Jason's Reviews > Before I Go to Sleep
Before I Go to Sleep
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My negative attitude is a ruse, I swear it. I am such a positive little outlooker. Nearly every book I read starts off with five stars in my head. It barely has to earn anything; it just has to hold on to what it started with. But wow, this book fell off a cliff or something! What the hell happened??
First let’s back the truck out of these plot holes and start from the beginning.
The premise of this psychological thriller is fairly straightforward. The first person narrator has amnesia. More specifically, she has a mythical combination of several different forms of amnesia which happen to co-exist simultaneously at the exact same time. Maybe that should have been my first clue. She has retrograde amnesia as a result of a mysterious traumatic episode that occurred years earlier, and on top of this she has anterograde amnesia which affects her episodic memory: she cannot retain anything new. My second clue that this book would be an eye roller is that she has a short-term memory capacity of many hours—essentially an entire day’s worth—and it is erased only when she falls asleep, which flagrantly stretches the definition of anterograde amnesia by a large margin.¹
So this unreliable narrator with her unreliable memory is trying to piece together the details of her life while basically having to start from scratch every day. I love the idea of this. I love the idea that without memory retention, one cannot build experiences and without experiences, he cannot forge interpersonal bonds with others, which means he cannot develop relationships or attain any kind of emotional maturity or love. He cannot even experience the feeling of anticipation because it would require a preexisting sense of future combined with a knowledge of the past, both of which are conspicuously absent when you have to be reminded every morning that you have amnesia to begin with. There is no future, there is no past, there is no anticipation of anything. It is only the here and now. Because of my interest in this I was able to suspend my beliefs a bit regarding the nuances of the narrator’s form of amnesia.
Still, Watson manages to muck it all up. The narrator’s sense of mistrust, confusion, and paranoia are there, but the frustration of her existence is glossed over at each subsequent sunrise for the sake of plot progression. And the ending, OH GOD THE ENDING. It devolves so quickly to predictable Sleeping with the Enemy–style fare that all enthusiasm for the psychological part of the story is lost. Truly, I think this could have been a decent novel, I really do. Watson’s clichéd structure, though, leaves too much to be desired and the book simply does not live up to its potential.
¹After writing this review, I came across a blog post by the author who sort of corroborates my assertion that the narrator’s form of anterograde amnesia is somewhat of a fabrication. Sort of.
First let’s back the truck out of these plot holes and start from the beginning.
The premise of this psychological thriller is fairly straightforward. The first person narrator has amnesia. More specifically, she has a mythical combination of several different forms of amnesia which happen to co-exist simultaneously at the exact same time. Maybe that should have been my first clue. She has retrograde amnesia as a result of a mysterious traumatic episode that occurred years earlier, and on top of this she has anterograde amnesia which affects her episodic memory: she cannot retain anything new. My second clue that this book would be an eye roller is that she has a short-term memory capacity of many hours—essentially an entire day’s worth—and it is erased only when she falls asleep, which flagrantly stretches the definition of anterograde amnesia by a large margin.¹
So this unreliable narrator with her unreliable memory is trying to piece together the details of her life while basically having to start from scratch every day. I love the idea of this. I love the idea that without memory retention, one cannot build experiences and without experiences, he cannot forge interpersonal bonds with others, which means he cannot develop relationships or attain any kind of emotional maturity or love. He cannot even experience the feeling of anticipation because it would require a preexisting sense of future combined with a knowledge of the past, both of which are conspicuously absent when you have to be reminded every morning that you have amnesia to begin with. There is no future, there is no past, there is no anticipation of anything. It is only the here and now. Because of my interest in this I was able to suspend my beliefs a bit regarding the nuances of the narrator’s form of amnesia.
Still, Watson manages to muck it all up. The narrator’s sense of mistrust, confusion, and paranoia are there, but the frustration of her existence is glossed over at each subsequent sunrise for the sake of plot progression. And the ending, OH GOD THE ENDING. It devolves so quickly to predictable Sleeping with the Enemy–style fare that all enthusiasm for the psychological part of the story is lost. Truly, I think this could have been a decent novel, I really do. Watson’s clichéd structure, though, leaves too much to be desired and the book simply does not live up to its potential.
