Babel by R.F. Kuang

How hard is Babel to read?

Babel scores 65 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.

Vocabulary: 70 out of 100

Kuang incorporates historical terms related to 19th-century Oxford and the British Empire, such as "compradors," "lascar contract," and "silver-gilded tureen." The text also includes words and phrases in French, Latin, and Chinese, reflecting the multilingual environment of the characters and settings. While not as dense as Moby-Dick, the vocabulary requires sustained effort to fully grasp.

Sentence structure: 60 out of 100

The sentences in Babel are generally clear and navigable, though some can be lengthy and contain multiple clauses, especially in descriptive passages and author's notes. While not approaching the complexity of James or Faulkner, the syntax demands more attention than straightforward contemporary fiction. The author balances longer sentences with shorter, more direct ones to maintain readability.

Abstraction: 68 out of 100

Babel blends concrete narrative elements with philosophical and theoretical considerations. The story explores themes of colonialism, language, and cultural identity, prompting readers to contemplate broader societal issues. While not as purely abstract as The Waste Land, the novel delves deeper into complex ideas than a purely plot-driven story.

Information density: 72 out of 100

The novel packs a significant amount of historical and cultural detail into each chapter. Readers must absorb information about 19th-century Oxford, the British Empire, and the intricacies of language and translation. The author provides rich descriptions and explores multiple plotlines, requiring sustained attention from the reader.

Narrative indirection: 60 out of 100

The narrative relies on some degree of inference, particularly regarding the motivations and true nature of Professor Lovell. Readers must piece together information about his past and his intentions for Robin. However, the story is largely told directly, without the extreme ambiguity found in works like Pedro Páramo.

Symbolic density: 78 out of 100

Silver operates as a central symbol throughout the novel, representing both the power and the corruption of the British Empire. Language itself becomes a symbol of cultural dominance and the loss of identity. The Royal Institute of Translation—Babel—functions as a potent symbol of the complex relationship between language, power, and colonialism, approaching the symbolic weight of the green light in The Great Gatsby.

Ironic distance: 65 out of 100

The novel maintains a degree of ironic distance, particularly in its portrayal of the British Empire and its institutions. While the narrative engages with the characters' experiences, it also offers a critical perspective on the historical context. This creates a gap between the surface narrative and the author's underlying critique.

Resolution withholding: 70 out of 100

While the main plot points are resolved, Babel leaves some questions unanswered and invites readers to consider the long-term implications of the characters' choices. The ending is not entirely closed, prompting reflection on the themes of colonialism and resistance. This withholding of complete closure creates lingering ambiguity.

Structural complexity: 45 out of 100

The novel follows a relatively straightforward chronological structure, primarily told from Robin's point of view. While there are some flashbacks and shifts in perspective, the narrative remains largely linear. This contrasts with more experimental structures found in works like Pedro Páramo or Flights.

How Babel is regarded

Babel holds a literary regard score of 51 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.

About the author

R.F. Kuang