The Journey to The End of The Night

The Journey to the End of the Night - L-F Céline.

The Journey to the End of the Night – L-F Céline.

Finally I finished reading this infamous novel by Louis-Ferdinand Céline (1894 – 1961).   The Journey to the End of the Night was first published in 1932 in French.  I think I got this book sometime in the spring/early-summer of 2013.  I started reading it then, but I just completed it now.  I think, though I’m uncertain about this, that I actually re-started it from the beginning somewhere in that timeline.  Needless to say, this was a long slog through murky waters.

A bit about L-F Céline:  this is his penname, derived from his grandmother’s name.  His real name is Louis Ferdinand Auguste Destouches.  There’s plenty of photos of him as a handsome young fellow who turns into a smirking middle-aged chap, and finally a cantankerous looking old man. He had a diverse life, working in jewelry shops, as a sergeant in the military, as a writer, and a physician.  He traveled extensively.  In fact, one wishes that Céline just wrote an honest autobiography instead of hiding behind characters.  But one cannot trust Céline – he embellishes and he clearly knows how to slip away, around, and under.  He is world-wise and absolutely not simple.  On the other hand, of all the things I would think of as compatible employment for his personality, medicine is not one of them.  Oddly incongruous.

Céline has this bizarre fascination, though, with the worst and/or lowest of society.  Not, please, like Mother Teresa or St Francis of Assisi; but in some morbid, weird way he is drawn to them.  This novel is supposedly semi-autobiographical.  I feel like that statement is misleading. It seems somewhat difficult to tell where the autobiography stops and the fiction begins and vice versa.  The main character, Ferdinand Bardamu, follows a timeline very much like Céline’s own.  The locations and some of the stories change a bit, I think, but overall, this is Céline ripping loose through the guise of a fictional character – loosely fictional.

Any possibility of cowardice becomes a glowing hope if you’re not a fool. That’s my opinion.  Never be picky and choosy about means of escaping disembowelment, or waste your time trying to find reasons for the persecution you’re a victim of.  Escape is good enough for the wise. – pg. 102

The first half of this novel is actually quite engaging and well-written.  It is a bit grumpy, let’s say, but it still contains that flavor of gullibility or goofiness in the narrator.  Bardamu really seems to go wherever the current takes him and does not seem to do a lot to help himself.  Generally, the situations and places in which he finds himself are coincidence and fate, but he never seems surprised about it.  He makes bad choices and from the start of the novel we learn that his vices control him.  Nevertheless, there is an adventurous and almost exciting thrill to following Baradmu’s overseas adventures.

The street was like a dismal gash, endless, with us at the bottom of it, filling it from side to side, advancing from sorrow to sorrow, toward an end that is never in sight, the end of all the streets in the world. – pg. 166

Nothing in the first half of the novel is worthy of the shock and raving that people heap on this novel.  It’s pessimistic and there is sex and violence.  But it is all relatively literary.

The second half of the novel is where all the misanthropic, nihilistic, savage criticism, and shock appear at full strength.  Even so, this is 2014 where there exist TV shows like True Blood, Dexter, and Spartacus.  The 50 Shades of whatever also has been dumped into society like a burst-sewer.  So, it is actually a case of society outgrowing even Céline’s vicious writing.  It is somewhat shocking to read how extreme Céline/Bardamu think and act, however it is not special or unique to someone in 2014 who lives with the extremes we find in contemporary media. That fact makes me a bit dismayed.

It was true what she’d said about my having changed, I couldn’t deny it.  Life twists you and squashes your face.  It had squashed her face too, but less so.  It’s no joke being poor.  Poverty is a giant, it uses your face like a mop to clear away the world’s garbage.  There’s plenty left. – pg. 187

What makes Céline’s style of ribald nihilism so fascinating (even this many years later) is that he writes it with such literary style and double-edged wit.  Céline, himself, and therefore Bardamu, are not dumb.  These are not bumbling idiots writing out strings of vulgarities just because they want to zap us.  Céline actually writes with skill and the vulgarities are just part and parcel of it.

