If some parts of his conduct made Captain Dobbin exceedingly grave and cool, of what use was it to tell George that though his whiskers were large, and his own opinion of his knowingness great, he was as green as a schoolboy? that Rawdon was making a victim of him as he had done of many before, and as soon as he had used him would fling him off with scorn? He would not listen: and so, as Dobbin, upon those days when he visited the Osborne house, seldom had the advantage of meeting his old friend, much painful and unavailing talk between them was spared. Our friend George was in the full career of the pleasures of Vanity Fair.
I keep intending to post once a week, but I also want to have made it through a certain amount of the book of the moment between my posts.
I’m not liking Vanity Fair as much as I’d hoped to. Generally speaking, there are two reasons for continuing to read a book that wasn’t assigned in a class. You either like the characters and feel invested in their eventual successes, or you hate the characters and feel invested in witnessing their deserved downfall.
It’s hard to explain, but it’s almost as though we, the audience, aren’t spending enough time with the primary characters to know if we like them or hate them. Except we do spend a lot of time – it’s just through the narration, which has a very removed-from-the-scene feel to it. The narration reads like someone reporting second- or third-hand, rather than in the moment, which is weird, of course, given the text is delivered in the third person past tense. It naturally SHOULD feel removed from the moment, except it’s somehow more so than usual. It’s like he’s describing some other book he read, perhaps.
I suppose it suffices to say that I’m finding it difficult to stay engaged in the story for more than very short bursts. The chapters about Brussels and the Battle of Waterloo were gripping, but then he dropped it suddenly, shifted forward by a year within the course of a paragraph, and started talking about the elderly Miss Crawley’s will. AGAIN.
I’m accustomed to the fact that nineteenth-century novels take a while to build their momentum, but even the notoriously verbose Dickens hooks you in by halfway through the book. I’m going to stick with it, because I’ve read that Vanity Fair is infamous for starting slowly, but I’m halfway through the book. It’s been 400 pages. Surely that’s a little too slow!