MostlyFiction Book Reviews » Speculative (Beyond Reality) We Love to Read! Fri, 06 Dec 2013 13:21:26 +0000 en-US hourly 1 http://wordpress.org/?v=3.7.1 1Q84 by Haruki Murakami /2011/1q84-by-haruki-murakami/ /2011/1q84-by-haruki-murakami/#comments Sun, 01 Jan 2012 02:37:21 +0000 /?p=22307 Book Quote:

“That’s it. 1984 and 1Q84 are fundamentally the same in terms of how they work. If you don’t believe in the world, and if there is no love in it, then everything is phony. No matter which world we are talking about, no matter what kind of world we are talking about, the line separating fact from hypothesis is practically invisible to the eye. It can only be seen with the inner eye, the eye of the mind.”

Book Review:

Review by Devon Shepherd  (DEC 31, 2011)

Haruki Murakami doesn’t lend himself to easy categorization. Though his prose is spare, almost styleless, it’s more supple than muscular, and though his stories are often occupied with mundane domesticities, they’re also often founded in the surreal. It’s no surprise, then, that Murakami’s long-awaited latest, 1Q84, isn’t easy to shelf –it’s at home among either fantasy, thriller or hard-boiled noir – but one thing’s for sure: this book is grotesquely Murakami. That is, quiet domesticity punctuates adventures tenuously connected to reality, and yet for all its faults – and some have argued there are many – this is a book that haunts you long after you’re done, a book that, like a jealous lover, won’t let you move on.

For all its parallel worlds and magical creatures, for all its anonymous sex and ruthless violence, this is a book about love. The lovers in question, Tengo and Aomame, haven’t seen or spoken to each other in almost 20 years. In fact, they may have never spoken at all. Their shared history is limited to a 5th grade incident during which a ten-year-old Aomame reached for Tengo’s hand – and stilled his soul. But for Tengo, a popular athlete and academic star, to befriend Aomame, a religious freak who stands up and shouts a version of the Lord’s Prayer before she eats lunch, would’ve been social suicide. Aomame transfers schools before Tengo acknowledges to himself what she means to him.

Twenty years pass – it’s 1984 – and Tengo, considered a math prodigy, has frittered away his promise: he teaches math at a Tokyo cram school while moonlighting as a novelist. Though he has weekly sex with a married girlfriend, he still wonders about Aomame.

Disowned by her family for breaking with their church, the Society of Witnesses, Aomame is a lone-wolf. She works as a fitness instructor at a swanky Tokyo gym and although she trolls for wild one-night stands, her heart, after all these years, still belongs to Tengo. As it turns out, she moonlights too –as an assassin. Under the auspices of a wealthy and mysterious dowager, Aomame, with a method of her own invention, kills wife-beaters and rapists.

The Tengo-Aomame attachment – their love itself – is absurd, and this absurdity calls into existence a strange alternative world – 1Q84, the world with a question mark – with a second, “moss-green” moon. Ostensibly, Aomame enters this alternate world, like Alice down the rabbit hole, when she escapes a gridlocked Metropolitan expressway by climbing down an emergency stairwell. But it’s Tengo, in ghost-writing the best-seller, Air Chryaslis, or perhaps in writing a novel of his own, that opens that portal. What has brought Tengo into 1Q84 isn’t entirely clear – although his skill as a storyteller is a factor – but, unbeknownst to the other, both are trapped in 1Q84, a world that becomes increasingly perilous.

When Komatsu, Tengo’s editor, suggests Tengo rewrite a manuscript submission, a fantastical, but compelling story, told in substandard prose, Tengo is hesitant. The author, a strange and beautiful 17-year old girl, who goes by the name of Fuka-Eri, insists that her story, a tale about Little People who emerge from the mouth of a goat and weave wombs out of strands of reality, is true. The Little People use these wombs, or air chrysalises, to gestate doubles, or dohtas. The dohtas act like antennas of sorts, receivers for the perceivers of “the voice.” Fuka-Eri has no literary ambitions and gives Tengo permission to rewrite her work.

But when Air Chrysalis is a runaway hit, a powerful and mysterious cult, Sakigake, is angered. Although most people read the book as fantasy, Sakigake maintains that Fuka-Eri, the estranged daughter of their mysterious Leader, has revealed sacred truths not meant for outsiders. It seems they’ll stop at nothing to halt publication, but when their Leader is found dead, Sakigake must devote itself to finding his murderer.

As it turns out, the Leader is suspected of raping pre-pubescent girls, Fuka-Eri, his daughter, among them. The dowager charges Aomame with dispatching the Leader to “the other side,” but when he demonstrates his supernatural powers, Aomame becomes conflicted and confused. A telepath, the Leader knows Aomame’s intention, but the cost of his great gift is excruciating pain. The Leader welcomes death, and when Aomame hesitates, he bargains with her: his death for Tengo’s life. Unfortunately, killing the Leader will likely mean Aomame’s death too. But, in sacrificing her life for Tengo’s, their connection inexplicably tightens, and the danger Aomame flees inadvertently flings them together.

1Q84 is possible because of faith. It is the belief in love, in something beyond reason, something magical, that creates the metaphysical space for impossibilities to actualize themselves. Born from air chrysalises, dohtas are affectless shadows, without desires or dreams of their own. But we only need look around us, at the “hunched over people carried by force of habit into the new day” to see that it’s all too easy to lose your dreams and desires to the monotony of everyday life, individual passions and secret hopes lost to the roles we play – father, mother, teacher, banker – unaware that if you stop and look up, you might just see two moons. Of course, the real problem, as Tengo and Aomame figure out, is not the revelation of the magical, but how to steal a bit of that wonder up the rabbit hole, to the mundane world of day jobs and traffic jams.