The thing is, roughly around page 300 (around La Garenne-Rancy scenes), I felt the novel change.  Not only did Bardamu stop having international adventures, but the tone became much more vicious and dark.  There seemed to be more vulgarity and more despondency.  To put it bluntly:  Bardamu wasn’t very entertaining anymore and any interest or sympathy I had as a reader was now gone.  The storyline and the characters had become tedious. Dare I say, before the events at the insane asylum, I was even bored with the storyline. It was a struggle to get through the last 150 pages of this novel.  The famous “ellipses” one hears about Céline’s writing are present in this novel – though less so in the first half.  The second half ramps up those – another sign of how the novel degrades.

Since we are nothing but packages of tepid, half-rotted viscera, we shall always have trouble with sentiment.  Being in love is nothing, it’s sticking together that’s difficult.  Feces on the other hand make no attempt to endure or to grow.  On this score we are far more unfortunate than shit; our frenzy to persist in our present state – that’s the unconscionable torture. – 291

I really don’t know what to say about most of the characters in this novel – especially Robinson.  I feel like all the characters in this novel are immature and juvenile – as if they really never ever “grew up.”  And so, the last 25 pages or so, which heavily involve Robinson, were tedious and droll.  Yeah, yeah, we could read this existentially, or in terms of the nihilism, or in any other sorts of filters – but if we are being honest and not just trying to impress others – the novel is good, but it isn’t great. And its just not that shocking anymore. Or maybe I am just as miserable and jaded as Céline.

Interiors are no good.  As soon as a door closes on a man, he begins to smell and everything he has on him smells too.  Body and soul, he deteriorates.  He rots.  It serves us right if people stink.  We should have looked after them.  We should have taken them out, evicted them, exposed them to the air.  All things that stink are indoors, they preen themselves, but they stink all the same. – 308

Overall, I am between a 3-star rating and a 4-star rating for this novel.  Nothing else is like it – and if there might be something like it, it is not as good as this.  And it probably owes a debt to this.  Nevertheless, I cannot lie and say that the second half of the novel was on par with the first.  That’s tricky, because is that like saying Céline’s second half of life was not as “entertaining” as the first part? Hence the difficulty with this so-called semi-autobiographical label.  I’m going to give it 4-stars, though, because I do think it will remain in my brain for quite some time for mulling and pondering and comparison.  Plus, Céline is so quotable!

4 stars

Tik-Tok

Tik-Tok - John Sladek; DAW, 1985  cover art: Peter Gudynas

Tik-Tok – John Sladek; DAW, 1985 cover art: Peter Gudynas

Tik-Tok by John Sladek (1937 – 2000) was first published in 1983.  It won the 1984 British Science Fiction Association Award.  I read the DAW 1985 edition with cover art by Peter Gudynas.  At 254 pages, this is a relatively fast read, nothing overwhelmingly difficult or causing brain-drain.

The whole novel is something of a vicious satirical autobiography of the title character, a robot named Tik Tok.  This name should be familiar to all of those who are acquianted with L. Frank Baum’s Oz series.  In that series, a servant “mechanical man” is named Tik Tok. Using flashbacks this autobiography, Me, Robot, is a parody of Isaac Asimov’s famous I, Robot novel.  Parodying Asimov’s Three Laws of Robotics, Sladek utilizes the story of a robot to heap condemnation upon human society.  In essence, the novel is not Tik-Tok, but rather Me, Robot and we are shown the worst of humanity through the eyes of the character Tik Tok.

When I say “the worst of humanity,” I think many readers may skim that phrase.  Sladek traipses his robot character through many aspects of human society – the taboo, the ridiculous, the morally decrepit – and despises them.  However, Sladek (and therefore Tik Tok) keep a distant and rather deadpan reaction throughout.  Readers may be more accustomed to virulent and emotional ravings about the ills of society and so be surprised when, here, they come upon a muted bluntly stated criticism.

