Bowl of Fruit (1907), by Panayotis Cacoyannis
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Bowl of Fruit (1907), by Panayotis Cacoyannis
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Leon’s past is a labyrinth of truths, half-truths and untruths - not one story but many different stories at once, which Leon has been trying to put behind him. But ghost-writer Anna Tor knows much more about his history than he does, and when Leon reluctantly agrees to meet her, as they begin to trace together the two converging courses of their separate lives since their birth on the same September morning in 1973, the devastating secrets of the past are revealed one by one to bind them ever closer together.
Bowl of Fruit (1907), by Panayotis Cacoyannis - Amazon Sales Rank: #272343 in eBooks
- Published on: 2015-09-11
- Released on: 2015-09-11
- Format: Kindle eBook
Bowl of Fruit (1907), by Panayotis Cacoyannis Review "Cacoyannis' talent for connecting art and literature with the personal lives of his characters is on full display. Leon's artistic talent--not to mention the commerce of it all--is nearly a character unto itself, and recollections of difficult events are adeptly woven into the larger narrative. Anna and Leon are unpretentious, smart compatriots who stomp on familiar ground in London, and their growing connection, as well as the labyrinthine tale that emerges, is as unsettling as it is satisfying. The novel may not be as explosive as his first, but it's nevertheless a unique tale about secrets and the quixotic nature of artistry. A lively, multilayered novel that connects two uncommon souls to a shared past." Kirkus Reviews "While BOWL OF FRUIT (1907) undeniably starts off slow, once the novel starts delving into the intricacies of Leon's incredibly complex psyche it's impossible to put down. The secrets that define both the plot and Leon are incredibly original and Cacoyannis's skill with delivery is truly incredible. Stretching a day to fill an entire novel is a bold choice, but despite the brevity of the time period nothing about the novel feels rushed or forced. Each addition to Leon's story is welcome, and while his history with Anna may be fantastical it seems believable, a credit to Cacoyannis's ability with character...BOWL OF FRUIT (1907) is an incredible read, with well-crafted characters and a plot that is refreshingly original." ~ IndieReader (5 Star Review)Named to "BEST INDIE BOOKS OF 2015" ~ IndieReader
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Most helpful customer reviews
41 of 42 people found the following review helpful. 'The end isn't really the end' By dimian This is a difficult book to review, at least without spoiling it for other readers. In his description the author gives little away. There are two main characters: Leon and Anna Tor, a ghostwriter who knows more about Leon's history than he does. The secrets hidden in the past are 'devastating' we are told, and their effect as they are revealed will be profound. That Leon also happens to have a 'fantastical talent' is mentioned in passing somewhere in the author's biography.As the story begins to be told, in the course of one day (and one night) these few puzzle pieces will join with many others to eventually add up to something unexpected - not just to a single surprise but to a tense succession of many surprises, 'shock and awe' as one of the pair of protagonists describes it. And as for the mysterious 'fantastical talent', it's so naturally woven into the story that we take it for granted as almost commonplace - another of those odd and inexplicable things that in 'the world of everything and everywhere' occasionally happen.Bowl of Fruit (1907) is fraught with all the consequences of the past, but it's also about a day in the present, and of the consequences of that day in the future. A lightness of touch and the delicate humor that run through its pages, even as terrible things are being told, give it greater poignancy and a feeling of gentle humanity. Any sadness in the end is tender and pure, untarnished by bitterness or by regret, and the drip, drip blending of the past first with the present and then with the future is steeped in an abundance of affection.Strange things will happen in life, the book seems to be saying. Some will be good, others will be bad, and often they will happen abruptly. But if we find our own way to belong and be part of the world, then it might somehow be true of us too that 'the end isn't really the end'.A warm and life-affirming book, wonderful in every different sense of the word.
15 of 15 people found the following review helpful. Sharp and evocative, difficult to describe properly By J. G. As a lot of other reviews have mentioned themselves, this is a bit of a difficult book to give a thorough review of. The concept is deceptively simple: two artistic minds are drawn together by fate, and so a cerebral exploration begins. What the book does from there is incredibly tricky to give the proper dues without running an overflowing and spoiler-ridden diatribe, so I'll keep my general feelings brief: it's a very good book, just give it a chance if you're intrigued.What else can be said? The book is almost poetic in its short, sharp, perfect, and evocative wording, filling your mind with all kinds of imagery with just a sentence. The characters are slightly off-beat in a way that balances a weird relatability and a fascination for the eccentric and a tormented genius hidden beyond reach of our petty normal ways of thinking. It's beautifully written and I have essentially no quarrel with it there. That said, it's not for everyone by any means, and it's obvious that you'll do best with the read if you have some literary experience, as the book does throw out fairly frequent, though small, calls to external work from Greek myth to Kafka. There's a definite target readership, to be sure, though anyone intrigued by the description should do well with navigating the text as it's far less intimidating that it might appear from my description.It's a slightly surreal experience that really can only be appreciated properly by reading, to be at risk of sounding like an ad. I thoroughly recommend the book to anyone who enjoys the slightly stranger side of mid-20th Century fiction; in particular it reminds me of Roberto Bolaño's almost-biographical, almost-unhinged, literary-referential work, for anyone grasping for a very vague, personal point of reference.