Murakami shirks conventional expectations, refusing to answer the questions he poses and tie his loose ends into pretty little bows. He breaks from craft wisdom – stick to the essentials – with gratuitous descriptions and his characters repeatedly mull over the same plot points. He even challenges Chekov’s famous maxim by introducing a gun that never goes off. But I can’t help but feel that’s the point; life isn’t pared down to essentials, and insofar as our lives have meaning, they’re necessarily narratives, stories just as mundane – and hopefully just as magical, if not as fantastical – as this one.

AMAZON READER RATING: from 514 readers
PUBLISHER: Knopf; First Edition edition (October 25, 2011)
REVIEWER: Devon Shepherd
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Haruki Murakami
EXTRAS: Reading Guide and Excerpt
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]]> /2011/1q84-by-haruki-murakami/feed/ 1 11/22/63: A NOVEL by Stephen King /2011/112263-a-novel-by-stephen-king/ /2011/112263-a-novel-by-stephen-king/#comments Tue, 08 Nov 2011 13:34:45 +0000 /?p=21953 Book Quote:

“It’s a perfectly balanced mechanism of shouts and echoes pretending to be wheels and cogs, a dreamclock chiming beneath a mystery glass we call life…A universe of horror and loss surrounding a single lighted stage where mortals dance in defiance of the dark.”

Book Review:

Review by Betsey Van Horn  (NOV 8, 2011)

Dedicated Stephen King fans are in for an epic treat—an odyssey, a Fool’s journey, an adventure with romance. A genre-bending historical novel with moral implications, this story combines echoes of Homer, H.G. Wells, Don Quixote, Quantum Leap (the old TV show), Jack Finney’s Time and Again, and even a spoonful of meta-King himself, the czar of popular fiction.

For King fans, the voice is familiar—the hapless, reluctant, lonely, courageous, romantic, destiny-bound hero/scarred social warrior. The story is King-esque– towering, prophetic, and flamboyant. For non-King readers, this may not chime. It may seem melodramatic, exaggerated, histrionic. But he isn’t attempting to write a deep and complex revisionist history. This is mainstream entertainment; King is King of what King does—the unruly escapist story with a huge and sentimental heart. The “Constant Reader” will approve.

This is not horror, in case you are strictly old school fans. However, there is a touch of the supernatural via time-travel. And there is blood and gore sprayed here and there. If you liked Under the Dome,  you will likely enjoy this one. If you are new to King, and are reading this for more insight into the fateful day of 11/22/63, or a “what would the world be like if…?,” this is not King’s principle design. It hovers, yes, and is material only to the primary theme.

Somewhere in the space-time continuum between preservation and progress is the “obdurate past” and the malleable future. Do we have the moral right to alter history, if we could? This is Jake Epping’s noble journey–to answer that question—and, even more so, to ask it. The thrust of the story centers on Jake and the other fictional characters King created; however, JFK, Lee Harvey Oswald, and other historical characters are an essential backdrop and stimulus to the events that unfold. King’s best nuances illuminate how the past and the present have a harmony that echoes, sings, dances, and shadows.

“It’s all of a piece…It’s an echo so close to perfect you can’t tell which one is the living voice and which is the ghost-voice returning.”

English schoolteacher Jake Epping is introduced to a portal to the past by his friend, Al Templeton, who owns a greasy spoon diner in Lisbon Falls, Maine. Al discovered it years ago, and has made many “trips” back and forth, but he is too sick now to return. The portal brings you to September 9, 1958, 11:58 am. No matter how many days, months, or years you stay, you always return two minutes later on the day you left, 2011 (but you will biologically age).

Jake’s mission is to stay five years, keep tabs on Oswald and uncover the truth of the Kennedy assassination controversy—and, if Oswald acted alone, to stop him. King provides details that make the time-travel plausible—suspending disbelief in that sense is playfully easy. Compounding Jake’s goal is his desire to change other pieces of the past—to change other tragedies, which confronts the prophecy that “the past is obdurate,” those words that he returns to.

Jake assumes the identity of George Amberson, and makes a couple of trial runs before committing to his five-year stay. He eventually lands in the fictional town of Jodie, Texas, a town north of Dallas, where he can earn a living as a teacher, and tail Oswald during his off-hours. It is in Jodie where the moral questions and most of the adventure lodge in the reader’s heart. Jake/George becomes emotionally invested in the people, the town, and one attractive librarian, Sadie Dunhill. Inevitably, his mission and his new life rub together, generating poignant conflicts and urgent demands that threaten to undermine his quest.

King’s strengths include his sense of place and time. He renders 1958 so specifically that you will be transported. Ten-cent root beers with foam; fin-tailed Chevrolets; cigarette smoke wafting inside and out; Jerry Lee Lewis and Elvis from the jukebox; dancing cheek-to-cheek; mink stoles and Moxie soda; rotary dial phones and party lines, and so much more to texturize the “Land of Ago.” There’s even a meta-fictional surprise in Derry, where characters from a former novel appear, connecting George with the past’s push on the present. King makes it credible for memories to branch arterially from past to present, for different time periods to cast hazy shadows and intersections on each other. Parallels flourish, coincidences shade.

The novel is both story and character-driven, but there’s no question of the white hats vs. the black hats here. King removes the guesswork, which can be a drawback to discovery. Dialogue is earnestly overstated, motives occasionally simplified, and plot devices conveniently executed, or with a bait-and-switch technique. He isn’t one for much subtlety, justifying (too many) coincidences by cleverly making coincidence part of the theme. But it works, and beneath it all is an enchanting story. The reader cares as passionately as Jake. Sadie, however, is the unforgettable character in this book. Jake/George may be the hero, but Sadie is the spirited touchstone. Comely, fetchingly clumsy, and wounded, she dances off the pages.

