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Look at the Dark Paperback – Mar 1 2006


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Product Details

  • Paperback: 214 pages
  • Publisher: Dalkey Archive Press (March 1 2006)
  • Language: English
  • ISBN-10: 9781564784070
  • ISBN-13: 978-1564784070
  • ASIN: 156478407X
  • Product Dimensions: 1.8 x 14.4 x 21 cm
  • Shipping Weight: 204 g
  • Amazon Bestsellers Rank: #2,710,012 in Books (See Top 100 in Books)

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Amazon.com: 2 reviews
1 of 1 people found the following review helpful
Look at the Dark April 20 2012
By Amazon Customer - Published on Amazon.com
Format: Paperback Verified Purchase
At one point, "Look at the Dark" felt like it would be one of those books that would be impressionable to my reading/writing/philosophical mind. It starts with great promise, with a mixture of past and present finally culminating when the narrator gets hit by a vehicle while crossing the street in New York. He ruminates during his hospital stay about what could be the meaning of this event in the scale of his life. It reminded me of Robert Olen Butler's novels, and in the end, when the final act and last 40 pages are finished, the whole idea seems a little cheap and coincidental. It was a tough book to finish because I just didn't care that much.

My lack of concern or interest did not have anything to do with past experiences with Nicholas Mosley's work. I have not read "Hopeful Monsters" so I cannot say whether this is a sub-par performance of his. However. I can say that Nicholas Mosley is very quotable. He has his narrator say some pretty profound things, illuminate feelings and ideas in a way that might not have been able to be produced by oneself. There are also glimmers of great allegory in this novel as well (the experience with the performing art exhibit where it is pitch black and everyone has to trust each other, the blind children on the way to the zoo, etc), those moments that look back at the title "Look at the Dark" and the parable he uses as an epigraph:

On a dark night a person searches on the brightly lit ground under a lamp-post. A passer-by asks --For what are you searching? The person says -- For keys to my house. The passer-by says -- Is this where you lost them? The person says -- No I lost them in the dark, but this is where the light is.

This is really human nature; it is much easier to look in the light when what you are searching for is in the dark. Sometimes it is hard to get out of the ruts of daily life when your happiness is beyond these ruts. It is hard to make leaps away from comfort. This particular idea should be greatly explored, but there is little of this in Mosley's novel. The ideas are there, but the actual execution does not work well. Even still, I am curious about other Mosley novels and ideas.
The Dark is Light Enough April 24 2012
By Mr. D. James - Published on Amazon.com
Format: Paperback
Nicholas Mosley, Look at the Dark

'There was a time when I was drawn to the Hindu idea that in old age a man should hand over earthly power and possessions to younger members of his family; that he should leave home equipped with little more than a begging bowl and go out onto the highways and byways to watch the world go by.'

This seductive opening of Moseley's first-person narrative promises much, but the novel runs aground in the middle and ends with rather a whimper. The first sentence quoted above suggests that the reader is in the presence of a man pondering over his past with some regret at the way things have turned out, ideals having disappointed. The tone is intimate and confiding, inviting reader participation; for me it recalls Wordsworth's `There was a time when every meadow, grove and stream' and `There was a boy, ye knew him ...' from The Prelude. The brooding, philosophical note is developed in the second sentence with `By thus casting off mundane attachments he might gain spiritual power; which at the approach of death should be of more use to him anyway.' The narrator then moves from the general to his present situation of living in comfort in the here and now, giving the reader facts about his present life as a retired academic living in London, supporting himself by giving occasional radio talks and television interviews, watching the box and being looked after by his second and younger wife, thinking about language, lies and truth. In the first few pages, in dialogue with his wife he emerges as clever, cynical and strange. `Towers fall by the force of gravity: God is the force of levity.' Thus is the sort of language conundrum our narrator loves.

Gradually the past begins to take over, Valentina, the present wife, is supplanted in the story by the past wife Valerie, who is still alive and gradually comes to occupy centre stage. The similarities in the names strike him as they do the reader, but there are other coincidences and soon the reader is in Africa as the storyteller relates his experiences, elaborating on one in which he makes love to a one-legged woman simply because she wishes it. The dialogue is blunt, matter-of-fact and shorn of speech direction.

In some ways Look at the Dark is an anti-novel, for cause and effect are frequently arbitrary. Children appear and disappear for no obvious reason, except that life's like that, a lot stranger than fiction. Both narrator and reader frequently find themselves catching up with `what happened' after the event, and even then neither is sure of the facts or the truth. One important fact is that the reader comes to trust the narrator not necessarily to tell the truth but to be faithful, as far as he can, to his perceptions. The two Vals seem to be more sensible and reliable, providing the reader as it were with a sheet anchor in the teller's drifting sea of adventures. When he takes the children to the zoo, for example, he `arrived home on my one leg and one crutch' and begins to tell his wife about it, but he finds it `so unlikely that I found myself saying `I don't suppose I'm getting all the details right.'" The zoo metaphor then takes over in his mind while his wife talks of a party for a book launch she'd like him to attend. `It struck me that this might not be so different from a trip to the zoo, though it seemed not worth working out why.'

Exactly! As in life appearance and reality are forever at odds, things have to be suggested rather than defined, the dark is always there, but while for me the zoo metaphor works well, as does the image of darkness and lameness, long before the end the overused turn-turtle metaphor begins to pall. Our engaging narrator is becoming just a bit too clever, and the minor characters have failed to interest or come alive, dwarfed as they are by the teller of the ragged tale, this Shandean cock and bull story.


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