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Sweet Tooth by Ian McEwan (2012)

Recently added byRobert3167, private library, memate, laurenbufferd, lisaross, mkunruh, Lizalun, cnfoht
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Showing 1-5 of 132 (next | show all)
Oh my, I liked this alot!! ( )
  laurenbufferd | Nov 14, 2016 |
Spy story set in early/mid 1970s England
Main character Serena Frome a recent university graduate joins MI5
She is tasked to handle an up and coming writer called Tom Haley.
Serena and Tom fall in love. Tom is unaware that Serena is a spy.
Will Tom find out and will the love last?
This is good nostalgic book set in a time before mobile phones and the internet.
Well written book this. ( )
  Daftboy1 | Nov 8, 2016 |
It's definitely interesting. But sometimes I think that MacEwan falls so deeply in love with his tricks and twists that he forgets to make the book about anything. A clever but ultimately empty novel. ( )
  gayla.bassham | Nov 7, 2016 |
Fresh out of Cambridge and on the recommendation of her former lover, clergyman's daughter Serena Frome lands a job with MI5. It's the early 1970s, and the intelligence agency has just begun to employ women. Although Serena studied mathematics at Cambridge, reading is her true passion. She reads voraciously, completing several novels in a week. Her reading habits give her an opportunity to advance out of the clerical pool as part of operation Sweet Tooth. MI5 is secretly funding writers whose views are in opposition to communist ideology. Serena's task is to steer an academic with writing ambitions to accept an offer from a foundation. She hadn't reckoned on falling in love with the author, or the ethical compromises she'd have to make to keep her secret.

McEwan's novel revives the political and cultural atmosphere of 1970s Britain. Fictional characters discuss current events and mix with real literary figures like Martin Amis and Ian Hamilton. Even though the protagonist is female, it became increasingly clear that the novel is at least somewhat autobiographical.

I lived in London long enough to be familiar with its politics and its literary figures. This aspect of the book interested me and kept me turning the pages. What it lacks is an emotional punch. Serena's voice is so dispassionately analytical that she didn't seem to care how her story turned out. If she doesn't care, why should the reader? I couldn't get past hearing the story to living the story. The last chapter is proof that the novel doesn't really work. It wouldn't have been necessary if it had. ( )
1 vote cbl_tn | Aug 26, 2016 |
I feel like IÛªve been screwed over twice. First by the publisher, for advertising this as a spy story, and then by the author, for the way he wrote this entire fucking book. Seriously, want to know what Ian McEwan thinks of you, his reader? Especially if you happen to be a lady reader? Read Sweet Tooth right to the fucking end and find out.

Serena Frome (rhymes with ‰ÛÏplume,‰Û as she tells us) is the smart, beautiful daughter of an Anglican bishop. Raised in a loving family, she has been spared from the greater excesses of the sixties. When it is time for Serena to go to college, her mother pressures her to study mathematics at Cambridge, saying it is her ‰ÛÏduty as a woman.‰Û Although Serena would rather study English, she complies with her mother‰Ûªs wishes, only to find that she is not as brilliant at math as everyone thought.

Serena takes her mind off her shortcomings by going back to her first love: books. She is a delightfully unsnobbish reader, insisting to her friends that Valley of the Dolls is as good as anything by Jane Austen and reading Octopussy and One Day in the Life of Ivan Denisovich in the same sitting. She doesn‰Ûªt care for the ‰ÛÏtricks‰Û of postmodernist literature, though. All she wants, Serena explains, are ‰ÛÏcharacters I could believe in . . . Generally, I preferred people falling in and out of love . . . It was vulgar to want it, but I liked someone to say ‰Û÷Marry me‰Ûª by the end.‰Û Poor, sweet Serena, all your preferences are going to be royally pissed on by the time your story is over.

The works of Aleksandr Solzhenitsyn transform Serena into a vehement anti-Communist, a rarity in the university world of the 1970‰Ûªs. A series of articles she writes for a student magazine catches the eye of middle-aged Tony Canning, a history tutor and former MI5 operative. They have an affair and he begins grooming her for recruitment into MI5. Even after he brusquely ends things between them, Serena continues on the path set out for her and is hired as a ‰ÛÏjunior assistant officer,‰Û i.e. glorified secretary. Geez, that pesky glass ceiling.

However, thanks to her reputation as a reader, Serena is offered a role in a program codenamed ‰ÛÏSweet Tooth.‰Û MI5 has been secretly funding up-and-coming writers whose work have an anti-Communist slant, and now they want to add a novelist to the list. Serena‰Ûªs job is to visit Tom Haley (McEwan‰Ûªs doppelgÌ_nger) and offer him a stipend from a front organization. (That‰Ûªs it. That‰Ûªs her entire mission. [a:George Smiley|1411964|John le CarrÌ©|https://d.gr-assets.com/authors/1234571122p2/1411964.jpg] this girl ain‰Ûªt.) Serena is entranced by Tom‰Ûªs short stories and all too ready to fall in love with their author. As her relationship with Tom grows more and more serious, Serena agonizes over telling him the truth, knowing he would probably reject both the money and her.