Despite the voluminous research done by King into the Oswald controversy, his conclusions are woven into the book rather cursorily, but emphatically. Does this matter? It might, especially to readers who feel that authorial intrusion into the narrative was intemperate. The reader doesn’t have to necessarily agree with a character’s actions, but if a historical context is displayed as fact, but the facts don’t add up for the reader, then it falls apart.

No popular author closes a story like Stephen King. Consummately sublime and serendipitous, he builds deft bridges and ladders that are not only cosmic and mystical, but also fitting and relevant. He captures in a few chapters what an evocative song can capture in a few minutes. Whatever his flaws, his rewards are plentiful. Classy, cosmic, mystical, and kaleidoscopic–it was radiant and clear, through a glass, darkly.

AMAZON READER RATING: from 2250readers
PUBLISHER: Scribner; Original edition (November 8, 2011)
REVIEWER: Betsey Van Horn
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Stephen King
EXTRAS: Excerpt
MORE ON MOSTLYFICTION: Read our review of:

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*1Takes place in Castle Rock, Maine
*2Takes place in Derry, Maine
*3 Takes place in Little Tall Island, Maine
*P These two books have one “pinhole” vision into each other

The Dark Tower Series

Originally written as Richard Bachman

Co-written with Peter Straub

Non-Fiction:

And the Movies created from his books:

]]> /2011/112263-a-novel-by-stephen-king/feed/ 0 HELL AND GONE by Duane Swierczynski /2011/hell-and-gone-by-duane-swierczynski/ /2011/hell-and-gone-by-duane-swierczynski/#comments Mon, 31 Oct 2011 13:14:09 +0000 /?p=21892 Book Quote:

“There was no such thing as an escape-proof prison, because to sustain life inside the prison you need support from the outside.”

Book Review:

Review by Guy Savage  (OCT 31, 2011)

Hell and Gone, another nail-biting read from author Duane Swierczynski is the second volume in the Charlie Hardie Trilogy. In part one, Fun and Games middle-aged Charlie Hardie leads a driftless life as a house-sitter moving continually from gig to gig. Hardie hails from Philadelphia but left his wife and child after a shootout he blames on himself, and which caused the death of his long-time friend. Hardie reasons that his family is safer without him and never recovering from the guilt and depression of a case that went horribly wrong, Hardie finds it easier to take on the low-level stress of house-sitting gig. In Fun and Games, Hardie arrives in L.A. to housesit the remote Hollywood Hills home of an affluent composer. The house is supposed to be empty, but as it turns out troubled Hollywood starlet Lane Madden has taken refuge inside the home and claims that Hollywood star whackers want her dead. Hardie, while skeptical at first, discovers the hard way that Lane is telling the truth.

Part 2—Hell and Gone picks up where Fun and Games left off. Hardie, once more, has pissed off the wrong people. After being drugged and offered the choice of being recruited as a member of “The Accident People,” Hardie, who naturally has refused to be part of the team, is sent for permanent incarceration in the secret underground facility known as Site 7734. Hardie, however, isn’t a prisoner. Supposedly he’s the new warden, and he answers to the nebulous Prisonmaster:

“You call it in, the Prisonmaster has it sent down. He also controls the environmentals—-heat, cooling, water temperature. Without a warden, the Prisonmaster’s been just sending down the bare minimums, enough to keep the facility running. Even environmental requests were ignored.”

“So you want me to talk to this Prisonmaster guy and ask him to turn up the heat?”?

“If you would,” Yankee said with a smile that was meant to be charming but came off as slightly overeager, bordering on homicidal. “And there’s also the food situation.”

At Site 7734, paranoia reigns, and for this reader the hierarchal benefits of being the warden or one of the psychotic guards differs only slightly from being one of the prisoners. While the prisoners are “crammed into poorly lit rusty cages,” everyone lives nervously in poor living conditions. Both sets of people are given the same bland diet; both sets of people are essentially prisoners. The big difference is who gets to wield the batons.

By creating Site 7734, Swierczynski involves the reader in his psychological experiment. We are along for the ride as Hardie, much the worse for wear, tries to figure out and then game the system. Should he accept the role of warden and try to bring some sanity to the horrendously inhuman system? Can he relieve the suffering of a handful of anonymous prisoners who are subjected to brutal dehumanizing treatment on a daily basis? Hardie never was much of a team player:

“Hardie was a born loner. Not only did he not play well with others, he couldn’t fucking stand others.”

Site 7734 is rigged with various “death mechanisms” so that the successful escape of one resident will result in the deaths of those who remain behind. In an incarcerated-lord-of-the-flies scenario, Hardie tries to figure out just what is going on in this hellish dungeon, and the reader also tries to solve the puzzle as jail breaks, underhand deals, back-stabbing and betrayals guarantee that the day-to-day life in Site 7734 will be as evil, disruptive and as paranoid as possible.

While Fun and Games was non-stop action, a roller-coaster ride of explosions, chases and high-tech weaponry, Hell and Gone offers psychological suspense. My first reaction to the book was a shade of disappointment at the novel’s complete change of pace, but after mulling it over and as the story develops, I have nothing but respect for Swierczynski. He brings the action and motion of Fun and Games to a screeching halt and then digs in for long-term head games in Hell and Gone. Then there’s the issue of believability. Given the recent headlines,  secret Hollywood Star Whackers, in Fun and Games Swierczynski stretches the possibilities only marginally. But in Hell and Gone, “The Accident People” are clearly much more powerful than previously imagined, and while the power-brokers of Fun and Games could, theoretically be publicity agents and studio heads on a bloody, maniacal power trip, in this sequel, it’s clear that those who pull the strings can even fuck with the FBI. While Fun and Games Swierczynski offers an action thriller, in Hell and Gone, Swierczynski stretches genre seamlessly and cleverly so by the end of the novel, elements of science fiction appear.

