the Manhattan skyline and mottled the night air red. It was a horrifying sight to behold, like a Damien Hirst installation without the safety of Perspex."

◕ "They chatted politely for the next few minutes then T lost interest in her girlish life and tuned into ALI G."

Many of the characters tend to speak in a rapping sing-song that, together with their description, give the reader a feeling of who they are and why they are in a scene. Here's Tony's boss

◕ "Those days man I was a fool runnin all over town so mi got `ere, mi had nothin so mi had nothin to lose understand."

Here's just an episodic character

◕ "Ello darling my you is a pretty boy mmm ooh wee you got competition man he is fine oh bwouy so fine."

One can correctly guess what they are about even without reading a description, which makes it easier to get a quick reference point on the character, especially since there are so many of them appear in the novel.

There's somewhat in the style of recitation of this novel reminiscent of the way Kurt Vonnegut used to do it, this amused monotone. However, I think the general style of the prose is much closer to that of Alfred Bester - attacking all the senses and piling up the references to give in a few lines the picture that it would take half a page to construct. Either way you swing, this is a good read for those who appreciate things done differently and with a style.