The problem with this comic/detective/science fiction/alternate reality/romance/literature referencing novel is that the author took all these excellent ingredients, mixed them together, and created a bland mush. The saving features are that the basic premise is pretty nifty (though not original), and the book can be read very quickly.
The nifty plot device is that a new invention makes it possible for a reader to actually insert himself into the world of the original manuscript of a book and kidnap or kill one of the characters, thus changing the text of the novel for all time in all subsequent copies. I just wish the author had been able to make better use of his scenario.
Throughout, Fforde tries desperately to be wacky and funny, only periodically succeeding. He gives his characters funny names: the hero detective is Thursday Next; the arch villain is Acheron Hades; there are characters named Paige Turner, Jack Schitt, Braxton Hicks, and even Millon de Floss (Mill on the Floss, get it? haha.) He includes a bit of word play and quite a few ludicrous situations, but I can think of several humorous writers who are capable of doing better (Douglas Adams, Terry Pratchett, Connie Willis, for example), and I don't even read much in that genre.
I did like the idea of a world where everyone is passionate about literature, so that millions of dollars of ransom money would be paid to keep the character Jane Eyre from being killed off.
This is not a book to hate, or even actively dislike. It's just not very tasty.
Wednesday, February 18, 2015
Tuesday, February 17, 2015
The Book of Strange New Things by Michel Faber
Faber's new novel is aptly named, as it is indeed strange. It's a science fiction/Christian religion/apocalyptic/love story, and, strangely enough, it all works together to provide a satisfying and thoughtful reading experience.
Peter, an earnest and sincere pastor, is hired by a mysterious corporation with a small outpost on a far away planet to serve as spiritual leader for members of the native population. Feeling chosen by God to witness to these humanoid aliens, Peter reluctantly leaves his beloved wife Bea, who has previously rescued him from alcoholism and a life of crime and introduced him to the Christian life. Upon arrival, he finds that his new flock has already been introduced by a previous pastor to the teachings of the Bible, calling it "The Book of Strange New Things." Communicating with his wife only through the equivalent of e-mails, Peter finds himself becoming emotionally detached from her as he immerses himself in his "mission," although she tells him of the increasingly dire events back on Earth, as both society and the environment disintegrate into chaos.
The story is told through the eyes of Peter, and the author is very skilled in conveying an understanding of his behavior when he does not understand it himself. Faber believably portrays a man's conflicts of mind and heart about what duty to God actually entails, as well as telling an achingly sad love story.
Readers who are primarily science fiction fans may not appreciate this novel because it actually tells little of the alien race. Although the book contains many quotes from the King James Bible, adherents of "Christian" novels may be disappointed because it concerns questioning rather than pat answers. Fans of apocalyptic literature will be disappointed because Faber allows Bea to report only events happening without examining the whys and what happens next. Strangely enough, I felt this was mainly a love story, although the two principals are only portrayed together in the first few pages. Most of all, this is a combination and a creation all to itself, and it is very beautiful.
Peter, an earnest and sincere pastor, is hired by a mysterious corporation with a small outpost on a far away planet to serve as spiritual leader for members of the native population. Feeling chosen by God to witness to these humanoid aliens, Peter reluctantly leaves his beloved wife Bea, who has previously rescued him from alcoholism and a life of crime and introduced him to the Christian life. Upon arrival, he finds that his new flock has already been introduced by a previous pastor to the teachings of the Bible, calling it "The Book of Strange New Things." Communicating with his wife only through the equivalent of e-mails, Peter finds himself becoming emotionally detached from her as he immerses himself in his "mission," although she tells him of the increasingly dire events back on Earth, as both society and the environment disintegrate into chaos.
The story is told through the eyes of Peter, and the author is very skilled in conveying an understanding of his behavior when he does not understand it himself. Faber believably portrays a man's conflicts of mind and heart about what duty to God actually entails, as well as telling an achingly sad love story.