The Third and final novel: Point and Shoot is scheduled for publication in 2012. It’s almost cruel to make us wait….

AMAZON READER RATING: stars-4-5from 3 readers
PUBLISHER: Mulholland Books; Original edition (October 31, 2011)
REVIEWER: Guy Savage
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Official blog for Duane Swierczynski
EXTRAS: Mulholland books page on Hell and Gone
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Charlie Hardie trilogy:

]]> /2011/hell-and-gone-by-duane-swierczynski/feed/ 0 ZONE ONE by Colson Whitehead /2011/zone-one-by-colson-whitehead/ /2011/zone-one-by-colson-whitehead/#comments Tue, 18 Oct 2011 13:08:52 +0000 /?p=21668 Book Quote:

“…Most skels, they moved. They came to eat you-not all of you, but a nice chomp here or there, enough to pass on the plague. Cut off their feet, chop off their legs, and they’d gnash the air as they heaved themselves forward by their splintered fingernails, looking for some ankle action…”

Book Review:

Review by Bill Brody  (OCT 18, 2011)

Zone One by Colson Whitehead plays on the archetype of apocalyptic zombie literature. The unnamed protagonist is known as Mark Spitz, because he is afraid to swim. He is a sweeper, someone assigned by the pseudo-government in Buffalo to destroy any zombie AKA skel or catatonic victim AKA straggler of the plague that has destroyed civilization. The zombies are virtually mindless with a lust for human flesh that can only be quenched by destroying their heads. A zombie’s bite is what spreads the infection. Stragglers just stay immobilized where they stopped. They do nothing, even in response to attack. Both are routinely exterminated by a lethal strike to the head via bullet, baseball bat, axe or what have you. The authorities in Buffalo are sponsored by the remnants of corporations and are in touch with similar enclaves around the world

Everyone suffers from PASD, or Post Apocalyptic Stress Disorder. Every survivor has killed, starved, and betrayed others in order to survive and has horrific flashbacks. Nobody is immune to PASD. The horrors of Last Night (when the plague started) and its sequelae have taken all joy out of life. This is dystopia maxima.

Pheenies, non military survivors, do the grunt work. Mark Spitz is a pheenie, but as a sweeper, he is more or less privileged, better off than many and somewhat valued. He has always wanted to live in Manhattan. Now he has been assigned as part of a team to mop up zone one, the first part of Manhattan to be cleared of skels and stragglers and made safe for a rebirth of civilization. Mark is “everyman.” He never stands out; neither brilliant nor dunce, leader nor blind follower. He ekes out survival and remembers horror upon horror like everyone else except the skels, the stragglers and the dead.

We have a brilliant exposition of survivor guilt; of the dehumanization that derives from inhuman behavior. The prose is poetic and compelling. It has the awful beauty full of grue that is required to represent a world gone mad. No one is a survivor in this world; they are all dead, brain dead or going to die. The dead and the dying are all ugly. Paranoia is the norm. What is delusional are hope and belief in a future. Is this a judgment like Sodom and Gomorra, a revolt by Gaia, or just an unlucky roll of the dice over and over and over again unto bleak horror and total despair? We never learn why skels do not eat stragglers or why they do not fall on each other in an orgy of eat and be eaten. How can any creature, no matter how torpid survive with absolutely no food? Who cares in a story about zombies; and one so well-written!

AMAZON READER RATING: stars-3-0from 35 readers
PUBLISHER: Doubleday (October 18, 2011)
REVIEWER: Bill Brody
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Colson Whitehead
EXTRAS: Excerpt
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]]> /2011/zone-one-by-colson-whitehead/feed/ 0 WHEN SHE WOKE by Hilary Jordan /2011/when-she-woke-by-hilary-jordan/ /2011/when-she-woke-by-hilary-jordan/#comments Mon, 10 Oct 2011 13:16:53 +0000 /?p=21410 Book Quote:

” ‘Hannah Elizabeth Payne, having been found guilty of the crime of murder in the second degree, I hereby sentence you to undergo melachoming by the Texas Department of Criminal Justice, to spend thirty days in the Chrome ward of the Crawford State Prison and to remain a Red for a period of sixteen years.’ ”

Book Review:

Review by Betsey Van Horn  (OCT 6, 2011)

Hannah Payne is twenty-six years old and Red, with a capital R, her badge of shame. Her skin has been “melachromed” by the State for her crime of abortion, and for not naming the abortionist and not identifying the father, the celebrated pastor and TV (“vid”) evangelist, Aidan Dale, who is now the nation’s “Secretary of Faith.” Her sentence is thirty days confinement, and then sixteen years in the community as a Red, where she will be constantly ostracized and persecuted.

Other criminals of the same or different color (depending on the crime) are wandering through the prison of life, beyond the walls of crowded cells (this is the State’s answer for overcrowding), and many don’t survive — the Blue child molesters have especially low survival rates. Hannah is deeply in love with the married Aiden, and refuses to upbraid him or the doctor who was kind and tender to her. She is also a product of her religious upbringing, and when she wakes up Red, she concedes that she deserves this punishment.