At most, Tik Tok expresses only a vague surprise at the depths of immorality and ridiculousness that humanity affects. Nevertheless, the experiences that Tik Tok shares in his autobiography are from all locations, walks of life, and classes of people.  In particular, the tactless yuppie and the ennui of the absurdly wealthy are highlighted.  However, a Southern plantation family’s fall from grace, religious organizations, politics – in and out of America, sports, art and artisan lifestyles, hippies, activist groups, health care and medical organizations, commercialism, etc. are all mocked and shown to be farcical.

The storyline of Tik Tok is only interesting insofar as reading about robots is interesting.  Tik Tok is mostly honest and only once witty to a noteworthy extent, so his autobiography is more so about the reactions humans have toward him.  His “owners” have been from a variety of walks of life – but all possessed of a wretchedness that is characteristically (as Tik Tok sees it) human.  They are stupid, conniving, vicious, sadistic, perverted, immoral, sycophantic, hedonist, and lazy.  Even the game-players are cheaters.  This book is about as anti-human, anti-compassionate, nihilist, and bitter as any book I know of.  But the most horrific element of humanity as depicted in this novel is that they are all totally and willingly blinded to truths that they do not like; i.e. that a robot can be just as evil as they are.

There were times when I wondered whether the asimovs even existed.  It was very easy to imagine that there were no asimov circuits, but that people and robots had both been conned into believing in programmed slavery.  The idea of turning moral decisions into digital data (and screening out wrong ones) was powerful and attractive.  People wanted it to be true.  They wanted robots incapable of sin, trustworthy slaves.  So of course the manufacturers of robots would invent imaginary circuits to make it so.  Ecce robo, they’d say.  Here is a happy slave with a factory guarantee of trustworthiness. – chapter E, pg. 63

From the first chapter to the last, humans deceiving themselves as to what robots are capable of is constantly thrown at the reader. It seems ludicrous and absurd that humans are so clueless to such an extent.  There are incidents spoofing the Titanic, religious evangelists, and even fast-food.

The old-fashioned hamburger was, in some run-down areas, no longer made of genuine soya, but was bulked out with chili-favored sawdust, celery-taste cotton waste, and so on, ending up so highly flavored that no new additive would be detected.  – Chapter S, pg. 216

The criticism and bitterness toward humanity is actually so profound that it seems difficult to believe that Sladek wrote this in the early 1980s, because it surely seems still relevant today.  And while I am not usually a fan of “over the top” miserableness, I appreciate the work in this novel.  The current “hype” of pseudo-dystopian literature seems outright heroic and also part of that “total, willing denial” of reality when compared to this novel. This book is decidedly not for everyone.  Good for when a mostly intelligent reader feels sick of society and is repulsed by the plastic, immoral, and gross face of humanity.  Tick tock…

4 stars

Citizen in Space

Citizen in Space – Robert Sheckley; Ballantine, 1955; cover art: Richard Powers

I finished the short story collection Citizen in Space by Robert Sheckley (1928 – 2005).  It was first published in 1955 and contains twelve stories – the majority of which had appeared in Galaxy Magazine.  I have recently been stuck in the 1950s as far as my reading goes, and the cover of this book looks so colorful that it always catches my eye.  Richard Powers created this cover.  Anyway, this is the first Sheckley I have read, although I have heard from a variety of sources that he is one of the “grandmasters” of science fiction short story writing.  I reviewed a collection by Kornbluth and then one by Sturgeon not too long ago, so I feel I was really into the swing things with short stories.  Sometimes, a reader feels like a great novel, sometimes just shorter works are perfect for the day.

In all of these stories, Sheckley is critical of society.  He questions the current conceptions of civilization qua civilization.  His best questioning, I think, comes when he highlights the paradoxes and contrary outcomes of intentional ethical scenarios/acts, etc.  In other words, when Sheckley presents characters whose acts conclude in unexpected – unintended – ways, his stories excel. In many places, Sheckley plays on the idea of concepts that are heavily influenced by a limited perspective.  And sometimes, this even results in peeking at simulacra, which I find super fun in science fiction.