Readers who are primarily science fiction fans may not appreciate this novel because it actually tells little of the alien race. Although the book contains many quotes from the King James Bible, adherents of "Christian" novels may be disappointed because it concerns questioning rather than pat answers. Fans of apocalyptic literature will be disappointed because Faber allows Bea to report only events happening without examining the whys and what happens next. Strangely enough, I felt this was mainly a love story, although the two principals are only portrayed together in the first few pages. Most of all, this is a combination and a creation all to itself, and it is very beautiful.
Wednesday, February 11, 2015
Fourth of July Creek by Smith Henderson
I just read that this 2014 best selling novel is being developed as a television series, and that fact suddenly puts the whole book into perspective for me. I was having a hard time sorting through my impressions prior to writing a review: while I was reading the book and immediately after, I was terrifically impressed and would have written a glowing review, but after a couple of days of reflection I began to think that the book was actually somewhat shallow and formulaic. Then I read about the TV deal, and it all makes perfect sense.
Fourth of July Creek has "hit TV" written all over it. Its hero Pete Snow (or anti-hero, perhaps) is a social worker who is a seriously flawed human being, but who tries to do the best he can to help children who are neglected, mistreated, molested, in need of rescuing. Meanwhile his own family is in shambles: he has left his wife because of her infidelity and his teenage daughter has run away from home and cannot be found. He is also a functioning alcoholic and has anger-management issues. In his quest to do what's right for the children, he often disregards and circumvents the law. Think Detective Stabler of Law and Order. In fact, I believe the actor who plays Stabler might be a good casting choice, though he is maybe a bit too old now.
The plot centers on two of Snow's cases: Cecil, filled with anger against his mother who sexually molested him, and Benjamin, living with his deranged fundamentalist father as a fugitive in the Montana wilderness. Benjamin and his father take center stage when the FBI and ATF (this is set prior to the creation of Homeland Security) take an interest in him. I can imagine that a television series would start with these, but would then come up with case after case of other children in need of help. Perfect. There is probably no end to the cruel and abusive damage adults can inflict upon children which can be exploited in the quest for advertising revenue.
Henderson is obviously trying to make some sort of statement about freedom in the USA (note the title), but for the life of me I cannot decide what his point is. Maybe he's trying to say that it's very hard to determine where one person's freedom negatively impacts another person's freedom, or maybe it's about the appropriate role of the government in guaranteeing freedom, or maybe he's saying something else entirely. The intent of the novel, except to tell a darn good story, is ambiguous, at least to me.
But this is a page-turner of a story, and I liked it very much while reading it, though not as much afterwards. And it will make a dynamite television series. Television thrives on moral ambiguity.
Fourth of July Creek has "hit TV" written all over it. Its hero Pete Snow (or anti-hero, perhaps) is a social worker who is a seriously flawed human being, but who tries to do the best he can to help children who are neglected, mistreated, molested, in need of rescuing. Meanwhile his own family is in shambles: he has left his wife because of her infidelity and his teenage daughter has run away from home and cannot be found. He is also a functioning alcoholic and has anger-management issues. In his quest to do what's right for the children, he often disregards and circumvents the law. Think Detective Stabler of Law and Order. In fact, I believe the actor who plays Stabler might be a good casting choice, though he is maybe a bit too old now.
The plot centers on two of Snow's cases: Cecil, filled with anger against his mother who sexually molested him, and Benjamin, living with his deranged fundamentalist father as a fugitive in the Montana wilderness. Benjamin and his father take center stage when the FBI and ATF (this is set prior to the creation of Homeland Security) take an interest in him. I can imagine that a television series would start with these, but would then come up with case after case of other children in need of help. Perfect. There is probably no end to the cruel and abusive damage adults can inflict upon children which can be exploited in the quest for advertising revenue.
Henderson is obviously trying to make some sort of statement about freedom in the USA (note the title), but for the life of me I cannot decide what his point is. Maybe he's trying to say that it's very hard to determine where one person's freedom negatively impacts another person's freedom, or maybe it's about the appropriate role of the government in guaranteeing freedom, or maybe he's saying something else entirely. The intent of the novel, except to tell a darn good story, is ambiguous, at least to me.