Many dystopian novels are noir and bleak -— you can just hear Mahler’s symphonies in your imagination -— the lost world of childhood, the yearning of fulfillment, life’s despair and discord. Therefore, Jordan’s more insistent, high-strung tone in reimagining a liberal interpretation of The Scarlett Letter, Hawthorne’s gothic melodrama, was unexpected. Her exuberance is like a lit match that never goes out. It has a pumping action, much like Dennis Lehane’s in his Kenzie and Gennaro series.

It also conforms to the margins of conventional genre more than the open-endedness of literature; Hannah is portrayed as a solid, misunderstood hero, and the demarcation of villain/hero-martyr is obvious and continuous with the secondary characters as well, except for a surprising and complex French radical named Simone, the most intriguing character in this tale. Much of the time, Hannah is on the lam with her newfound Red friend, Kayla, and heartily braves and overcomes dangerous hurdles at a page-turning glee.

In this near-future world, Roe v Wade has been overturned, and most of the fifty states have outlawed abortion. The government métier is fundamental New Testament, and is ruthless and unforgiving in its Kingdom-minded law. From reading this book, it appears that abortion is the primary preoccupation of the militant State, and that Aidan Dale is the only celebrity on the vid. Much of the novel takes place in the North Dallas area, where Jordan partly grew up. She knows the ingrained and forceful pieties of the area (the actual geographical area of Roe v Wade), and seems to draw on them. She started this book even before Mudbound, and it is left to wonder if she was shaking loose some demons from the Texas Red Oaks.

This is a commercial novel, unlike Mudbound, with a knowing arc and slender, reductive characters. She has a gift for thrumming action, even if it tends toward didacticism and a tidy outcome. This isn’t a novel that provokes thinking, as Jordan does much of the thinking for the reader, but it does provide action and visceral thrills and some poetic lyricism amidst the many indictments against religious zealots.

There is an exquisitely transcendent scene about two-thirds through, where a quietness and stillness pervades for a few pages, and Hannah reaches a key turning point in her life, and expresses it in a way that I hope others won’t fail to appreciate. It may seem lurid at face value, or even gratuitous, but it is anything but —- rather, it is sublime in its implication. This was the high point of refinement in this not typically nuanced novel.

Twists and turns are relentless and exciting, although it is obvious, in this world of morally challenged monkeys running the State, who will prevail. Ambiguity is not a paramount trait in this heavy-handed story with potboiler themes. It is comfort food—like popcorn with a little too much butter, and addictive. The author will keep you fastened till the end, because Jordan’s thrall with her characters and exultance with her story is contagious and highly spirited.

AMAZON READER RATING: stars-4-0from 191 readers
PUBLISHER: Algonquin Books (October 4, 2011)
REVIEWER: Betsey Van Horn
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Hillary Jordan
EXTRAS: Excerpt
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]]> /2011/when-she-woke-by-hilary-jordan/feed/ 0 THE VISIBLE MAN by Chuck Klosterman /2011/the-visible-man-by-chuck-klosterman/ /2011/the-visible-man-by-chuck-klosterman/#comments Thu, 06 Oct 2011 13:21:15 +0000 /?p=21540 Book Quote:

“Don’t overthink what’s happening here, Vicky. I am not a swamp monster, Vicky. I’m not an invisible man. I’m not a vampire, and I’m not God. I’m just an incredibly interesting person.”

Book Review:

Review by Poornima Apte (OCT 6, 2011)

It was more than one hundred years ago that H. G. Wells penned the science fiction classic, The Invisible Man, which subsequently paved new paths in the horror genre. The idea of a mad scientist who makes himself invisible and becomes mentally deranged as a result, is one that has taken root in popular culture ever since.

In his genre-bending new novel, Chuck Klosterman borrows the essential elements from Wells’ classic with some modifications. For one thing, he fixes the science. There has been some discussion that a truly invisible man would have been blind whereas Wells’ lead character, Griffin, clearly was not. So Klosterman’s protagonist, referred to simply as Y_, is not invisible — he is the visible man. But Y_ , much like Griffin, has an ability to make himself invisible to others.

At the novel’s outset, Y_ calls a therapist Victoria Vick and sets out some pretty elaborate conditions for his therapy sessions: she will ask no questions, meetings will be only over the phone, no forms will be filled out and payments will be sent by cash. “I came to you so I could manage the guilt I don’t deserve to have,” Y_ tells her.

Not sure what to make of the situation, Vicky tentatively agrees. So begins a series of sessions during which Vicky finds out that Y_ is a scientist who has developed technology that can make him invisible. Y_ once worked for the NSA in Chaminade, Hawaii, creating a special “cloaking” device—a membranous suit which when slathered with a special cream can make anyone invisible to others.

Y_, who has always been obsessed with trying to figure out what really makes people tick, uses this device to make himself invisible and spy on all kinds of people. He slips into their homes and watches the minutiae of everyday life — an extreme form of voyeurism. Quite psychotic, Y_ never suspects this could be a problem but instead justifies his activities as essential to his understanding of the human spirit. “How was I supposed to relate to these people if I didn’t even know what they were really like or who they really were?” he asks, “I knew how they acted, but that’s not the same thing.”

The Visible Man is written in an interesting format; it is narrated by Vicky and laid out mostly as a collection of reports from each therapy session. This format allows the reader to not only peek into Y_’s bizarre temperament but it also lets us see Vicky’s increasingly impaired judgment as she lets Y_ continually break traditional patient-therapist rules.

Over the weeks, as Y_ keeps up with his stories Vicky finds herself spellbound. Her normal life is disrupted and she gets pulled into an elaborate web that Y_ weaves. “To this day, whenever I slipped into boredom, I find myself fantasizing and reimagining the stories he told me,” Vicky remembers.