Here are the stories in this collection:

  • The Mountain Without a Name – 3 stars – (1955)
  • The Accountant – 3 stars – (1954)
  • Hunting Problem – 5 stars – (1955)
  • A Thief in Time – 2 stars – (1954)
  • The Luckiest Man in the World – 3 stars – (1955)
  • Hands Off – 5 stars – (1954)
  • Something for Nothing – 4 stars – (1954)
  • A Ticket to Tranai – 5 stars – (1955)
  • The Battle – 2 stars – (1954)
  • Skulking Permit – 4 stars – (1954)
  • Citizen in Space – 3 stars – (1955)
  • Ask a Foolish Question – 4 stars – (1953)

The Mountain Without a Name is the first story in the book.  I gave this one three stars because I felt it was precisely what a science fiction story should be; a solid start to the book.  The frustration of the main character, Morrison, is evident and the environmental ethics of terraforming as a commercial enterprise drive the storyline.  Primitives and magic also play a role here – juxtaposed against the final quote of the book “Where do we go from here?” (a question the primitives wouldn’t know how to ask).

The Accountant is more fantasy than science fiction.  It is a relatively “cute” story – the main character is interesting.  Here is a witty, critical commentary on society.  However, like all of Sheckley’s critiques and complaints – done in a gentle and oblique manner. Again, three stars.

Hunting Problems did not start too highly in my esteem. I really do not go in for “coming of age” stories.  However, the occasional alien terminology/vocabulary interested me.  I’ll be honest:  I loved the ending.  The human characters are a bit “plastic” and “stereotypical,” but maybe that’s okay for this story.  Sheckley’s got a little more obvious disdain here for the humans than he usually shows in other stories. Still, five stars….

A Thief in Time was only a decent, basic read.  I’m not a fan of time-travel paradox stories.  Too much jammed into this one made it annoying and made me wonder why authors ever attempt time-travel paradox stories.  Of note, this is a story wherein Sheckley explores the concept of utopia, however here it is the stereotypical one. Only two stars for this one.

The Luckiest Man in the World is the shortest work in the book.  It presents an oddly optimistic, pro-science post-apocalyptic scenario.  This is not a new story, per se, but the positivity and optimism seemed “new.”  In any case, it is important to see that of all the challenges mankind faces, it seems the need for society/companionship is one that cannot be conquered by mere science.

Hands Off is one of those “cautionary tales” that one remembers and worries about even if the story isn’t particularly great.  Because in the case in which one finds oneself in an alien environment, all these warnings seem valid and crucial.  This story did seem slightly more heavy-handed than the previous ones, but no matter how overt or blatant, it still had a couple quirky twists and turns.  A good one to have young undergraduates read in their beginning Ethics courses.  Four stars.

Something For Nothing is supremely ironic and witty.  It suggests that greed, haste, assumptions lead to ruin.  But also that man cannot isolate himself from the bigger entity – government, IRS, society, civilization, etc.  There is also a fun quote:  “When the miraculous occurs, only dull, workaway mentalities are unable to accept it.”  Anyway, something for nothing / something out of nothing.  Either way, this is a unique piece. Four stars.

A Ticket To Tranai is one of the longer works in this collection.  It is creative and thought-provoking. Sure, the characters are a bit wooden (in all of these stories, they tend to be – but the main character here is actually named ‘Goodman’), but this is a curious look at intentions and ethics within society.  In this story Sheckley questions the concepts of (again) utopia, ethics, social change, and feminism.  The science fiction takes a backseat here – even though we have gone to the edge of the galaxy – this story is best enjoyed by those who like to play conceptual engineer. I gave this five stars and recommend it for all readers.

Skulking Permit is one of those unpredictable stories where the omniscient reader has to keep shaking their head at the silly characters.  The story is about a long-forgotten Earth colony that has recently been re-contacted by Imperial Earth.  Earth demands that the colony be up to “Earth standards” (which have long since lost any meaning to the colonists). This results in a bit of a farcical comedy. Definitely a unique piece, so I gave it four stars.