But this is a page-turner of a story, and I liked it very much while reading it, though not as much afterwards. And it will make a dynamite television series. Television thrives on moral ambiguity.
Monday, February 9, 2015
Shirley by Charlotte Bronte
Readers who love Charlotte Bronte's Jane Eyre and who expect something similar in this later novel will be sorely disappointed. They will find no highly dramatic events (such as finding out at the alter that your intended groom has a mad wife hidden in his house), no touches of the supernatural (such as hearing your beloved call to you from miles and miles away), no wild encounters with nature (such as being lost and starving on the moors). Even the male love interests are rather tame creatures, who pale in comparison to the dark, brooding Rochester in Jane Eyre. Charlotte, herself, even wrote in the first chapter: "Do you anticipate sentiment, and poetry, and reverie? Do you expect passion, and stimulus, and melodrama? Calm your expectations; reduce them to a lowly standard. Something real, cool and solid lies before you; something as unromantic as Monday morning...."
Evidently, most readers prefer the romantic, as do I. Shirley is seldom read nowadays, while almost everyone has read (or at least has been supposed to have read) Jane Eyre.
The story takes place against the backdrop of the Napoleonic War, when a blockade against exports and the beginnings of the Industrial Revolution led to riots and unrest by factory workers against the factory owners; however, little use is made of the background except as a plot device to account for the actions of one of the male characters. The main action centers on two young women -- one of landed aristocracy and one of more humble (though genteel) circumstances -- who become fast friends, each one in unspoken love with someone. Despite the title, the novel focuses more on the life and love of Caroline, the more humble character. Shirley doesn't even appear for about 150 pages.
In tone, this novel is more similar to Trollope, but without his gentle humor and satire. In her effort to write something "real," perhaps Charlotte Bronte erred by being too "cool and solid." Perhaps it's just that readers expect something else, and are disappointed not to find it.
Still, it's an interesting, well-done novel.
Evidently, most readers prefer the romantic, as do I. Shirley is seldom read nowadays, while almost everyone has read (or at least has been supposed to have read) Jane Eyre.
The story takes place against the backdrop of the Napoleonic War, when a blockade against exports and the beginnings of the Industrial Revolution led to riots and unrest by factory workers against the factory owners; however, little use is made of the background except as a plot device to account for the actions of one of the male characters. The main action centers on two young women -- one of landed aristocracy and one of more humble (though genteel) circumstances -- who become fast friends, each one in unspoken love with someone. Despite the title, the novel focuses more on the life and love of Caroline, the more humble character. Shirley doesn't even appear for about 150 pages.
In tone, this novel is more similar to Trollope, but without his gentle humor and satire. In her effort to write something "real," perhaps Charlotte Bronte erred by being too "cool and solid." Perhaps it's just that readers expect something else, and are disappointed not to find it.
Still, it's an interesting, well-done novel.
Saturday, January 31, 2015
We Are Not Ourselves by Matthew Thomas
For me, the most difficult part of writing a review, or anything else for that matter, is getting started, coming up with something intriguing and creative to draw the reader in. I believe that most writing teachers and writers would agree that it's important to start strong in order to keep readers reading long enough to get to the meat of the piece.
That's why I was surprised when the first 100 pages of this highly regarded novel turned out to be dull almost past enduring. Only my habit of always finishing a book kept me reading.
This first section of the novel covers the years 1951-1982 in the life of the main character, Ellen Tumulty, an Irish American girl living in New York City. The problem is that it is almost totally just a telling of the events in her life--this happened, then this happened, then this happened, and so on. Dramatic events are reported, not shown, and consequently lose all their drama. I would compare the section to a Wikipedia article (lasting 100 pages).