As the novel moves along, The Visible Man gets incrementally creepy until the very end. Klosterman, whose Downtown Owl was a gem, does a great job of using science fiction as a frame against which to pin a very contemporary story. It is to Klosterman’s credit that the idea of a delusional man creating a suit and cream that would make him invisible, doesn’t seem extremely far-fetched.

Even more fascinating is the fact that the readers too will come to find much of interest in Y_’s subjects’ lives. By boiling down life to its very essence — to the level of mere existence — Klosterman does a wonderful job in pointing out what matters to most of us. “I learned that people don’t consider time alone as part of their life. Being alone is just a stretch of isolation they want to escape from,” Y_ says, quite observantly.

“People need their actions to be scrutinized and interpreted in order to feel like what they’re doing matters. Singular, solitary moments are like television pilots that never get aired. They don’t count. We’re self-conditioned to require an audience, even if we’re not doing anything valuable or interesting,” Klosterman writes. If that is not a mirror held up to contemporary society, I don’t know what is.

The Visible Man sometimes gets too caught up in its own ingeniousness and the story strains under the weight of the novel’s structural construct. The letters, the bullet points, they start to seem restrictive after a while.

Nevertheless, The Visible Man eventually proves to be a worthy follow-up to the fantastic Downtown Owl. It is creepy precisely because the story is just ever so plausible. When gawking through Twitter and Facebook is possible, it doesn’t seem to be too much of a stretch to have an invisible man checking you out during your most intimate and mundane moments. You’ll be sure to look over your shoulder more than once.

AMAZON READER RATING: from 66 readers
PUBLISHER: Scribner (October 4, 2011)
REVIEWER: Poornima Apte
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Chuck Klosterman
EXTRAS: Reading Guide and Excerpt
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]]> /2011/the-visible-man-by-chuck-klosterman/feed/ 0 THE WHITE DEVIL by Justin Evans /2011/the-white-devil-by-justin-evans/ /2011/the-white-devil-by-justin-evans/#comments Sat, 01 Oct 2011 14:05:38 +0000 /?p=21233 The White Devil, his latest thriller/horror novel that sheds light on the bullying and other nastiness that can go on at boarding schools past and present.]]> Book Quote:

“The eye sockets were sunken; the eyes protruded, a vivid blue; his flesh was a morbid gray. Long blond hair—almost white, albino-looking—hung over his eyes. Once he was forced to break from his labor to cough—and Andrew recognized the noise that had drawn him. The cough combined the bark of a sick animal with a wet, slapping sound. The skeletal man drew his hand across his mouth. Then he looked up. He locked eyes with Andrew.”

Book Review:

Review by Katherine Petersen  (OCT 1, 2011)

Kicked out of his last American boarding school for drugs, Andrew Taylor’s father has sent him to England’s Harrow Academy to redo his senior year. It’s his last chance, and Andrew tries hard to follow the rules and not bring attention to himself. But author Justin Evans has other plans for Andrew in The White Devil, his latest thriller/horror novel that sheds light on the bullying and other nastiness that can go on at boarding schools past and present.

Andrew witnesses the murder of his friend, Theo, on a path near the school’s graveyard, but he can’t give all the details to the police. No one would ever believe that a ghost, for that is all Andrew can come up with for an explanation of the albino-type figure that killed his friend and then vanished.

Rumors abound of the Lot Ghost, a ghost that haunts the house-turned-dorm in which Andrew lives. But there’s much more to this mystery that’s gradually revealed. Andrew bears a strong resemblance to Byron and is cast as the lead in the school play about the Harrow alumnus, written and directed by Piers Fawkes, a poet and master at Lot. Andrew’s other confidante and love interest is Persephone, the only girl at Harrow, the daughter of the school’s headmaster. What Andrew can piece together is that his friends’ lives are in danger, and if he can’t find out the mystery with Lord Byron at its center, he may die as well.

Life at Harrow lies at the center of Evans’s tale. He combines the bullying and torrid relationships of the past with the goings-on in the present, moving easily between the two. Our hero, Andrew, with his resemblance to Byron, links the two eras together. There’s a chance he can solve the mystery of who the ghost is and why people are dying with the help of Fawkes, Persephone and a library researcher, but time may run out on him.

My only pet peeve with this book is that the author tries to do too much. Add in Fawkes problem with alcohol, a speech Andrew has planned for speech day and some of the story threads get dropped without becoming fully developed. That said, Evans does a nice job of pulling the reader into the story and maintaining enough tension and hints to keep one’s focus.

I have a penchant for books with boarding schools at their center as well as those with historical settings in part or in whole, so I enjoyed the story immensely. Part horror and part thriller, there are enough creepy, very realistic moments in the story to give out shivers. Evans has a talent for vivid descriptions too, and some weren’t so pretty. While I don’t think the novel has any profound messages to pass along, fans of historical settings, Lord Byron or boarding schools should give it a whirl. Just don’t turn out the lights if it’s late.

AMAZON READER RATING: stars-4-0from 44 readers
PUBLISHER: Harper (May 10, 2011)
REVIEWER: Katherine Petersen
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Justin Evans
EXTRAS: Excerpt
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]]> /2011/the-white-devil-by-justin-evans/feed/ 0 REAMDE by Neal Stephenson /2011/reamde-by-neal-stephenson/ /2011/reamde-by-neal-stephenson/#comments Fri, 30 Sep 2011 12:55:08 +0000 /?p=21095 Book Quote:

“…what mattered very much to Richard was what an imaginary dwarf would encounter once he hefted a virtual pick and began to delve into the side of a mountain. In a conventional video game, the answer was literally nothing. The mountain was just a surface, thinner than paper Mache, with no interior. But in Pluto’s world, the first bite of the shovel would reveal underlying soil, and the composition of that soil would reflect its provenance in the seasonal growth and decay of vegetation and the saecular erosion of whatever was uphill of it, and once the dwarf dug through the soil he would find bedrock, and the bedrock would be of a particular mineral composition. It would be sedimentary or igneous or metamorphic, and if the dwarf were lucky it might contain usable quantities of gold or silver or iron ore.”

