This is truly one of the greatest novels I have ever had the pleasure of reading.

It is a work that I will undoubtedly continue to reread time and time again.

I vividly remember when I first picked up this book, I was completely captivated from the very beginning.

I had never come across anything quite like it before, and to this day, I still haven't read anything that can compare.

The story is so engaging, the characters so vividly brought to life, and the plot so full of twists and turns that it keeps you on the edge of your seat from start to finish.

It's truly an incredible piece of literature that has left a lasting impression on me.

I would highly recommend this novel to anyone looking for a truly unforgettable reading experience.

I'll commence where numerous others begin, namely with Kesey's style, and offer the subsequent remarks:

Kesey's ambition outstripped his ability to fully realize it. My final assessment regarding his transitions between third and first person, perspectives, time, and so forth is that it didn't entirely succeed. This wasn't due to clumsiness or a lack of talent to bring it to a successful conclusion, but rather because of the imposing presence of his main character who completely overshadowed all other characters. Kesey went too far with his stylistic flourishes, and SGN would have been significantly enhanced by a 50% reduction in such theatrics. However, they don't detract as has been proposed, and moreover, I appreciate when authors take risks and miss. This is precisely what we require more of. Take your chances - it makes the books better.

Turning to Hank: He is a remarkable achievement in character development, on par with Cornelius Suttree, Judge Holden, Mickey Sabbath, and Paul Maclean (I'm aware of the comparisons). Kesey sparingly allows us into Hank's mind during the first half of the book, mostly revealing him through his actions, only to disclose his personal history in the second half. Additionally, he astutely refrains from presenting us with Hank's motivations as Hank himself perceives them, instead letting his life speak for them. He is as fully developed and well-rounded a character as I've come across. He is complex, endearing, frustrating, and vulnerable. He is a masterful creation.

The supporting characters all pale in comparison, with the exception of Henry and Joe Ben (whose strength lies in their one-dimensionality - Joe Ben's death scene is无与伦比 in the literature I've encountered. I was deeply affected and shattered while reading it). Lee, Viv, Evenwrite, Teddy, Draeger, and all the others simply couldn't measure up to Kesey's great creation.

The book's power isn't diminished by this, nor by the style employed. However, in Viv's specific case, I was left desiring much, much more.

This wasn't a capital G great book, but it did accomplish what those books do - it moved me and resided within me while I was reading it. It enabled me to see and care about at least one character as I would when reading the story of a living relative. And finally, it will remain with me.

Highly, highly recommended - read this book.

*And feel free to picture Paul Newman as Hank while you read it - he is the physical embodiment of him anyway*

Back in the day, I had the privilege of working in the radio industry. I was not only on air but also behind the scenes as a producer for a call-in talk show. During that time, I learned a saying in the business - having a "big voice".

A big voice is one that has depth and breadth, like that of James Earl Jones, Johnny Cash, or the guy who does all the movie trailers. Those voices have the power to mesmerize, command, and practically swallow you whole.

Well, just as someone can have a big voice, I believe there are "big books" - and this one is a prime example. This book is so large that I'm having a difficult time wrapping my arms around it to write a coherent review. Set in the 1960s Pacific Northwest (specifically Oregon), this big, shaggy bear of a book tells the story of a unionized logging town in the midst of a tense strike and the Stamper family, who go against the strike by working independently and taking the union's work.

It's hard to believe that over 650 pages about logging and striking could hold my attention. I'm a person who typically loves economy and brevity, presenting one's point sharply. But this mammoth book drew me in almost from the beginning.

Most people know Ken Kesey because of One Flew Over the Cuckoo's Nest (which is excellent, both the book and the film), but this, his second novel, didn't seem to make as much of an impact. It actually broke Kesey's heart at the time, and he stopped writing for a significant portion of a decade afterward. I wondered what caused the somewhat underwhelming reception, and I think it might be because it's such a "big book". What makes it so big?

For starters, it has 650 pages.

It also has a vast array of characters, and each one gets to speak from their own point of view. This means the point of view switches often, constantly even - sometimes three times in a paragraph.