Then, suddenly, the novel starts improving as it follows Ellen's marriage to Ed, a research scientist. We finally begin to know and understand her, not just learn the facts. When Ed begins to exhibit signs of early-onset Alzheimer's, the writing seems to change yet again, becoming very specific and immediate and riveting. For page 150 through to the last, all the praise on the back of the book seems justified.
The story is told by a narrator, mostly through the eyes and thoughts of Ellen, and some readers might find fault because Ellen is not a very likable character at all. A few chapters focus on the son, Connell, and he is also not portrayed in a favorable light, although he does show character growth. The reader is obviously supposed to conclude that these characters' actions have been pre-determined by the circumstances of their upbringings, but that understanding depends on reader acquaintance with pop psychology rather than on specific connections made by the author.
I have read that this is Thomas's first novel and that it took him ten years to write it. Since the last part was really good, I think he must have improved over that time. I look forward to his next novel.
That's why I was surprised when the first 100 pages of this highly regarded novel turned out to be dull almost past enduring. Only my habit of always finishing a book kept me reading.
This first section of the novel covers the years 1951-1982 in the life of the main character, Ellen Tumulty, an Irish American girl living in New York City. The problem is that it is almost totally just a telling of the events in her life--this happened, then this happened, then this happened, and so on. Dramatic events are reported, not shown, and consequently lose all their drama. I would compare the section to a Wikipedia article (lasting 100 pages).
Then, suddenly, the novel starts improving as it follows Ellen's marriage to Ed, a research scientist. We finally begin to know and understand her, not just learn the facts. When Ed begins to exhibit signs of early-onset Alzheimer's, the writing seems to change yet again, becoming very specific and immediate and riveting. For page 150 through to the last, all the praise on the back of the book seems justified.
The story is told by a narrator, mostly through the eyes and thoughts of Ellen, and some readers might find fault because Ellen is not a very likable character at all. A few chapters focus on the son, Connell, and he is also not portrayed in a favorable light, although he does show character growth. The reader is obviously supposed to conclude that these characters' actions have been pre-determined by the circumstances of their upbringings, but that understanding depends on reader acquaintance with pop psychology rather than on specific connections made by the author.
I have read that this is Thomas's first novel and that it took him ten years to write it. Since the last part was really good, I think he must have improved over that time. I look forward to his next novel.
Wednesday, January 28, 2015
Lila by Marilynne Robinson
It takes a special talent to write a novel about ordinary people and to make the story extraordinary. A special talent to write in the grave and measured cadence of the King James Bible and to make the language relevant to today's readers. A special talent to interweave matters of faith and religion into a story and to not lapse into preachiness and sanctimoniousness. A special talent to write about the grace of kindness and love and not come across as overly sentimental and unrealistic. Marilynne Robinson has that talent. This is a beautiful novel.
It follows the life of Lila Dahl, who is rescued as a small child from neglect and mistreatment by a homeless migrant named Doll, who loves and protects her throughout her hard-scrabble youth. As a woman in her 30s, alone and friendless, Lila stumbles into a surprising romance with the Rev. John Ames, a minister more than twice her age. The third-person narration is limited to Lila's thoughts and actions as she tries to reconcile the minister's kindness and his teachings about redemption with the experiences of her previous life.
Because this is a book about thoughts and feelings and beliefs more than about dramatic events, some readers may find it slow and unexciting. Others, who expect certainty and strong evangelistic messages in a novel which speaks of religious belief, may find it lacking, because it speaks of doubt and a search for meaning. I can't think of any others who might not be entranced.
Robinson's novel Gilead, winner of the Pulitzer Prize in 2005, tells part of this same story, through the first-person narration of John Ames. I strongly suggest reading them both, as it is fascinating to compare and contrast the two.
I predict that Lila will win this year's Pulitzer.