Book Review:

Review by Bill Brody  (SEP 30, 2011)

Neal Stephenson’s ReaMde, a play on words for the ReadMe file that accompanies many computer programs, is above all a wild adventure/detective story set in the present day. As one would expect from this author, current technology features prominently. The cast of characters is international, offering windows into such diverse types as Russian gangsters, Chinese hackers, American entrepreneurs, Idaho survivalists and second amendment fanatics among many others. A video game, T’Rain, is central to the tale. Most of the characters are addicted to the game; much of the detection is done by playing the game or by mining the data kept by the game. ReaMde as a story is something like a prolonged session of T’Rain. T’Rain is a play on words for terrain.

Reamde is a computer virus that hijacks data by encrypting it so it is unreadable. Victims get a computer message including a file named ReaMde, that they mistakenly read as ReadMe. ReadMe files are text files with important how-to information and are commonly bundled with downloaded computer programs. The victim opens the file, but instead of getting a text message with useful information, they activate the virus. The victim is told that they must pay a ransom in virtual currency within the T’Rain game in order to receive the encryption key that will free their data. The virtual currency is worth a fairly inconsequential sum in real money, something like $75. The action starts as a consequence to Reamde hijacking credit card data that has been sold to Russian gangsters. The gangsters kidnap the seller and his girlfriend, who just happens to be the niece of the founder of T’Rain, the computer game in which the ransom must be paid.

T’Rain is a game played on the Internet with thousands, maybe millions of players at any given time. The game play consists of the interaction of this massive cast of characters in an incredibly detailed world. ReaMde is played out in much the same way with a very large cast of fascinating characters. They include:

Richard Forthrat, billionaire founder of Corporation 9592, the parent company of the computer game, T’Rain, a game distinguished by the incredible richness of its simulation of an entire world, its underlying physics and 4.5 billion year geophysical history;
Zula, his niece, an Eritrean refugee with a specialty doing computer simulations of the geophysics of volcanoes, a skill she is employed to use to enhance the virtual richness of T’Rain; Ivanov, the Russian gangster who purchased the credit card data from Zula’s boyfriend and kidnaps the two to start off the adventure; CIA and M16 operatives, gun nuts, fundamentalists of all stripes from Christian survivalists to Islamic jihadists.

The story flows remarkably smoothly for all its complexity, and is immensely readable. All the ends tie together and the action never flags, just like an addictive video game. This is a great entertainment for anyone in tune with modern computer technology, gaming or just plain interested in a good adventure story. One wonders how an entire world’s physics could be simulated in such a game. The story itself is like the computer game that is itself a part of the story, raising the idea of recursive games within games. How could a game with such virtual complexity be supported? This is the only part of the tale that is science fiction in that even the much simpler complexity of atmospheric or ocean physics is beyond the reach of current technology.

ReaMde is like a video game, and recalls the serialized adventure stories from the pulp era with its intensely interconnected series of adventures and adventurers. The characters are all fascinating. They each embody an adventurer or geek type possessing exceptional luck, physical and/or technical prowess. Each spin of the adventure dial is within the realm of possibility, but there is no sense that this is realism. What we have is great escapist literature with a gaming twist. In short, just about perfect for the geek-gamer audience.

AMAZON READER RATING: stars-3-5from 508 readers
PUBLISHER: William Morrow (September 20, 2011)
REVIEWER: Bill Brody
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Neal Stephenson
EXTRAS: Excerpt
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The Baroque Cycle

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Written as Stephen Bury (with his uncle J. Fredrick George):

]]> /2011/reamde-by-neal-stephenson/feed/ 0 THE NIGHT CIRCUS by Erin Morganstern /2011/the-night-circus-by-erin-morganstern/ /2011/the-night-circus-by-erin-morganstern/#comments Tue, 13 Sep 2011 13:06:47 +0000 /?p=20913 Book Quote:

“The circus arrives without warning.

No announcements precede it, no paper notices on downtown posts and billboards, no mentions or advertisements in local newspapers.  It is simply there, when yesterday it was not.”

Book Review:

Review by Betsey Van Horn  (SEP 13, 2011)

Illusion and reality intersect and overlap to reveal a luminous, mesmerizing character– Le Cirque des Rêves (The Circus of Dreams). As the sun is the center of the solar system, the Circus of Dreams is the central character of this enchanting tale. Like a magnetic field, Le Cirque des Rêves pulls in other characters like orbiting satellites around a bright star. This isn’t your childhood circus–rather, this is more in tune with Lewis Carroll or M.C. Escher–a surreal and hypnotic place of the imagination and spirit.

Le Cirque des Rêves is a dazzling venue of magical intensity and Tarot images, a story of dreams and desires. It is an invention that reflects the Jungian collective unconscious and personifies the archetypes of polarity–night/day, good/evil, life/death, safety/danger, among other symbols and experiences that have repeated themselves since ancient times. The manipulations of these images and forces speak to the core of the story.

At the end of the nineteenth century in London, two self-regarding necromancers arrange a duel, part of an ongoing contest reaching back through their long history. Prospero the Magician and “the man in the grey suit” agree to provide a worthy opponent each for this contest of illusion, a competition that is only partly visible to the reader’s eye. Prospero trains his daughter, Celia; the grey-suited man selects a fitting boy, Marco, from an orphanage. Sealed with a ring in a familiar ritual, the turf war proceeds.