Citizen in Space is the title of the collection and though I gave it three stars, I cannot say I was really thrilled by the story.  It is good fiction, also a bit light on the science and a bit heavier on the “criticize society” parts.  Nevertheless, it is all couched in a lovely witty amusement that is good entertainment. Three stars.

Finally, the collection ends with Ask a Foolish Question.  This is the most esoteric of pieces in the collection.  Many readers who are not given to contemplation or introspection may not tolerate this one.  However, philosophers will be amused by this. The underlying suggestion is valid, if not obvious.  It is interesting and novel to see this wrapped in any kind of science fiction.  Four stars.

Overall, this is a great collection of really good stories.  The science fiction is present but not overwhelming.  All of the characters are wooden – like any true 1950s science fiction – but the concepts and the ideas are priceless.  Above all, entertainment is not sacrificed for any sort of ideology-mongering or attempt to seem philosophical.  These are amusing and clever and should be enjoyed by most (if not all) readers. I am definitely going to read more Sheckley.

4 stars

A Princess of Mars

A Princess of Mars – Edgar Rice Burroughs

A Princess of Mars by Edgar Rice Burroughs was first published in serial form in 1912.  It was published as a complete work in book form in 1917.  I read this in 2014 – so quite some time after it was first released.  I feel like between 1912 and 2014 several generations of humans have read and reviewed and commented on this work.  Allegedly, it influenced a whole slew of authors and writings.  So, what could I add to all that has been said already?  Whatever could be said, has most likely already been said.

I read this book in several formats:  on my Kindle, in an omnibus, and in a single-copy format. Whichever format was closest at hand, I picked up and read.  There have been heaps of editions for this novel. I think the most famous are the Michael Whelan and the Frank Frazetta covers.  The digital copy that I read included the original 1917 cover art.

This novel is quite full of action and adventure – bursting with it, really, to the point where, as a reader, I was exhausted with the non-stop action.  However, in the first quarter of the novel, there is a good deal more speculation and the story has a drop’s worth more explanation than the last chunk.  For example, in chapter one (On the Arizona Hills), our intrepid hero John Carter shares with us:

My mind is evidently so constituted that I am subconsciously forced into the path of duty without recourse to tiresome mental processes.  However that may be, I have never regretted that cowardice is not optional with me.

I think that little quote from early in the novel basically sums up John Carter’s personality and worldview – and therefore explains all of his actions and choices henceforth.  I think there are about a dozen ways to interpret this personality.  Impulsive and rash are examples of an unflattering interpretation.  I think this blends, though, with Carter’s odd and extreme “love” for Dejah Thoris.  It is love at first sight with these two. Perhaps the love is born of some overprotective masculine view of a “damsel in distress,” but it seems to morph into some Helen of Troy for whom a thousand ships are launched scenario.  After all, we are told – repeatedly – there is nothing that Carter won’t do for his beloved Dejah.  This love element is believable and honest.  But after awhile, by chapter 20 or so, it gets tedious and I started to think:  “Hey dude, seriously, this chick is not worth all this.”   What is so great about Dejah?  She is a hot babe.  And she’s a princess. Other than that, she’s pretty dull and pathetic.  Carter kind of agrees with this, too. After all in chapter eleven he is conversing with her and after she shares her opinion he thinks:

It was good logic, good, earthly, feminine logic, and if it satisfied her I certainly could pick no flaws in it.

Feminine logic. Which is not really logic at all, is it? It’s basically belief/emotion. Certainly not rational and scientific.  Now, let’s not be too picayune, but do compare this comment to the earlier quote wherein Carter admits that his is a rash and impulsive mind – not given to “tiresome mental processes.”  Maybe he just really bonds with this “feminine logic” stuff?  Don’t tell him I said that, he is an indefatigable swordsman!