Nature is a huge part of the story. It is beautiful yet dangerous, always threatening, whether it's the numbing cold, a rushing flood, or the crack of a giant falling tree. Having recently moved back to the wet coast (Vancouver, BC), I truly appreciated the vivid way Kesey evokes this part of the world.

The family drama in the book rises to Shakespearian, Biblical, or perhaps even Greek mythology proportions.

There are also a few "big" scenes. These scenes are breathtaking, epic, cinematic, and they really hit you in the gut. You don't come across these types of scenes every day.

So, yes, it's a big book. Some parts might have gone on longer than I would have liked, but then I was rewarded with those magnificent scenes and pulled along by the story. The changing POV was unusual and took a little time to adjust to, but after a while, it became quite natural. And it achieved what a well-done changing point of view should - the reader's allegiance changes too, page by page, due to a deeper understanding of each character. Soon, nobody is the bad guy. This understanding spreads in a broader sense, towards humanity. That's a beautiful thing if you can stay there and soak it in for a while.

It's a very male-dominated book, full of testosterone. The women don't get nearly the depth or airtime that the male characters do. But I forgive that because the book is a big questioning of the whole idea of manliness or what it means to be tough.

As I read those words, "But if the strength ain't real, I recall thinking the very last thing that day, before I finally passed out, then the weakness sure enough is. Weakness is true and real. I used to accuse the kid of faking his weakness. But faking proves the weakness is real. Or you wouldn't be so weak as to fake it. No, you can't ever fake being weak. You can only fake being strong...", I was struck by the profoundness of the message.

This book is a masterpiece worthy of more attention. It's an ambitious, open-armed, far-reaching labor of love. It's like an opera - long, but just as soul-soaring. Read it.

Now, I'll stop before this becomes a "big review" (and not in a good way)!

I truly relished Kesey's wordiness and his distinct narrative style. It was quite captivating how he would sometimes seamlessly jump between the perspectives of multiple characters within a single paragraph. This added a layer of complexity and richness to the story, making it a truly engaging read.

Nevertheless, I couldn't help but feel a sense of embarrassment when it came to his depiction of women and people of color. In contrast to the detailed and in-depth characterizations of all the white men in the book, the portrayals of women and POC seemed rather one-dimensional and lacking in substance.

It was disheartening to see such a disparity in the treatment of different characters based on their gender and race. While Kesey's writing had its strengths, this aspect of his work left much to be desired and made me question the overall inclusivity and fairness of his storytelling.

It's a truly compelling read, yet also a rather frustrating one.

At the beginning, it is frustrating mainly due to the fact that the author jumps back and forth in time,穿梭于不同的人物之间，and alternates between different tenses. This constant shifting makes it a bit difficult for the reader to keep up and fully immerse in the story.

However, as you gradually adjust to this narrative style, a new source of frustration emerges. The people in the story seem hell-bent on doing everything in their power to sabotage themselves and each other. Their actions and decisions often seem irrational and self-destructive, which makes it hard for the reader to understand their motives and feel sympathy for them.

Despite these frustrations, the story still manages to hold the reader's attention and keep them engaged until the very end. It makes you think about the complexity of human nature and the consequences of our actions.

I read this book over a period of about 3 months. The pandemic and my lack of interest made the process rather slow.

I finally burned through the last 100 pages or so. However, it was extremely tough to read.

The narrators bounce around constantly, which makes it very hard to keep track of who is saying what. There are no line breaks or any formatting to help.

Often, I would read a few paragraphs before I could figure out what was actually going on.

Definitely, it was a difficult read. It reminded me of "East of Eden". It's a long family drama, filled with brothers, love, hatred, the passage of time, growing up, and resentment.

I did like the ending, but overall, it was just so hard to get through the entire book.

It's truly hard to believe that this was Kesey's sophomore effort.

It's like imagining if Kurt Vonnegut Jr. had dropped acid and decided to re-write Steinbeck's East of Eden.

The technical writing feat here is simply astonishing. Telling so many intertwined stories and finding a character arc for each, while constantly changing POVs and narrators, sometimes three times in a paragraph or even a sentence.

Not only that, but also bouncing back and forth in time and starting at the end. The story features a logging family in a small Oregon river town.

