If We Were Villains by M.L. Rio
Published 2017 · 98,017 words · about 8 hours at an average pace
How hard is If We Were Villains to read?
If We Were Villains 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: 55 out of 100
- The vocabulary is literary and theatrical, drawing heavily from Shakespearean language and terminology. While not overly obscure, the frequent allusions and quotations require some familiarity with classical literature. This places it slightly above The Great Gatsby in terms of vocabulary demands.
- Sentence structure: 58 out of 100
- The sentences are generally well-structured and readable, but there are instances of longer, more complex sentences, particularly in descriptive passages and character dialogue. The narrative voice is relatively straightforward, but the use of theatrical language and occasional asides adds a layer of complexity. This is comparable to the sentence structure in The Great Gatsby.
- Abstraction: 62 out of 100
- The narrative balances concrete descriptions of events and settings with explorations of themes like ambition, betrayal, and the nature of performance. Characters frequently engage in philosophical discussions about art and life, raising the abstraction level above purely plot-driven narratives. This is similar to the level of abstraction found in 2666.
- Information density: 60 out of 100
- The book presents a moderate amount of information per page, balancing plot development with character development and thematic exploration. There are multiple character relationships and a complex backstory that the reader must keep track of. This is similar to the information density in Lolita, where the narrative is rich but flows smoothly.
- Narrative indirection: 68 out of 100
- The story is told from the first-person perspective of Oliver, who is recounting events from the past. This creates a layer of narrative indirection as the reader must consider Oliver's biases and motivations when interpreting the events. The reader must infer some of the underlying tensions and secrets among the characters, similar to The Great Gatsby.
- Symbolic density: 70 out of 100
- The book is rich in symbolism, drawing heavily from Shakespearean plays and motifs. The characters' roles in the plays they perform often mirror their own lives and relationships, creating a symbolic layer that adds depth to the narrative. The use of theatrical elements and settings also contributes to the symbolic density, approaching the level of The Great Gatsby with its iconic green light.
- Ironic distance: 65 out of 100
- There is a noticeable ironic distance between the narrator's present-day perspective and his past actions, as he reflects on the events that led to his imprisonment. The characters' self-awareness and theatricality also contribute to the ironic distance, as they often play roles and perform for each other. This is comparable to the ironic framing in The Great Gatsby.
- Resolution withholding: 72 out of 100
- The prologue sets up a mystery surrounding the events of the past, and the narrative gradually reveals the details of what happened. However, the full truth is withheld until later in the story, creating suspense and ambiguity. The reader is left to piece together the events and motivations of the characters, similar to Lolita.
- Structural complexity: 60 out of 100
- The narrative is primarily chronological, but there are flashbacks and shifts in perspective that add a layer of structural complexity. The use of theatrical scenes and interludes also disrupts the linear flow of the story. This is similar to the structural complexity of Midnight's Children, which uses multiple timelines and flashbacks.
How If We Were Villains is regarded
If We Were Villains holds a literary regard score of 29 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.