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The Coma Paperback – 2004

3.1 out of 5 stars 13 customer reviews

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Product Details

  • Paperback
  • Publisher: New York, New York, U.S.A.: Riverhead Books; 1st Edition edition (2004)
  • Language: English
  • ISBN-10: 0571223079
  • ISBN-13: 978-0571223077
  • Product Dimensions: 13.9 x 1.5 x 21.7 cm
  • Shipping Weight: 200 g
  • Average Customer Review: 3.1 out of 5 stars 13 customer reviews
  • Amazon Bestsellers Rank: #1,104,255 in Books (See Top 100 in Books)
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Product Description

Carl is brutally assaulted in an underground train while protecting a young woman from a gang of thugs. Beaten unconscious he lies for days in a hospital bed - but appears to make a full recovery. On discharge from hospital Carl picks up the threads of his daily life, visiting friends, seeing his girlfriend - until he starts to notice strange leaps in time, distortions in his experience. Is he truly interacting with the outside world, or could he still be in the coma? So begins a dark pschological drama of the unconscious that raises profound questions about the boundary between the real and the imagined.

Customer Reviews

Top Customer Reviews

Format: Hardcover
It had been a while since Alex Garland had published a novel. After The Beach and The Tesseract, Garland worked on the amazing horror flick 28 Days Later. The Coma, a short novella that is, like everything else Garland has written, not easily classifiable. This ends up being the novel's forte and also its biggest flaw.
While trying to help a woman who is being attacked on a subway, Carl is beaten to a bloody pulp and left for dead. A long while later, he wakes up from the coma the attack left him in and returns home. But he soon realizes that nothing is as it used to be. Things have changed, things are wrong, things are just unexplainable. Time seems to be moving faster, Carl finds himself moving from one place to another without remembering having done so. And how about those invisible bleeding wounds on his body?
Garland weaves his narrative just like a dream. One second we're standing in one place, the next we're in a total different setting. Things are disjointed and they don't always make sense for the reader. Until, that is, something crucial is revealed to us that changes the way we see or understand the events taking place in the narrative.
Told in the first person over very short chapters, with interesting visual images to guide us through the story, The Coma is a story that is both imaginary and frighteningly real. As always, Garland lets his imagination run wild to create a one-of-a-kind trip to the human psyche.
Then again, the book left me craving for more. I wanted more out of Carl, wanted to learn more from the characters and the situations they were in. Over the course of two very short chapters, Garland tells us a bit about Carl's childhood, but not enough to eradicate my curiosity. Some sections could have been fleshed out a bit more.
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Format: Hardcover
From my weird title you probably get the feel of what it is to read this book...maybe.
Alex Garland wrote one of my favourite books of all time: The Beach. While The Beach was a pretty big success (if you've seen the movie you haven't really experienced The Beach, they're very different from one another) his second book wasn't as big but was equally entertaining and different. With the release of 28 Days Later Garland delved into some interesting territory already explored by other filmmakers but with Danny Boyle they created something incredibly exciting and new in the genre. This introduction now brings me to my thoughts on Garland's third novel (more of a novella than an actual book) and fourth writing project. I liked the fact that this was a tightly written and eloquently short read but I was slightly dismayed at the predictability of the proceedings (some surprises but in general I felt I had read it before). The language that Garland uses is crisp and creates a totally visual experience. Although his father included several interesting woodcarvings to accompany each chapter they seem a little excessive and unnecessary since the language is so clear. This is foremost a writer's experiment and it is the most different, in terms of 'defined story', of his four previous works. While I found the book creepy at first it began to take on a comedic tone and is so short that I was able to finish it in little more than an hour and some (give or take, I don't use a stopwatch). I found this book to be interesting and a worthwhile investment since many of the thoughts, ideas, and descriptions stay with you long after you put the book down. For fans of Garland's work this is a must have for your collection to see where Garland is moving as an artist but for casual readers it may just be a fun little ride (this review is based on a first reading only and the novella needs to be read a second time).
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Format: Hardcover
I picked up this book because it was written by Alex Garland and after enjoying The Beach and The Tesseract I had high hopes for this story. Unfortunately for me, I should have kept my hopes low.

Without giving too much away, as you might deduce from the title of the book, the story focuses on a coma patient and all the thoughts and ideas that come with being in a coma. I’m not sure what I was expecting to be honest with you, but whatever it was, this wasn’t it.

What I wanted was more of a story. What I got was more of an unofficial biography of the person lying in the coma. Which I suppose is what Garland was aiming for when he wrote the book. Trouble is, I was expecting a story. Only I didn’t get one.

So is it fair for me to dislike this book when really, it is my expectations that are out of whack with what the story actually delivered? No, probably not. But then again, life isn’t fair. Sorry Alex. Better luck next time.
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Format: Hardcover
It would be a real shame if the inept movie version of "The Beach" were to keep anyone from picking up Alex Garland's latest. "The Coma" is a real masterpiece, and like "The Tesseract" goes far beyond the budding promise of "The Beach" to show a genuine talent at work. "Coma" seems to be a straightforward tale of a man's recovery from a severe beating, but from the first eerily flat descriptions of violence through dreamscape after dreamscape, the reader is brought to increasingly disturbing place. The woodcuts add brilliantly to the atmosphere, at their most effective at their simplest: slashes of white or shadows with no faces. Garland's ability to put the reader inside another's conciousness is reminiscent of masters like Dostoevsky. Please, purge your mind of the vision of Leo DiCaprio in warpaint and get this book.
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