While reading, I never went, ‰ÛÏOh man, it‰Ûªs gonna be so bad when Tom finds out!‰Û I didn‰Ûªt feel any real tension. Serena visits Tom, they have sex, they get drunk, they have more sex, she feels guilty about not telling him, she goes home. Repeat ad nauseum. And maybe I am a horrible person, but I thought the sense of underhandedness was blown way out of proportion. Serena never lied about her feelings for Tom. She doesn‰Ûªt try to influence what he writes. She doesn‰Ûªt try to censor him. She just offered him money that he was under no obligation to accept.

I also had a problem with the way Serena is treated by male characters, and even the author himself. She has terrible taste in men. They are unavailable (gay, engaged, married) or not very nice (manipulative, vindictive, self-absorbed). Sometimes both. And while I liked Serena‰Ûªs voice ‰ÛÒ she is wonderfully dry ‰ÛÒ everything that happens to her happens because (1) she is pretty and (2) she likes to read. (Why do male authors have this idea that a girl is remarkable if she is pretty and likes to read? Bonus points if she likes to have sex.) And the ending is just this true Ian McEwan plot twist‰ã¢ that made me want to chuck the book out the goddamn window. ( )
  doryfish | Aug 15, 2016 |
Showing 1-5 of 132 (next | show all)
A satisfying spy novel with a literary twist provides both surprises and sly references to McEwan's early work
Ian McEwan has never been a spy (or, if he has, that fact remains classified), but of today's novelists he may be the most uniquely suited to the profession. He has a scientific, technical mind drawn to structural ploys and complicated scene engineering. . . . Mr. McEwan likes manipulating readers as much as plots. . . . Ultimately, like his bloodless previous novel, Solar (2010), there is little point to Sweet Tooth beyond Mr. McEwan's low-level authorial deceptions. . . . The book is soon overwhelmed by its own narrative ruse, which revealed in the final pages, is clever but not meaningful.
added by sgump | editWall Street Journal, Sam Sacks (Nov 13, 2012)
In playing these mirror games, Mr. McEwan seems to want to make the reader think about the lines between life and art, and the similarities between spying and writing. He also seems to want to make us reconsider the assumptions we make when we read a work of fiction. As usual his prose is effortlessly seductive. And he does a nimble job too of conjuring London in the 1970s — with its economic woes, worries about I.R.A. bombings and uneasy assimilation of the countercultural changes of the ’60s. These aspects of “Sweet Tooth” keep the reader trucking on through the novel, but alas they’re insufficient compensation for the story’s self-conscious contrivance and foreseeable conclusion.
The combination of all these nose-tapping hints suggests to the alert reader that there’s something clever-clever coming along at the end, which makes it feel even more like a gimmick. I won’t spoil things if you’re going to read the book, but just remember that one of the central characters is a novelist. OK?
But Sweet Tooth – which has been misleadingly hyped as a thriller – is a different kind of work altogether. It’s McEwan’s version of metafiction, his exploration of what it could mean to write a postmodern-realist novel for a wide (mainstream and literary) readership. It’s also rather biographical. . . . . but this novel could be seen as his way of reaching beyond the easy labels without abandoning the style his readers love. He’s intelligent, has popular and literary appeal, manages credibly and interestingly to include politics in his writing, and has a gift for making an enormous range of readers feel as though he is writing about them, about their own particular life of the mind. He observes the tiny tragedies of growing up and growing old with humour and insight.

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Author nameRoleType of authorWork?Status
Ian McEwanprimary authorall editionscalculated
Balmelli, MauriziaTranslatorsecondary authorsome editionsconfirmed
Verhoef, RienTranslatorsecondary authorsome editionsconfirmed
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If only I had met, on this search, a single clearly evil person.
Timothy Garton Ash, The File
To Christopher Hitchens
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My name is Serena Frome (rhymes with plume) and almost forty years ago I was sent on a secret mission for the British Security Service.  I didn't return safely.  Within eighteen months of joining I was sacked, having disgraced myself and ruined my lover, though he certainly had a hand in his own undoing.
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Recruited into MI5 against a backdrop of the Cold War in 1972, Cambridge student Serena Frome, a compulsive reader, is assigned to infiltrate the literary circle of a promising young writer whose politics align with those of the government, a situation that is compromised when she falls in love with him.… (more)

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