Its an odd sensation when reading the first chapter of a novel, that you feel you know where the plot is going to take you, before you've read any further. Constant reflections of other books and films flashing through your mind and intruding. And it is true The Midnight Library's basic premise is a well worn narrative conceit. A central character reaches some sort of crisis and is shown the consequences for their lives should they take, or not take, a different path. I was reminded of Dicken's - A Christmas Carol, Powell & Pressburger's - A Matter of Life and Death and Frank Capra's -Its A Wonderful Life. All venerable and honourable parables of a similar spiritual journey. Let's not mention Paulo Coelho, just move on, quickly, move on.
This type of story line has an inherently moral purpose. Generally ending with the central protagonist realising their current life is good enough. That it can be approached differently and be more fulfilling. In The Midnight Library, Nora has given up on life, its all just a mess, and wants it to end. At this point of desperation she finds herself in the Midnight Library with Mrs Elms a much loved school teacher as her guide. On its shelves are her book of regrets and all the books containing the many possible lives she might live. Each book chosen takes her to that singular life until she realises this isn't what she wants, which then returns her to the library, ever so slightly wiser. Thus learning about the half baked nature of her regret. How lives go awry in many ways all the time, and that that is OK.
This type of book could be too earnest, easily descending into cliché, being patronising or cloyingly sentimental. It is a testament to Haig's deceptively simple, yet nifty intelligent writing, that he mostly dodges these pitfalls. Though it can't completely avoid the all pervading vibe of predictability. Writing a positive uplifting novel takes courage these days when nihilistic cynicism is the favoured currency. Not to mention a certain degree of inventiveness to get around the more obvious plot holes. When Nora is thrust into yet another life scenario, you still question whether she'd bluff and negotiate her way through the unfamiliar circumstances of it, quite so easily.
Haig writes in brief chapters of a few pages. All easily digested before bed time, over a sandwich lunch in a park or on a crowded tube train. The deja vu familiarity of it means you can pick it up and put it down without fear of losing track, should you not touch it for a week or two. It is philosophically and psychologically lite, so it won't weigh heavily on your sleep or sense of equalibrium. Nor challenge you to go out and live a completely different life. It feels as though it ought to be more instructive or inspiring than it is. Nora never really existed for me as a person I could resonate with. Even though the life dilemmas she deals with are certainly universal. Without personal identification it didn't carry me emotionally along with it.
Though it undoubtedly touches and salves the spirit. Its mostly like a very bland Italian meal, that goes down easily without seemingly providing nutrition or feeding your hunger. No wonder its sold so well.
CARROT REVIEW 3/8
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