15 of 15 people found the following review helpful. A compelling and profoundly moving novel By Catia Galatariotou It is impossible to do justice to this complex novel in the limited space of a review. I shall confine myself to a few thoughts around one of its strands.Bowl of Fruit (1907) has all the ingredients of a classic mystery story: a puzzle – or rather a series of puzzles - in search of a solution; fascinating characters; a tightly knit plot; constant suspense born of deftly handled twists and turns and a fair sprinkling of red-herrings; the tantalizing, gradual peeling away of layers superimposed on truth by time, coincidence, unforeseen consequence and deliberate human action. But this crisp, elegantly written novel delivers much more besides, as the external factual question of the main character’s true identity comes intertwined with an exploration of who he really is within himself. The latter becomes a thriller in its own right, with its own, potentially unfathomable mysteries. These two strands – the factual and the psychological / philosophical – are developed not in parallel but as one indivisible entity, which the novel explores with single-minded determination. Yet at the same time the author’s humanity, lightness of touch and irrepressible sense of humour, ensure that the seriousness of his inquiry never lays a heavy weight on the novel’s back.What is authentic and what is faked; what is real and what un-real; the real within the surreal: these are central concerns in this novel, and they come intermeshed. For instance, Cacoyannis’ exploration of modes of identification encompasses not only the degrees of conscious and unconscious fashioning of oneself in or against another’s image but also, bravely, the mysterious, even mystical state of actually being another. This is convincingly delivered, perhaps because the novel’s constant linkage with the world of external reality, and the author’s incisive psychological insights, ground the story’s surreal atmospheric layers firmly into factual and psychic reality.Psychic truth is what ultimately makes this brilliant novel so gripping, and what eventually leads the reader to root for the central character – a mystery in itself, at first blush, for Leon Cheam hardly presents as the Everyman one would instantly empathize with: his life’s circumstances are very extraordinary indeed; his bizarre actions and the extreme strangeness of his character (streaked with potentially sinister undertones and encapsulated in his own self-perception as “the neighbourhood freak”) not exactly heart-warming. By the time we meet this unlikely hero, he has built walls – literally and metaphorically – and piled his own secrets and lies onto those he has inherited. We soon find out that all his early life’s ‘significant others’ had been - and remain in his mind, as ancestral imagos do – either partial, lying, exploitative, confused and confusing figures; or totally unknown presences, no less powerful for being absent. Living in such a hall of distorting and opaque mirrors, to recognize his own true reflection is a feat practically and emotionally beyond Leon’s reach. Not knowing - let alone liking or trusting - who he is, he has all but resigned himself to a diminished, isolated, increasingly ossified half-existence, his life a shell filled with the lives of (dead) others.Then, over one single day, the appearance of a stranger, Anna Tor, propels Leon onto the difficult and perilous journey of discovering who he really is. As he embarks tremulously on this quest, the reader’s initial rather cold fascination changes into caring for him. We begin to recognize Leon Cheam as an Everyman after all, albeit of a particular type: an individual in the margins of God’s and society’s realms; burdened by the anxiety, disorientation and confusion that comes of existing in a meaningless and absurd world, before whose cruelties he stands alone and helpless. At the same time, we also begin to see that this Kierkegaardian ‘hero’ is less of a man and more of a child. There is something innocuous and innocent about Leon, an impression reinforced by his lack of any intimate adult experience. Constructing what he himself sees as a freakish world was, it now seems, the only option he had if he was to survive, as a moral being, in a barren, destroyed world. “And so” (to borrow Freud’s words a propos of another very strange man) “he re-built the world, not so splendid, indeed, but at least so that he could live in it”. We can’t but be touched by Leon, this child inside the shell of a supposed man, developmentally stuck because of the obstacles that were thrown in his way by life and its grown ups – but also, eventually, by his own damaged self. We want him to break free from the suffocating embrace of his distorted parental imagos, do away with the secrets and the lies, grow into a separate, whole individual being.With Anna’s unstinting help, Leon finds the courage to ask the painful questions he had hitherto turned away from, and face the consequences: not every question has an accessible answer; and even when it does, each answer may settle one issue but will also unsettle another and give rise to a third... Leon’s journey becomes an exploration of the limits of knowing one’s own self but also any thing and any one else. And limits there are aplenty, for ultimately truth also always involves not knowing, and every ending is pregnant with new beginnings.As the novel progresses, the question that grips the reader at the intra- and inter-subjective level is whether Leon will finally dare take the decisions that will lead him towards rather than away from his true internal self and (real) others, and allow him to become the person ultimately responsible for giving meaning to his own life. He stands before the threshold of a life-changing transformation, a metamorphosis that would effectively be the very opposite of his own hero, Gregor Samsa’s; but the option to eschew it also beckons. Will our hero allow love, and the courage born of it, lead him to that supreme existentialist virtue: a life lived not falsely but sincerely, passionately, authentically? Or will he collapse elegiacally under the weight of his own inner world, a world that is as ever kicking against change? This compelling, richly evocative and profoundly moving novel remains gripping and surprising to the very end.
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