|
Post by MisterM on Jun 27, 2018 16:44:09 GMT -5
I definitely would like to open a further discussion of the various elements in TSS
The tenth book is my favourite book in the series, because of a large number of reasons, some of which I'm sure I have gone into before previously on this forum, but nonetheless; I wanted to talk about one of those in particular.
This book is the first time, really, that I begun to realise that at least some (if not all) of the series central mysteries would not be answered by the end of book 13. I mean, there is the sequence where lemony tells us that there are some things that we will never know.. this doesn't mean that he wont tell us the answers to things like the sugar bowl but its pretty heavily implied. I am pretty sure that this is the first time in the series that we get any real hint of that element of the series.
|
|
|
Post by Skelly Craig on Jun 27, 2018 16:47:35 GMT -5
TSS is kinda underrated. I recently noticed how many great quotes are from that book, even compared to the rest of ASoUE.
|
|
|
Post by A comet crashing into Earth on Jun 27, 2018 23:43:29 GMT -5
TSS is definitely one of my favourite books in ASOUE, and I agree that it's worth putting some specific focus on it. I feel like it's the beginning of the endgame, for reasons not quite clear to me.
|
|
|
Post by Dante on Jun 28, 2018 3:29:57 GMT -5
TSS is definitely one of my favourite books in ASOUE, and I agree that it's worth putting some specific focus on it. I feel like it's the beginning of the endgame, for reasons not quite clear to me. There are a number of significant factors. The book is significantly longer than all of the preceding books, for instance; it's the first book which the Baudelaires spend largely alone, and which is chiefly dedicated to the core cast of the Baudelaires and Olaf's troupe; it's the first book to be absolutely immersed in V.F.D. business and locations rather than just briefly touching on it; it widens the scope of the bigger picture by showing there to be villains more dangerous than Count Olaf; it winds up the Snicket File subplot and introduces the sugar bowl subplot in earnest; and it gives the Baudelaires a clearly-defined goal and destination which they pursue over the following volumes. It really is the beginning of the end.
|
|