It follows the life of Lila Dahl, who is rescued as a small child from neglect and mistreatment by a homeless migrant named Doll, who loves and protects her throughout her hard-scrabble youth. As a woman in her 30s, alone and friendless, Lila stumbles into a surprising romance with the Rev. John Ames, a minister more than twice her age. The third-person narration is limited to Lila's thoughts and actions as she tries to reconcile the minister's kindness and his teachings about redemption with the experiences of her previous life.
Because this is a book about thoughts and feelings and beliefs more than about dramatic events, some readers may find it slow and unexciting. Others, who expect certainty and strong evangelistic messages in a novel which speaks of religious belief, may find it lacking, because it speaks of doubt and a search for meaning. I can't think of any others who might not be entranced.
Robinson's novel Gilead, winner of the Pulitzer Prize in 2005, tells part of this same story, through the first-person narration of John Ames. I strongly suggest reading them both, as it is fascinating to compare and contrast the two.
I predict that Lila will win this year's Pulitzer.
Sunday, January 25, 2015
All the Light We Cannot See by Anthony Doerr
As I write this review, All the Light We Cannot See is the #1 best selling novel in America. That position does not often go to so-called "literary" fiction such as this; more frequently the top bestseller is genre fiction, a mystery or thriller, for example. Doerr has accomplished the feat of combining all the best attributes of both "literary" and "popular" fiction and has produced a book to be savored by all different kinds of readers. Well done, Mr. Doerr.
Those who appreciate lyrical writing will find it in abundance. Images and scenes and sounds are so vivid that they are experienced rather than just read about. The novel is full of phrases and sentences that are so beautiful they snatch your breath away. Looking for a suspenseful thriller? Hefty doses here. How about some romance? Even a bit of that. War stories catch your interest? The time and place are France and Germany during World War II. Do you require your reading to have serious implications, say about such matters as the nature of good and evil and the resilience of human beings? Oh, yes! This novel even includes much discussion and information about scientific matters, such as the properties of light and the construction of radios and the attributes of snails.
But it is surely Doerr's storytelling abilities that have turned this into a bestseller. No matter what the literary preferences and pretensions, almost all readers appreciate a well-told story with believable and sympathetic characters, and this novel succeeds on that count, unquestionably, beyond a doubt.
The plot focuses on two young people: Marie-Laure, a blind girl from Paris who flees with her father when the city is taken by the Germans; and Werner, a precocious orphan boy from Germany whose special talent with radios lands him in an elite academy for Hitler Youth. Their stories, told in alternating (very short) chapters, follow them from childhood to coming-of-age amidst the Allied bombing of Saint-Malo, where their two lives converge.
I cannot say enough good things about this novel. Everyone should read it. (All the Light We Cannot See was a finalist for the National Book Award and is a strong contender for the Pulitzer.)
Those who appreciate lyrical writing will find it in abundance. Images and scenes and sounds are so vivid that they are experienced rather than just read about. The novel is full of phrases and sentences that are so beautiful they snatch your breath away. Looking for a suspenseful thriller? Hefty doses here. How about some romance? Even a bit of that. War stories catch your interest? The time and place are France and Germany during World War II. Do you require your reading to have serious implications, say about such matters as the nature of good and evil and the resilience of human beings? Oh, yes! This novel even includes much discussion and information about scientific matters, such as the properties of light and the construction of radios and the attributes of snails.
But it is surely Doerr's storytelling abilities that have turned this into a bestseller. No matter what the literary preferences and pretensions, almost all readers appreciate a well-told story with believable and sympathetic characters, and this novel succeeds on that count, unquestionably, beyond a doubt.
The plot focuses on two young people: Marie-Laure, a blind girl from Paris who flees with her father when the city is taken by the Germans; and Werner, a precocious orphan boy from Germany whose special talent with radios lands him in an elite academy for Hitler Youth. Their stories, told in alternating (very short) chapters, follow them from childhood to coming-of-age amidst the Allied bombing of Saint-Malo, where their two lives converge.
I cannot say enough good things about this novel. Everyone should read it. (All the Light We Cannot See was a finalist for the National Book Award and is a strong contender for the Pulitzer.)
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