In chapter sixteen we are given another gem of Carter’s savvy ways with women:

I verily believe that a man’s way with women is in inverse ratio to his prowess among men.  The weakling and the saphead have often great ability to charm the fair sex, while the fighting man who can face a thousand real dangers unafraid, sits hiding in the shadows like some frightened child.

And there you have it. . . .

Well, the reason I mentioned most of this is because this romance is actually the motive and driving force of the plot.  Not, believe it or not, the thirst for survival or the desire to return to Earth.  Carter is perfectly thrilled to stay on Mars forever – as long as he has his Dejah Thoris. So, I guess it’s a decent idea to understand the motives for this whole thing.

A Princess of Mars – E. R. B.; cover art: F. Frazetta

The action in the book is non-stop.  It reads like the most action-filled comic book, just one scenario after another involving magnificent feats of daring, physical ability, and bravery.  Climbing, flying, chasing, running, swordsmanship, jumping, etc.  John Carter is beyond Olympian-level awesome at everything.  I think I got a bit tired toward the end – back and forth among tribes and warriors, back and forth, back and forth. I don’t know; I feel like Burroughs probably spent more time on the first half of the book than the second.  Nevertheless, it is easy to see how this novel lends itself to live-action film. And it is typical of pulp-adventure stories, so the amount of action is not surprising. But the interesting facets, peppering the novel during Carter’s exploits, are cool – and could easily draw in a reader who is searching for imaginative science fiction.  For example, the Atmosphere Machine. I need more about that.

Anyway, I intend to read the next in the series – eventually. No hurry here.

4 stars

Lockdown

Lockdown – Alexander Gordon Smith

Waiting for my vintage science fiction treats to arrive from various destinations, I ran through a young adult novel that was purchased awhile ago – on sale.  Lockdown by Alexander Gordon Smith was first published in the UK in 2009.  I read the tradeback US version.  I love squeezing in “easier” reads between complex “literary fiction” and vintage science fiction.  It lets the brain rpm’s cycle down and I do not get bored.  I was actually really looking forward to reading this particular novel for a couple of reasons.

First of all, I have noticed a trend that the majority of what is classified as “young adult” is really geared toward and marketed to young females.  Now, I know that historically, females were marginalized in science fiction/fantasy.  They were the busty pseudo-Renaissance characters on fantasy novel covers or simply walking, talking baby-manufacturers in science fiction novels.  Some novels did not even have a female character at all – not even as a secretary or a receptionist! Imagine! [sarcasm, people!]  Anyway, the thing is, the reverse reaction seemed to be shoving the example of “strong, independent, non-conformist female” at the reader.  So:  The Hunger Games, Divergent, etc.  It’s almost too obvious and too overdone to be effective.  But I do think it appeals to the young female reader. Lockdown, however, has no female characters!

Second, there is still the romance element, which quite destroys the efforts to create the “strong, independent, non-conformist female” character.  No matter how good an archer she is or how brave she might be, the female main character still has to have a romantic scenario to deal with.  Which is drearily because of female authors writing female characters. There isn’t a stitch of romance in Lockdown.  The male author wrote an all-male cast sans romance.

So, if we want to call these things “young adult” – let’s admit that the majority are for young women and there is not actually all that much that would appeal to a male audience.  Now, sure, young men might want to read about “strong, independent, non-conformist female” characters and also a romantic scenario. However, Katniss and Triss can share the limelight with Bob and Jim, right?

http://www.escapefromfurnace.com/#/home

Lockdown has no female characters. Lockdown is exceedingly graphic and uses a lot of disturbing imagery.  Events are not “delicate” and “sensitive.”  After all, it is a prison named Furnace – it isn’t supposed to be a rose garden.  Nevertheless, there is emotion and morality and stuff like that – we don’t just have a pulp action novel here.  There is depth here, which is a bit surprising.  The characters cry. They react.  They have emotions – they are not rigid, wooden bots.  However, this is a story that is not for the faint of heart.