The setting and the characters, even the minor ones, are so rich. This book, much like One Flew Over the Cuckoo's Nest (which might be my favorite book of all time, or at least one of them), is not an easy read.

But for those who persevere, it is extremely rewarding. Informed not by biblical verses but by song lyrics and with a "NEVER GIVE A INCH" attitude, it's a masterpiece that leaves you reeling with astonishment.

And to think he somehow wrote this whole thing on a dad-blamed typewriter is just mind-boggling.

Hands down, this is the most underappreciated American novel ever!

I firmly believe it should be ranked among the likes of "Moby Dick" and "Grapes of Wrath" and, in fact, I think it surpasses them. It's truly astonishing that Ken Kesey, a hippy acid head as he was, could write with such poignancy and beauty. He absolutely nailed it!

His other famous novel, "One Flew Over the Cuckoo's Nest," doesn't even come close to the greatness of "Sometimes a Great Notion."

This book is rather long and is written in a "Faulkneresque" style, with the points of view switching back and forth. However, once you get used to the rhythm, you can easily sense the flow between the characters' perspectives.

You'll discover that each character is equally dynamic, so there's no need to worry about one character's story being duller than another's.

In conclusion, if you don't read this book before you pass away, you're truly missing out on a literary masterpiece.

This book is so close to 5 stars. However, it is lowered in rating because at times it is the world's hardest book to read. There is a tendency to switch between about 7 different points of view, 5 different settings, and 3 different tenses within just 1 paragraph. I suppose that's what happens when you write on LSD. But when it clicks, it is insanely good. I simply can't explain how vivid this book was to me. I felt as if I was actually inside these scenes. I was in awe of even the most short and simple sentences. The way Ken Kesey weaves together words is truly magical. It was like looking at a photograph. And the story itself is an experience. The family business, the sibling rivalry, the iron-fisted father, and the betrayals - it's all so captivating. Leland Stamper is a new all-time favorite of mine. What a character! If the whole book was just from his point of view, it would probably be the best novel of all time.

This unique style of writing, although challenging, adds a certain depth and complexity to the story that makes it truly remarkable. It forces the reader to pay close attention and engage with the text on a deeper level. Despite the initial difficulties, once you get into the rhythm of the book, it becomes a truly immersive experience.

I got to page 37 of the book I was reading. However, as I was on my work commute, I found myself more drawn to watching the rain out the window. The raindrops were falling steadily, creating a rhythmic pattern on the glass.

It was a peaceful and somewhat meditative scene. The grey clouds outside added to the atmosphere, making it feel almost like a movie.

I could see the people on the street below, hurrying to get out of the rain. Some had umbrellas, while others were getting soaked.

It made me think about how different our lives can be, even in the simplest of moments. As the train continued to move, I continued to watch the rain, losing myself in the beauty of the moment.

Kesey's follow-up to the classic One Flew Over The Cuckoo's Nest simply hasn't aged well.

It presents a rather long and convoluted tale that centers around a macho family of Oregon loggers who find themselves in conflict with the rest of their town.

One particularly disturbing aspect is the frequent use of the N-word. It's not employed to describe people of color in a legitimate or appropriate context, but rather as a general insult, which is highly offensive and unacceptable.

The macho posturing that pervades the story can become quite tiring after a while. However, there were a few redeeming qualities. I did enjoy the rapidly changing perspectives and the shifts from the third person to the first person and back again from time to time. These elements added an element of unpredictability and kept me engaged and on my toes, making me constantly anticipate what would come next.

Overall, while there were some interesting narrative devices at play, the story's flaws, especially the inappropriate language and excessive machismo, overshadowed its potential strengths.

I need to stop reading “classics”.

Classics are often regarded as the cornerstones of literature, filled with profound wisdom and beautiful language. However, for me, they have become a source of frustration and boredom.

I find myself constantly struggling to understand the archaic language and complex plots. The characters seem distant and unrelatable, and I often lose interest before reaching the end.

Moreover, I feel that I am spending too much time on these classics when there are so many other interesting books out there. I want to explore different genres and authors, and discover new perspectives and ideas.

So, I have decided to take a break from reading classics and focus on other types of literature. Maybe one day, I will come back to them with a fresh perspective and a greater appreciation. But for now, I need to stop and look for something new.