¹After writing this review, I came across a blog post by the author who sort of corroborates my assertion that the narrator’s form of anterograde amnesia is somewhat of a fabrication. Sort of.
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Reading Progress
July 14, 2011
– Shelved
April 7, 2012
– Shelved as:
for-kindle
Started Reading
July 23, 2012
–
Finished Reading
July 24, 2012
– Shelved as:
reviewed
Comments Showing 1-50 of 73 (73 new)
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Eh?Eh!
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24 juil. 2012 17:06
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Why you steal Jay Rubin?
The 'Supreme Douchebag' god-bashing one.
I saw Sleeping with the Enemy in the theater when it first came out. I still remember the uneven hand towels. A seminal film.
Oh, god...
I was young and not cynical then. Everything caught me by surprise, including her triumph at the end.
Well, I think even if it wasn't predictable in its time, it's become part of a genre that has a very typical plot structure. So the plot here is as predictable as the plot of SwtE would be to us now.
There. Is that enough backpedaling for ya? =)
Mike wrote: "Nailed it!"
Thanks, Mike!
If you're cynical, then we're all screwed."
LGM!!!
Agreed, it was cool the first time around, but I feel like it has been overdone. Fight Club was fun, but every film afterwards that relied on the same twist was not. Especially that one weird french horror film, I'll have to remember the name. Oh no, amnesia!
Speaking of the threaded story lines, have you seen his first film, Following? Caught it on netflix, it takes a moment to get into and to, but it all gets pulled off really well. The way the timeline is chopped up and delievered in rotating threads is really disorienting and cool
Oooh, no, but as a Chris Nolan fan, I should definitely check it out. Perhaps it was a precursor to Memento? I've seen just about everything else of his, I think.
Yes, that's it! When it ended I groaned. That is hilarious, I see how that would really add to it too. That makes me wonder what other movies could be made even better in that format. Probably a lot of them. Sadly I saw it in full color in an overpriced movie theater.
I'd never heard of it until netflix popped it into my face. It is all black and white too, for real black and white, and super low budget (watching it I wondered if it was his student film or something). Nolan executed the ending very nicely.
Oh wow, I didn't realize that was Nolan. Haven't seen either yet but I'll make sure to now. Nolan is cool. I also need to see the new Batman even though simply existing in society caused the ending to be spoiled already.
Frank Darabont actually shot The Mist in both b&w and color... and the studio preferred color. But it's far, far cooler in b&w.
Some--Dario Argento!--look lush and gorgeous in color. But I agree with your point about intensity; there's something closer to the horror of a dream about the b&w Mist... (it's on the dvd).
It's like shooting with the wide composition or the tighter (tv-sized) frame -- one isn't "better" than the other; you need to shoot to amplify the possibilities of the form you have. So, yeah, there are some flicks that revel in the color -- Freddy K! Darabont's interesting because he wanted (and aimed at) that shadow/light play of b&w....
I'm a horror geek. Endlessly disappointed by horror films and fiction, but still a longtime sucker for the genre.
That is true, the Shining without color would loose a lot. Let's just say the bad films then ha. I'm with you both too, I keep coming back to horror films expecting to be disappointed again and again. It just makes the good ones that much better.
Rosemary's Baby, gahh how did i forget about that movie? Now I won't be able to sleep. Again.
Nice haha! No wonder he spends so much time blowing himself up.
....The remake was in colour, wasn't it? //checks Yeah....yeah, it was.
I'm really sure the ocean of BLOOD that comes roiling out of the elevators in that flick would lose a lot of impact in b&w (not that I had nightmares about that for years, oh no)....
OTOH it was the old creepy b&w horror flicks I saw as a kid on a shitty little portable TV in my bedroom at 3 AM that scared me the most, I don't know why. - OH! and of course one of the most famous b&w-to-colour transitions of all: http://www.tcm.com/mediaroom/video/25... AAAAAAAAAAAAHHHHHH
Oh ghod and what about the lantern or whatever it is swinging back and forth in the cellar in Night of the Living Dead? No way that scene would work in colour.
Pea soup would definitely not come across as well in b&w.
True dat."
I love how the discussion here has COMPLETELY derailed into examples of f/x in horror movies. It's like the best of St John's seminars. GOODREADS FTW.