Which is the only bad thing about this novel:  it is quite graphic and scary.  As I read I was trying to imagine being a 14-year old reading this.  I can see some parents (and even some kids) not wanting this to be read.  It is not really a question of sheltering/over-protective, but rather, once an image is in the brain, it doesn’t always just fade away.  And some of the images in here are a bit rough.

The story, though, is interesting and I love all the characters.  Very realistic characters, with real-world reactions and opinions.  A dash of sarcasm and wit.  A definite depth in the exploration of actions-consequences and morality.  It is all a bit predictable (after all, only so much can happen in prison), but being predictable does not mean the story is bad.  I want to read the next book (and probably the rest of the series) because this first novel does not complete the tale, so to speak, and ends with a lot left hanging.

4 stars

Clouds of Witness

Clouds of Witness – Dorothy L. Sayers; Harper & Row; 1987

Clouds of Witness is the second Lord Peter Whimsey mystery novel by Dorothy L. Sayers.  It was first published in 1926.  It is also the second novel that I have read in the series.  Once again, I am pleased by the effort and absolutely love the main character.

There is a whole lot that appeals to me in this novel, much of it the same as with the first novel.  I continually see similarities between Whimsey and myself.  He and I have that 100-mph mannerism that just can make the most boring story (a murder at a lodge on the moors) an exciting and interesting caper. And Bunter – dear, wonderful Bunter – is once again the epitome of perfect manservant.

The other characters in the novel are interesting as well.  The reader is allowed to come onto this property on the moors and associate with several members of the Whimsey family.  We get to know a lot more about Peter’s sister, Mary, and their brother Gerald.  Gerald, by the way, is the accused in this murder mystery!  We also learn that Gerald is not as droll as we had originally thought!

In this novel, Sayers both supports and mocks the peerage.  There are discussions on “the working man” versus the gentry.  We hear from a variety of people regarding this manner and are witness to the spectacle that comes from accusing the Duke of Denver of murder.  Sayers pokes fun at the pomp and circumstance and yet also shows an astute respect and caring toward the lordships.  It is definitely a novel that readers fond of Great Britain’s “houses” won’t mind reading.

Sayers’ ability to manage the characters and plot while also turning a phrase, providing misdirections, and giving subtle and witty amusements is impressive.  It is one thing to write a good story, it is quite another to write one that also has little asides of humor and show brilliant wit.  There are several sections wherein I had to visibly grin while reading because it was so skillfully written.

Some people might find Lord Peter to be a bit unfocused or random.  They may even think he is unable to be serious – he often seems to derail, interrupt, or wonder aloud.  I know this frustrates people – because I tend to feel that frustration levied toward myself more often than not.  Like Peter, though, I have a loyal group of friends that join me on all of my adventures.  Peter’s biggest help in this novel (besides the indefatigable Bunter) is Charles Parker.  Parker and Whimsey begin by combing the grounds of the property looking for clues:

“Serve him glad,” said Lord peter viciously, straightening his back.  “I say, I don’t think the human frame is very thoughtfully constructed for this sleuth-hound business.  If one could go on all-fours, or had eyes in one’s knees, it would be a lot more practical.”   pg. 48, Chapter 3

I know that in this series, Lord Peter is supposed to “age naturally,” meaning, I think, that he doesn’t stay the same age for five novels and have 85 cases to solve per year.  Nevertheless, I have been unable to imagine him as more than in his late 30s. I know there have been some TV episodes, but I feel their portrayal is too elderly.  I don’t care what the chronology looks like – Peter is so youthful and energetic, he cannot be played by some grey-haired actor.

Doing more sleuthing, Whimsey is retelling part of the story to Parker, and Peter interrupts himself to ask Parker if he knows how to spell ipecacuanha.  Parker does:

“Damn you!”  said Lord Peter.  “I did think I’d stumped you that time.  I believe you went and looked it up beforehand.  No decent-minded person would know how to spell ipecacuanha out of his own head.”  pg. 103, Chapter 6

It really is not a stretch to hear myself saying those lines.  In Chapter 4, there is a small interchange between Peter and Bunter regarding Bunter’s mother – and it is priceless and amusing!  Whimsey surprised to learn that Bunter has one!  Nevertheless, though Peter surely aggravates the heck out of his friends, Chapter 12 demonstrates the loyalty and love his friends and family have for him.  And, honestly, even in dire circumstances, Peter still is sarcastic and obnoxious.  But in an almost self-effacing manner. Whew! Scary moments in that chapter! I am not any more endeared to moors having read this chapter.