When Marco and Celia become adults, the duel commences within the venue of the atmospheric, aromatic circus, which is open only at night, in colors black and white (and shades of silver). The duel and its setting is showcased in its artistry of conception, the beauty of its containment, and the mystery of its migration. Le Cirque des Rêves travels silently, invisibly, from country to country, unannounced. There’s a tent of stars, a room of sculpted ice, a pool of tears. The fireplace burns eternally with a white-hot blaze. The landscape of the duel’s setting is a phantasmagorical tour de force.

The cast is inseparable from Le Cirque des Rêves. Among others, they include the tattooed contortionist, Tsukiko, the twins, Poppet and Widget, (born on the dawn of the circus’ opening night), and the Tarot reader, Isobel. Marco is a chameleon-like magician and Celia is the Isis of alchemy. They mirror the archetypes of Jung’s collective unconscious–the shadow; the animus/anima; the hero; the mother; sacrifice/rebirth; the Self, and the wise old man.

The tarot readings, like the story’s progression, are dynamic components of character transformation, digging down to the layers of repressed memories and sublime intuition. ??Within this process of transformation, the individual characters of this story must journey through uncharted terrain like portals in the soul, proceeding toward a cosmic relationship with humanity. How to separate reality from illusion and arrive at the totality of the Self? What obstacles and pathologies must be overcome to achieve a kindred consciousness? Likewise, the duelists become lovers, complicating the stakes of the game–if you win, you lose.

A magnificent, spectral clock is commissioned from a renowned German clockmaker, a clock that is mystical and harlequin, dreamlike and figurative. It stands like an emissary at the gates of the circus, a timepiece of magical stratification, an emblem of temporal shifts. No patrons can enter until dusk, and all must be gone by dawn.

In Erin Morganstern’s enchanting first novel, illusion and reality are two sides of the same coin. Inspiration and imagination become tangible territory, a dream circus of the wakened mind, a magical mystery tour of the unconscious. This is a Fool’s (Hero’s) journey, an adventure for the immortal child and enduring lovers, to a star-filled tunnel and a silver sky. Step from bare grass to painted ground, eye the towering tents of black and white stripes. Enter.

AMAZON READER RATING: from 1085 readers
PUBLISHER: Doubleday (September 13, 2011)
REVIEWER: Betsey Van Horn
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Erin Morganstern
EXTRAS: Excerpt
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]]> /2011/the-night-circus-by-erin-morganstern/feed/ 0 MILLENNIUM PEOPLE by J. G. Ballard /2011/millennium-people-by-j-g-ballard/ /2011/millennium-people-by-j-g-ballard/#comments Sun, 04 Sep 2011 14:14:11 +0000 /?p=20763 Book Quote:

“People don’t like themselves today. We’re a rentier class left over from the last century. We tolerate everything, but we know that liberal values are designed to make us passive. We think we believe in God but we’re terrified by the mysteries of life and death…We’re an accident of nature, but think we’re at the center of the universe. We’re a few steps from oblivion, but we hope we’re somehow immortal…”

Book Review:

Review by Bill Brody  (SEP 4, 2011)

Millennium People by J. G. Ballard is an important existential novel, not as some suggest about the corrosive effects of technology, but rather about the vacuity of middle class life. As the middle class comes to realize that all the things for which they have yearned are meaningless traps, they become consumed by a fear of nothingness. In response they seek authenticity. They find authentic feelings from violence and protest, the more meaningless and random the better.

The protagonist is a psychologist whose ex-wife was killed by a bomb that went off in the luggage carousel at Heathrow. He has decided to infiltrate a middle class revolutionary movement in order to investigate the crime. In the course of his investigation he becomes involved with their charismatic leader and her shadowy mentor in revolution; a doctor who specializes in treating terminally ill children; and a priest who has lost his faith only to see it becoming reborn out of violence.

Characters in this novel posit that true meaning can only be found in authenticity, an authenticity that derives most purely from absurd acts of meaningless rage. Inescapably we are led to the conclusion that the fear of nothingness is the fear of a very real situation that finds a remedy only in escape from the entire system via revolution. The middle class will go to revolution only if fortified by a fresh cappuccino and never in yesterday’s underwear. They are vacuous revolutionaries. Their revolution is by its very nature foredoomed to failure. God is found only in the absurd, particularly in meaningless violence.

One might consider this book as an explanation of Osama Bin Laden and al Qaida. He was the spoiled and educated child of wealthy Saudis; a man who had learned that there were no consequences to his actions. His search for authenticity led him to embrace the stupidest, most ignorant excesses of Islamist fundamentalism and the most profoundly absurd violence against that icon of modernity, the World Trade Center, emblem of 20th century America. The result has been a Holy war that corrodes life on all sides and resolves absolutely nothing. But a similar analysis can be made for Timothy McVeigh and the Oklahoma City bombing and those children who commit mayhem in public schools, further demonstrating the point that meaningless violence is the middle class’ response to the void of inauthenticity. For that matter, the same could be said of many of our political leaders for whom consequences are for the under classes.

This is a whale of a good read, well plotted, competently told and with an important message about the core meaninglessness of our civilization. It is also profoundly pessimistic. Ballard is the real thing and this next to the last book of his life should be read by anyone with an interest in the Hell that is modern middle class liberal culture.

AMAZON READER RATING: stars-4-0from 8 readers
PUBLISHER: W. W. Norton & Company; Reprint edition (July 5, 2011)
REVIEWER: Bill Brody
AVAILABLE AS A KINDLE BOOK? YES! Start Reading Now!
AUTHOR WEBSITE: Wikipedia page on J. G. Ballard
EXTRAS: Excerpt
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