With that instinct which prompts one, when depressed, to wallow in every circumstance of gloom, Peter leaned sadly upon the hurdles and abandoned himself to a variety of shallow considerations upon (1) the vanity of human wishes; (2) Mutability; (3) first love; (4) The decay of idealism; (5) the aftermath of the Great War; (6) birth-control; and (7) the fallacy of free-will. This was his nadir, however.

Our plucky hero picks up his spirits and trudges onward across this miserable moor.  I confess I probably have had my share of moments wherein I have paused in some mundane task to consider these kosmically heavy concepts.

The resolution for the mystery is given in the end chapters of the book during the court case.  Part of the storyline of this novel is that this trial involves a Duke.  So, of course, Sayers wants to show us the rigamarole of the court case involving the gentry.  I am just not a fan of courtroom dramas/stories/mysteries, etc.  Make no mistake:  these chapters are exceedingly well-written and are actually very entertaining.  I am just not a reader with patience for such things.

4 stars

Solar: Man of the Atom #1

Solar: Man of the Atom #1, Dynamite Comics; 2014

Doctor Solar has a new series.  Dynamite Comics just released the first issue in a series.  Here is a character that has had a long history – but without much fame and glory.  I believe he was created by Paul S. Newman and Matt Murphy in the 1960s for a comic series with the publisher Gold Key Comics.  I have no idea how I know of this pulp/vintage character.  It is a case of one of those things that I know without knowing exactly how I know.

I know that in 2010 Dark Horse Comics released a small series entitled Doctor Solar.  I think they only made it 8 issues – through design or low sales, I do not know why it ended.  This is not as bad as it seems – Solar’s original run with Gold Key Comics in the 1960s only ran about 30 issues.  But here we are in 2014 and now it seems the property has gone to Dynamite Comics (founded 2005).  If you glance at Dynamite’s title list, you will notice that the majority are franchises from TV or film. Or even books.  Nevertheless, I read nothing of the Dark Horse comics series – so when I saw Solar #1 sitting on a shelf at my local comic book store I grabbed it.

I read it first – out of the large stack of comics that came home with me.

This issue displays the efforts of writer Frank H. Barbiere, artist Joe Bennett, colorist Lauren Affe, with cover artist Juan Doe (probably an alias, but why would you not take credit for this cover?).  I am a terrible sucker for (well, obviously, comic books) (1.) science fiction-esque covers/comics; (2.) vintage/pulp.  I really liked the cover Doe gave us for this issue and seeing Doctor Solar in his own title again definitely was the root cause of my spending $3.99.  Cover art does matter – it is not just something to glance at and cruise on past.

Solar #1, first page; Dynamite Comics

The first page is a keeper, as well, if you are science fiction addict. How can you see the cover, and then the first page, and then not be hooked?  One of the things that I like, generally, about this whole issue is the artwork and coloring.  It is really eye-catching and pleasing.  It works very well with the story.

Now, since I hardly recall any origin story for Doctor Solar, I cannot speak on this issue’s heritage or loyalty to the character.  I can say that the storyline here is worth reading, even if it does not seem incredibly unique.  I mean, a story in which there are estranged family members, ambitious, genius scientists, and rather dull bank robbers does not rank very highly in the annals of originality.  Nevertheless, I do not always need a first issue to be original – I do need it to have elements which will draw me back for issue #2.  That is definitely to be found here.  And so, I think the money was well spent.  It is rather difficult to say much else regarding the storyline – but if the art keeps up and the story progresses, I can see this being a safe monthly purchase.

4 stars

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